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Black, Brown And Beige (Speakers Corner)Black, Brown, & Beige is Duke Ellington's musical representation of the African-American experience in the United States. It is arguably The Maestro's greatest work. The triumph of telling so important a story so well through music alone makes Duke Ellington's Black, Brown, & Beige a masterpiece. It also displays Duke's, and Jazz's, highest achievement in long form. Whether you perceive it as a three-movement symphony or accept Ellington's own personalized terminology »Tone Parallel«, Black, Brown, & Beige matches conceptually and in artistic content the musical continuity of Western Classical's greatest names in their lengthiest works.
The history of Black, Brown, & Beige is in its own right momentous. Ellington premiered the work at Carnegie Hall on January 23, 1943, at Duke's first performance on that illustrious stage. The Maestro has created the Come Sunday Suite. Duke Ellington basically reduced his three movement work to its first, Black, elevating that movement's spiritual theme, Come Sunday, making it the melody of the edited work. Truncating the symphony Black, Brown, & Beige into the song Come Sunday works because Duke Ellington has expanded Come Sunday through numerous theme and variations unknown to the original. The piece de resistance: a sacred text, by Duke himself, a text sung by the best known African-American religious singer in history, Mahalia Jackson. There is no doubt that it is the presence and performance of Mahalia Jackson which secures a home in the pantheon for this recasting of Black, Brown, & Beige, a work that already resided there.
And Duke Ellington pulled off this coup with one hand tied behind his back, or without the services of his right-hand man. Overlooked over the years since the album Black, Brown, & Beige was recorded in February 1958 is the absence of Johnny Hodges (Hodges did a gig with Strayhorn in Florida during this period), the Ellington band's premier soloist
The sides C & D are released on vinyl for the first time with this issue.
Recording in mono.
- Duke Ellington (piano)
- Mahalia Jackson (vocal)
- Clark Terry (trumpet)
- Ray Nance (trumpet, vocal)
- Quentin Jackson (trombone)
- Harry Carney (bassoon)
- Paul Gonsalves (tenor saxophone)
- Jimmy Hamilton (clarinet)
- Russell Procope (clarinet, alto saxophone)
- Jimmy Woode (bass)
- Sam Woody (drums)
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.LP 1
1. Part I
2. Part II
3. Part III (AKA Light)
4. Part IV (AKA Come Sunday)
5. Part V (AKA Come Sunday)
6. Part VI (23rd Psalm)
1. Track 360 (AKA Trains)(Alt. Take)
2. Blues In Orbit (AKA Tender)(Alt. Take)
3. Part I (Alt. Take)
4. Part II (Alt. Take)
5. Part III (AKA Light) (Alt. Take)
6. Part IV (AKA Come Sunday)(Alt. Take)
7. Part V (AKA Come Sunday)(Alt. Take)
8. Part VI (23rd Psalm)(Alt. Take)
9. Studio Conversation (Mahalia Swears)
10. Come Sunday (A Capella)$49.99180 Gram Audiophile Virgin Vinyl LP Mono - 2 LPs Sealed Buy Now
Inarticulate Speech Of The HeartInarticulate Speech of the Heart is the fourteenth studio album by Northern Irish singer-songwriter Van Morrison - Originally released in 1983
Morrison said he arrived at the title from a Shavian saying: that idea of communicating with as little articulation as possible, at the same time being emotionally articulate.
One of music's true originals Van Morrison's unique and inspirational musical legacy is rooted in postwar Belfast. Born in 1945 Van heard his Shipyard worker father's collection of blues, country and gospel early in life.Feeding off musical greats such as Hank Williams, Jimmie Rodgers, Muddy Waters, Mahalia Jackson and Leadbelly he was a travelling musician at 13 and singing, playing guitar and sax, in several bands, before forming Them in 1964.Making their name at Belfast's Maritime Club Them soon established Van as a major force in the British R&B scene. Morrison's matchless vocal and songwriting talents produced instant classics such as the much covered 'Gloria' and 'Here Comes The Night'.Those talents found full astonishing range in Van's solo career.After working with Them's New York producer Bert Berns on beautiful Top 40 pop hit 'Brown Eyed Girl' (1967), Morrison moved to another realm.
With one of the most revered catalogues in music history and his unparalleled talents as composer, singer and performer Morrison's past achievements loom large. But, as throughout his extraordinary career, how that past informs his future achievements and still stirs excitement and keen anticipation.1. Higher Than The World
3. River Of Time
4. Celtic Swing
5. Rave On, John Donne
6. Inarticulate Speech Of The Heart, No. 1
7. Irish Heartbeat
8. The Street Only Knew Your Name
9. Cry For Home
10. Inarticulate Speech Of The Heart, No. 2
11. September Night$21.99Vinyl LP - Sealed Buy Now
For TrueSince the release of their Grammy-nominated 2010 debut album, Backatown, Trombone Shorty & Orleans Avenue have grown creatively while winning hordes of new fans performing nonstop on five continents. Their new Verve Forecast album, For True, offers substantive proof of their explosive growth, further refining the signature sound Troy Trombone Shorty Andrews has dubbed Supafunkrock.
