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Leroy Vinnegar

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  • Daddy Plays The Horn (Pure Pleasure) Daddy Plays The Horn (Pure Pleasure) Quick View

    $34.99
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    Daddy Plays The Horn (Pure Pleasure)

    During a period of Dexter Gordon's (tenor sax) life -- when he was deep in the throws of chronic drug addiction -- the artist was miraculously able to reignite his career during the latter part of 1955. After several years of being out of the spotlight, Gordon resurfaced on the Big Apple-based indie Bethlehem imprint with the half-dozen sides that comprise Daddy Plays The Horn (1956).


    While the support team provides Gordon top-notch contributions throughout, it is unquestionably Drew who offers the most in terms of active interaction and his prominence can not be overstated. Nowhere is that as noticeable as the good-natured interaction heard on the disc's opener, the Gordon-penned title composition Daddy Plays The Horn. In fact it could be argued that Drew enhances the tenor to the point of practically being a co-leader. The update of Charlie 'Bird' Parker's bop standard Confirmation is taken at a steady mid-tempo pace, allowing plenty of room for the participants to have their say and not get in the way of the melody. Gordon seems considerably more relaxed and comfortable as he spreads line upon line of inspired improvisation. Drew is once again a real treat to hear briefly taking charge of the rhythm section. The pair of ballads on Daddy Plays The Horn are nothing short of stellar and stand as simple, emotive expressions unto themselves. Darn That Dream embraces the warmth of Gordon's tenor as his sensual phrasing leaves just enough space for Drew to sonically bridge the gap with his own unhurried and stylish chords. The generically monikered Number Four is anything but ordinary. The Gordon original jumps right from the opening and the ensemble lets loose with equally solid licks beneath his cool tone. Drew gets in the driver's seat missing nary a measure to reveal what could easily be his most tasteful contributions to date. The same can be said of bassist Vinnegar, who is briefly spotlighted on an efficient (if not somewhat sparse) solo. Autumn in New York -- the album's other essential ballad -- is proof that despite Gordon's addiction, he had retained his singular and precious sense of lyricism. Indeed, the Great American Songbook entry has rarely been permeated in such a meaningful way. The seamless transitions between Gordon and Drew are further evidence of their undeniable bond. Saving what may be the best example of the gathered instrumentalists flexing their respective be-bop muscle, You Can Depend On Me rounds out the platter with a bang.

    Musicians:



    • Dexter Gordon (tenor saxophone)

    • Kenny Drew (piano)

    • Leroy Vinnegar (bass)

    • Larry Marable (drums)



    Recording: September 1955 in Hollywood, CA.



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Number Four
    2. Autumn In New York
    3. You Can Depend On Me
    4. Daddy Plays The Horn
    5. Confirmation
    6. Darn That Dream
    Dexter Gordon
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • West Coast Jazz West Coast Jazz Quick View

    $27.99
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    West Coast Jazz

    Stan Getz (Tenor Sax)

    Conte Candoli (Trumpet)

    Lou Levy (Piano)

    Leroy Vinnegar (Bass)

    Shelly Manne (Drums)
    Side A:


    1. East Of The Sun (And West Of The Moon)
    2. Four
    3. Suddenly It's Spring


    Side B:


    1. A Night In Tunisia
    2. Summertime
    3. Shine
    4. Our Love Is Here TO Stay

    Stan Getz
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Plays Cedar Walton Plays Cedar Walton Quick View

    $21.99
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    Plays Cedar Walton

    With Kenny Dorham, Leroy Vinnegar, Billy Higgins, Junior Cook, Blue Mitchell, Clifford Jordan, Richard Davis, Jack DeJohnette, Bob Cranshaw, Mickey Roker.
    1. Short Stuff
    2. Head and Shoulders
    3. Twilight Waltz
    4. Higgins Holler
    5. Jake's Milkshakes
    6. Spectrum
    7. Sabbatical
    8. Ugetsu
    Cedar Walton
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • My Fair Lady My Fair Lady Quick View

    $21.99
    Buy Now
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    My Fair Lady

