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Exclusively for My Friends - The Lost Tapes (Speakers Corner)
Tears of sorrow mingled with tears of joy as Oscar Peterson fans realized that the keyboard genius who had just recovered his health was still capable of amazing them all, although he had obviously forfeited some of his past vitality. This may well have induced MPS - the label with whom Oscar Petersen himself claimed to have made his best recordings - to search their archives for lost tapes from Peterson's heydey. And lo and behold, a number of previously unreleased recordings were discovered which had been taped "exclusively for my friends" in the private studio in Villingen in 1965-1968.
The electric atmosphere of these live sessions before a mere handful of listeners proves once again just how at home the musicians felt in the Black Forest villa - as is borne out by the fact that Peterson's usual trio formation alternated with his stand-in musicians of Sam Jones on the bass and Bobby Durham on the drums.
And now, exclusively for all jazz fans, these amazing tracks are available for the very first time on an LP filled with glorious sound. Whether long-time collector or jazz newcomer, one thing is certain: this album belongs in every collection!
- Oscar Peterson (piano)
- Ray Brown, Sam Jones (bass)
- Ed Thigpen, Bobby Durham (drums)
Recording: May 1965, November 1967 and October 1968 at H.G. Brunner-Schwer's private studio's in Villingen/ Germany by H.-G. Brunner-Schwer
Production: H.-G. Brunner-Schwer
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.1. Gravy Waltz
2. Three O'Clock in the Morning
3. Squeaky's Blues
5. I Will Wait for You
6. Let's Fall in Love
7. Put on a Happy Face
8. Stella by Starlight
9. Moanin' 10. Never Say Yes
11. It's Impossible
12. My Romance$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
PS Audio Stellar S300 Stereo Amplifier
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
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The problems faced when crafting a new power amplifier are many-delivering sufficient power, control, frequency extension, and dynamics while maintaining a perfectly layered soundstage under the most complex musical passages.
All amplifiers sound different. What determines sound quality are the components and topologies of the amp's input voltage stage and output current stage. Each section should complement the other. Between them, the amp develops its sound.
Stellar's design imperatives-affordable pricing, and uncompromised sonics-were major challenges solved by the invention of a unique new circuit christened the Analog Cell.
Stellar engineer Darren Myers had planned from the outset to take advantage of Class D's high current, low distortion, ruler flat linearity for the output stage-knowing full well it is the input stage that determines sonic character. This critical interface between preamplifier and power amplifier is where Stellar's magic would be unveiled; where Myers could lavish upon the music the sweet, tube-like quality of Class A biased MOSFETs. His challenge was to synergistically marry both input and output topologies, for which he invented Stellar's Analog Cell.
The Analog Cell is the heart of the S300's musicality, where richly overlayed layers of music's inner details are preserved even in the most complex orchestral crescendos. The Analog Cell is a proprietary, fully differential, zero feedback, discrete, Class A MOSFET circuit, hand-tuned to capture the smallest micro dynamics without sacrificing the loudest macro dynamics music has to offer.
If you're able to invest in a cost-no-object performance stereo amplifier, you want the BHK Signature 250. For everyone else who refuses to compromise music's promise, Stellar represents breakthrough performance at stellar pricing.$1,499.00Power Amplifier - Black or Silver Buy Now