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  • Gerry Mulligan & Chet Baker: Carnegie Hall Concert (Speakers Corner) Gerry Mulligan & Chet Baker: Carnegie Hall Concert (Speakers Corner) Quick View

    $69.99
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    Gerry Mulligan & Chet Baker: Carnegie Hall Concert (Speakers Corner)

    The third encounter of the cool, swinging art of Gerry Mulligan and Chet Baker took place in New York's Carnegie Hall on a cold November day in 1974. So-called Cool Jazz had long since arrived and become popular on the East Coast with the result that the concert hall must have been filled to the last seat. The two hadn't performed together on stage for ten years, rivalry and who knows what else had put an end to the highly successful pianoless quartet.



    In spite of the enormously high expectations - the Carnegie Hall fills all musicians with awe due to the echoes of concerts given by such classical and jazz great as Artur Rubinstein, George Gershwin and their successors over many generations - every melody is wonderfully relaxed from the very first note on. This is surely due to the excellent rhythm group (with piano!). This is made up of musicians from the 'new generation' - musicians who were sucking on dummies in their prams when the two veterans came together for the first time in 1952.
    Oldies such as Bernie's Tune, My Funny Valentine and Line For Lyons, and new compositions like Song For Strayhorn and Song For An Unfinished Woman constitute a successful blend both for the two performers on stage and the audience alike. And there is no experimenting - no one wants to play or hear that - however the high level of communication is tangible everywhere.



    It makes sense to release the two individual LPs as a double album. What's more: the cover photo is exactly the same for both releases and you get almost 80 minutes of West Coast cool-hot jazz at its very best!



    Musicians:



    • Gerry Mulligan (bassoon)

    • Chet Baker (trumpet)

    • Ed Byrne (trombone)

    • Bob James (piano, electric piano)

    • John Scofield (guitar)

    • Dave Samuels (vibraphone)

    • Ron Carter (bass)

    • Harvey Mason (drums)




    Recording: November 1974 at Carnegie Hall, New York, by Dave Hewitt and John Venable

    Production: Creed Taylor





    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. Line for Lyons
    2. For an Unfinished Woman
    3. My Funny Valentine
    4. Song for Strayhorn
    5. It's Sandy at the Beach
    6. K-4 Pacific
    7. There Will Never Be Another You
    8. Bernie's Tune
    Gerry Mulligan
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Jeru Jeru Quick View

    $27.99
    Buy Now
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    Jeru

    Import


    While Gerry Mulligan was famous in the 1950s for leading pianoless quartets, he never had anything against pianists; in fact he often played piano himself. This 1962 quintet session finds Jeru utilizing the strong talents of pianist Tommy Flanagan along with bassist Ben Tucker, drummer Dave Bailey, and the congas of Alec Dorsey to play seven songs (all but Get Out of Town are somewhat obscure). Mulligan is in fine form and the music is quite enjoyable.


    - Scott Yanow (All Music Guide)

    1. Capricious
    2. Here I'll Stay
    3. Inside Impromptu
    4. You've Come Home
    5. Get Out Of Town
    6. Blue Boy
    7. Lonely Town
    8. Jeru
    Gerry Mulligan
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mulligan Meets Monk Mulligan Meets Monk Quick View

    $21.99
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    Mulligan Meets Monk

    Three decades ago, when Riverside paired Thelonious Monk and Gerry Mulligan on this album, it seemed a daring move. These two appeared to represent opposite ends of the jazz spectrum, separated by geography (East Coast and West) as much as by style (bop vs. cool). Actually, it was a rather safe project: producer Orrin Keepnews had learned that the two men were friends; even more importantly, it is now clear that both were the kind of revolutionaries who had substantial (and not dissimilar) respect for jazz tradition. The album was, as advertised, a meeting of giants, but its most lasting value may be as proof that there was a strong bond connecting theoretically opposing forms of early modern jazz.
    1.'Round Midnight
    2. Rhythm-a-ning
    3. Sweet And Lovely
    4. Decidedly
    5. Straight, No Chaser
    6. I Mean You
    Thelonious Monk & Gerry Mulligan
    $21.99
    Vinyl LP - Sealed Buy Now
  • Mulligan Meets Monk Mulligan Meets Monk Quick View

    $27.99
    Buy Now
    x

    Mulligan Meets Monk

    Three decades ago, when Riverside paired Thelonious Monk and Gerry Mulligan on this album, it seemed a daring move. These two appeared to represent opposite ends of the jazz spectrum, separated by geography (East Coast and West) as much as by style (bop vs. cool). Actually, it was a rather safe project: producer Orrin Keepnews had learned that the two men were friends; even more importantly, it is now clear that both were the kind of revolutionaries who had substantial (and not dissimilar) respect for jazz tradition. The album was, as advertised, a meeting of giants, but its most lasting value may be as proof that there was a strong bond connecting theoretically opposing forms of early modern jazz.

    1. 'Round Midnight
    2. Rhythm-a-ning
    3. Sweet And Lovely
    4. Decidedly
    5. Straight, No Chaser
    6. I Mean You
    Thelonious Monk & Gerry Mulligan
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Konitz Meets Mulligan (Pure Pleasure) Konitz Meets Mulligan (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Konitz Meets Mulligan (Pure Pleasure)

    O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and - yes - Chet Baker on trumpet. How can you pass this up?