    Shelly Manne and his Friends bassist Leroy Vinnegar and the o nce and future classical pianist AndrÉ Previn had
    recorded a trio album before this one (Shelly Manne and Friends) but My Fair Lady was the first and biggest-selling
    of the jazz versions of Broadway shows, TV themes, and film soundtracks later recorded by the trio. It remains a
    true classic to this day.
    1. Get Me To The Church On Time
    2. On The Street Where You Live
    3. I''ve Grown Accustomed To Her Face
    4. Wouldn't It Be Loverly
    5. Ascot Gavotte
    6. Show Me
    7. With A Little Bit Of Luck
    8. I Could Have Danced All Night
    Shelly Manne & His Friends
    $21.99
    Vinyl LP - Sealed Buy Now
  • Swingin' On The Korner: Live At Keystone Korner Swingin' On The Korner: Live At Keystone Korner Quick View

    $38.99
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    Swingin' On The Korner: Live At Keystone Korner


    One Of The Greatest Packages Ever Built For Red Garland: 150 Minutes Of Never-before Released Material From The Legendary Pianist


    Recorded December 6-10 1977 At San Francisco's Legendary Keystone Korner


    Featuring Bassist Leroy Vinnegar And Drummer Philly Joe Jones


    3 LP Limited Edition, 180g Black Vinyl, Deluxe Tri-fold Package With Insert


    A collection of all previously unissued recordings of the great jazz pianist, Red Garland, recorded live in concert at San Francisco's Keystone Korner. With
    virtuoso bassist, Leroy Vinnegar, and drum legend, Philly Joe Jones. Sixteen tracks and over 150 minutes of captivating piano trio recordings from one of
    jazz's most important and unsung heroes in an exhaustive package built to celebrate Garland's artistry. These recordings mark the only time this group
    ever-performed or recorded together. Tape recordings taken from the sound board the week of December 6th, 1977.
    Package designed by Burton Yount (Jimmy Giuffre New York Concerts, Bill Evans Live at Top of The Gate, Wes Montgomery Echoes of Indiana Avenue).

    1. Love For Sale
    2. I Wish I Knew
    3. It's Impossible
    4. Billy Boy
    5. Dear Old Stockholm
    6. If I'm Lucky
    7. Blues In Bebop
    8. On Green Dolphin Street
    9. Straight No Chaser
    10. On A Clear Day
    11. The Christmas Song
    12. The Best Things In Life Are Free
    13. Never Let Me Go
    14. Autumn Leaves
    15. Bag's Groove
    16. It's All Right With Me/The Theme
    Red Garland Trio
    $38.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Swiss Movement Swiss Movement Quick View

    $24.99
    Buy Now
    x

    Swiss Movement

    Cut by Bernie Grundman from the Original Master Tapes



    An All-Time Audiophile Spectacular That Sounds Better Than Ever



    The Most Definitive Version of Compared to What Ever Recorded



    Amazing Sound + Amazing Performances = An Amazing LP



    Pianist/vocalist Les McCann has a somewhat undeserved reputation for recording faddish albums. The reason being? He never topped this brilliant, 1969 soul-jazz masterpiece, which remains a must for every music fan on the planet.



    This impromptu session at the 1969 Montreux Jazz Festival finds tenor saxophonist Eddie Harris and trumpeter Benny Bailey joining McCann's working trio that included Leroy Vinnegar on bass and Donald Dean on drums, turning in the most definitive version of Compared to What ever recorded as well as four other tracks steeped in funk, joy, and cool persuasion.



    One of the most popular live soul/jazz albums of all time, now in much-improved fidelity thanks to Bernie Grundman's mastering from the original master tapes. An audiophile delight!

    1. Compared To What (Live at Montreux Jazz Festival)
    2. Cold Duck Time (Live at Montreux Jazz Festival)
    3. Kathleen's Theme (Live at Montreux Jazz Festival)
    4. You Got It In Your Soulness (Live at Montreux Jazz Festival)
    5. The Generation Gap (Live at Montreux Jazz Festival)
    McCann & Harris
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blows The Blues Blows The Blues Quick View

    $54.99
    Buy Now
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    Blows The Blues

    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    Sonny Stitt led a number of excellent record dates in 1959, especially at the end of the year when he produced three LPs for Verve over a span of three sessions with pianist Lou Levy, bassist Leroy Vinnegar and drummer Mel Lewis. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career. The music includes several potent originals, especially Hymnal Blues and the slow, powerful Morning After Blues.


    Originally released in 1970.


    This title is not eligible for discount.