The band: Mike Ballard on bass, Pete Murano on guitar, Joey Peebles on drums, Dwayne Williams on percussion, Dan Oestreicher on baritone sax and Tim McFatter on tenor sax, stirs together old-school New Orleans jazz, funk and soul, laced with hard-rock power chords and hip-hop beats, and they've added some tangy new ingredients on For True as they keep pushing the envelope, exploring new musical territory.
Andrews wrote or co-wrote all 14 tracks on the new album, including collaborating with the legendary Lamont Dozier on Encore, while this time playing as much trumpet as trombone, as well as organ, drums, piano, keys, synth bass and percussion. Indeed, he played every part on the swaying, Latin-tinged Unc. He's also come into his own as a singer, honoring the hallowed legacy of the great soul men of the 1960s and '70s. Like its predecessor, the new album turns on a rare combination of virtuosity and high-energy, party-down intensity.
Among the special guests are longtime NOLA cohorts like Ivan and Cyril Neville (who bring their trademark sound to Nervis); Galactic's Ben Ellman, reprising his producer's role on Backatown (percussion on opener Buckjump, harmonica on Big 12) and Stanton Moore (drumming on Lagniappe Part 1 and Part 2); bounce rapper 5th Ward Weebie and the Rebirth Brass Band (who team up on Buckjump) and Troy's longtime friend Charles Smith (who adds percussion to the same track).
The album also bears the fruit of more recent relationships Lenny Kravitz (who plays bass on Roses), has the longest-standing bond with Andrews, discovering the then-teenage prodigy in 2005 and taking him on tour with his band. Kid Rock (whose vocal is featured on Mrs. Orleans) came out to see Trombone Shorty & Orleans Avenue at an outdoor show early this year in NOLA, and a month later Troy joined the star onstage at Jazz Fest.
Andrews played with Warren Haynes (whose eruptive solo further heats up Encore) at his annual benefit and again at the guitarist's Mahalia Jackson Theatre all-star event during this year's Jazz Fest. Ledisi (who sings on Then There Was You), met Troy at the 2010 Grammys, later came out to see him in New Orleans and was later featured in a segment for the landmark Red Hot + New Orleans at the Brooklyn Academy of Music, for which Andrews served as musical director. His relationship with Jeff Beck (check out his blistering solo on Do to Me) has also blossomed since the guitar legend came to Troy's late-night post-Jazz Fest show at Tipitina's in 2010.1. Buckjump
3. For True
4. Do To Me
5. Lagniappe (Part 1)
6. The Craziest Thing
7. Dumaine St.
8. Mrs. Orleans
11. Big 12
13. Then There Was You
14. Lagniappe (Part 2)$19.99Vinyl LP - Sealed Buy Now
Tomorrow Is My TurnRhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out on Nonesuch Records. (The vinyl will follow on March 3.) The album was produced by T Bone Burnett.
Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City's Town Hall that was later broadcast on Showtime: Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis." Backstage, Burnett was immediately moved to ask if he could produce a record with her. "It was clear the first time I heard her at rehearsal that Rhiannon is next in a long line of singers that include Marian Anderson, Odetta, Mahalia Jackson, Rosetta Tharpe," Burnett says. "We need that person in our culture."
For her first solo disc, Giddens chose a broad range of songs from genres as diverse as gospel, jazz, blues, and country. In addition to the traditional "Black Is the Color," tracks include Hank Cochran's "She's Got You," made famous by Patsy Cline; Dolly Parton's "Don't Let It Trouble Your Mind"; "O Love Is Teasin'," popularized by the Kentucky-reared "mother of folk" Jean Ritchie; and Elizabeth Cotton's "Shake Sugaree."
"I had already started putting together a list of songs that didn't really fit into the Chocolate Drops world," Giddens explains. "At the top was 'Tomorrow Is My Turn' [immortalized by Nina Simone]. Seeing Nina do it on YouTube was revelatory. I knew she'd gone through a lot of hard times, as so many people did in that time period. Watching her sing this song, with the words 'tomorrow is my turn,' I began to think about the struggle of her and women like her." The significance of this song led Giddens to make it the title of the album as well. "Other songs started getting on my list and they were all by women or interpreted by women," she says.
Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown's renowned Funk Brothers; drummer Jay Bellerose; guitarist Colin Linden; legendary backup singer Tata Vega; veteran Nashville session bassist Dennis Crouch; and Giddens' Drops touring band-mates, multi-instrumentalist Hubby Jenkins and beat-boxer Adam Matta.
Tomorrow Is My Turn follows Giddens' work with Elvis Costello, Taylor Goldsmith, Jim James, and Marcus Mumford on Lost On The River: The New Basement Tapes, an album also produced by Burnett that was released in November 2014. Her contribution was hailed by Rolling Stone magazine as the "showstopper evoking antebellum blues with a magnificent voice that interrogates the myths stirred up at Big Pink." The New York Times agreed, saying "On lead vocals she's the album's revelation, singing melodies that hark back to Celtic modes with a decisive presence and a haunting grace."1. Last Kind Words
2. Don't Let It Trouble Your Mind
4. She's Got You
5. Up Above My Head
6. Tomorrow is My Turn
7. Black Is the Color
8. Round About the Mountain
9. Shake Sugaree
10. O Love Is Teasin'
11. Angel City$22.99Vinyl + CD - Sealed Buy Now