    1. Blue Devil Blues
    2. Home Free Blues
    3. Blue Prelude
    4. Frankie And Johnny
    5. Birth Of The Blues
    6. A Blues Offering
    7. Hymnal Blues
    8. Morning After Blues
    Sonny Stitt
    $54.99
    200 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Swiss Movement (Speakers Corner) Swiss Movement (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Swiss Movement (Speakers Corner)

    Les McCann had already been playing his way through the clubs and record studios on the US west coast for ten years when his appearance on 21 June 1969 at the relatively new and jazz-soaked festival in Montreux on Lake Geneva changed all that. There, he celebrated his greatest musical success, his number one hit. Half ironically, but proudly in later concerts, when the piano stool could hardly bear him due to his size and weight, he stressed that Swiss Movement had supported him, his wife, children and grandchildren.


    Compared To What is a catchy melody that is heard on the radio, again and again, all around the world, today, tomorrow and the day after It is unmistakable, still groovy, full of soul, humorous, stirring. And Cold Duck Time is no way inferior: Eddie Harris blows for all he is worth. Everyone can hear that Benny Bailey was challenged by the unknown themes, but this maestro still managed to capture the audience's ear and attention.


    Swiss Movement is, and will remain forever, a highlight among all the jazz LPs that have been recorded live and it shouldn't be missing from any collector's shelf. Along with Benny Goodman's Carnegie Hall Concert from 1938, Charlie Parker & Co.'s Massey Hall concert from 1953, and Ella Fitzgerald's Berlin concert from 1960 - and very few others


    Musicians:


    • Eddie Harris (tenor saxophone)
    • Benny Bailey (trumpet)
    • Les McCann (piano, violin)
    • Leroy Vinnegar (bass)
    • Donald Dean (drums)


    Recording: June 1969 live at Montreux Jazz Festival

    Production: Joel Dorn & Nesuhi Ertegun


    About Speakers Corner


    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Compared To What
    2. Cold Duck Time
    3. Kathleen's Theme
    4. You Got It In Your Soulness
    5. The Generation Gap
    Les McCann & Eddie Harris
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Grand Stan (Pure Pleasure) Grand Stan (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Grand Stan (Pure Pleasure)

    Mr. Levey worked with Peggy Lee, Ella Fitzgerald, Bobby Darin and many other singers, and with the big bands of Benny Goodman, Woody Herman and Stan Kenton. He was also a ubiquitous presence in Los Angeles recording studios for many years. But he earned his place in jazz history primarily through his work with Charlie Parker and Dizzy Gillespie, the leading lights of bebop.



    A self-taught drummer who played left-handed even though he was naturally right-handed, Mr. Levey was still a teenager when he began attracting attention for the ease with which he handled the breakneck tempos and tricky accents of the modern style. Working with Gillespie and Parker, he also attracted attention for being one of two white musicians (the pianist Al Haig was the other) in an otherwise all-black group, by no means a common sight in the 1940's.



    Stan Levey was born in Philadelphia on April 5, 1926. The son of a prizefight promoter, he took up boxing about the same time he took up drums, and for a few years pursued both careers. But boxing, at which he was never exceptional, soon lost out to drumming, at which he was.



    His work with Gillespie and Parker in 1945, when bebop was new and controversial, won him the admiration of his peers but not much of a living. Greater success came a few years later when he began working with big bands.



    In 1954, after two years with Kenton, he settled in Los Angeles, where he spent five years with the Lighthouse All-Stars, the group in residence at a popular local nightclub. He was also in great demand for studio work, recording with many of the best-known musicians in jazz and playing on hit records like Peggy Lee's Fever. In addition, his drumming was heard on the soundtracks of hundreds of movies and television shows, including five Disney documentaries for which he wrote the music.



    Musicians:



    • Conte Candoli (trumpet)

    • Frank Rosolino (trombone)

    • Richie Kamuca (tenor saxophone)

    • Sonny Clark (piano)

    • Leroy Vinnegar (bass)

    • Stan Levey (drums)



    Recording: August 1955 in New York City



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.


    This title is not eligible for discount.

    1. Yesterdays
    2. Angel Cake
    3. Why Do I Love You
    4. Grand Stan
    5. Hit That Thing
    6. Blues At Sunrise
    7. A Gal In Calico
    8. Tiny's Tune
    Stan Levey
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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