    But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way - challenge each other.



    And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.



    Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.
    Mono - so what? This is a treasure from the vaults of Pacific Jazz.



    Musicians:



    • Lee Konitz (alto saxophone)

    • Gerry Mulligan (bassoon)

    • Chet Baker (trumpet)

    • Carson Smith (bass)

    • Joe Mandragon (bass)

    • Larry Bunker (drums)



    Recording: January 1953 at The Haig, Los Angeles, by Richard Bock

    Production: Richard Bock



    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.

    Side One


    1. I Can't Believe That You're In Love With Me
    2. Broadway
    3. Almost Like Being In Love
    4. Sextet
    5. Oh, Lady Be Good
    6. Bernie's Tune
    7. Oh, Lady Be Good (alternative version)


    Side Two


    1. Too Marvelous For Words
    2. Lover Man
    3. I'll Remember April
    4. These Foolish Things
    5. All The Things You Are

    Lee Konitz & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Gerry Mulligan Meets Ben Webster Gerry Mulligan Meets Ben Webster Quick View

    $27.99
    Buy Now
    x

    Gerry Mulligan Meets Ben Webster

    Direct Metal Mastering


    Limited edition high definition premium 180gm vinyl LP repressing of this classic Jazz album. Originally issued on vinyl, the ongoing popularity of LP pressings and repressings has ensured the longevity of this format for years to come. Jazz Wax Records. 2010.

    1. Chelsea Bridge 7:23
    2. The Cat Walk 5:47
    3. Sunday 7:25
    4. Who's Got Rhythm 7:42
    5. Tell Me When 5:06
    6. Go Home 10:04
    Gerry Mulligan
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sings A Song With Mulligan (Pure Pleasure) Sings A Song With Mulligan (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sings A Song With Mulligan (Pure Pleasure)

    Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass, and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on I've Grown Accustomed to Your Face, Give Me the Simple Life, How About You, and The Lady's in Love With You, but all 14 selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable.



    Musicians:



    • Annie Ross (vocal)

    • Gerry Mulligan (bassoon)

    • Chet Baker, Art Farmer (trumpet)

    • Henry Grimes (bass)

    • Dave Bailey (drums)




    Recorded December 1957 in New York and February and September 1958 in Los Angeles



    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.



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. I Feel Pretty
    2. I've Grown Accustomed to Your Face
    3. All of You
    4. Give Me the Simple Life

    5. This Is Always
    6. My Old Flame
    7. This Time the Dream's on Me

    8. Let There Be Love
    9. Between the Devil and the Deep Blue Sea - Gerry Mulligan, Annie Ross,
    10. How About You?
    11. I Guess I'll Have to Change My Plan
    12. This Is Always [Alternate Version]
    13. It Don't Mean a Thing (If It Ain't Got That Swing)

    14. Lady's in Love with You
    15. You Turned the Tables on Me
    16. I've Grown Accustomed to Your Face [Alternate Version]
    Annie Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Two Of A Mind Two Of A Mind Quick View

    $29.99
    Buy Now
    x

    Two Of A Mind

    Mastered From Original Analog Tapes By Grammy Award Winner Bernie Grundman


    Pressed On 180 Gram Audiophile-Grade Vinyl At Pallas In Germany


    Altoist Paul Desmond and baritonist Gerry Mulligan
    always made for a perfect team during their infrequent
    collaborations. Both of the saxophonists had immediately
    distinctive light tones, strong wits, and the ability to
    improvise melodically. Here, on "Two of a Mind", the two
    masterful reed players are featured in pianoless quartets
    that also include Wendell Marshall, Joe Benjamin or
    John Beal on bass, and Connie Kay or Mel Lewis on
    drums. ORG Music brings new light to the classic
    recording with this audiophile-grade reissue.

    1. All The Things You Are
    2. Stardust
    3. Two Of A Mind
    4. Blight Of the Fumble Bee
    5. The Way You Look Tonight
    6. Out Of Nowhere
    Paul Desmond & Gerry Mulligan
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Two Of A Mind (Speakers Corner) Two Of A Mind (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Two Of A Mind (Speakers Corner)

    Although the beautiful sound, mutual understanding and harmonic balance mostly predominate, the music of alto saxophonist Paul Desmond performing together with baritone saxophonist Gerry Mulligan is far from what one calls 'easy listening'. For many, it is even difficult to identify the melody of evergreens such as Stardust and The Way You Look Tonight. (And what theme is tucked away in Two Of A Mind????)
    The recording in the RCA Victor Studio took place over several days in 1962, and this is why different bass players and percussionists are heard - Wendell Marshall, Joe Benjamin and John Beal each take their turn on the bass, while Connie Kay and Mel Lewis change places behind the drum set. These musicians form a brilliant team, and that there is no piano is both deliberate and inevitable for Gerry Mulligan recordings of the day. By the way, the second saxophonist in The Way You Look Tonight is Paul Desmond - by means of over-dubbing in the middle of the stereo recording!
    The present LP could certainly take a rightful place in a 'Best Of' collection alongside the other recordings by Gerry Mulligan with Ben Webster and Stan Getz.



    Musicians:



    • Gerry Mulligan (bassoon)

    • Paul Desmond (alto saxophone)

    • Joe Benjamin, John Beal, Wendell Marshall (bass)

    • Connie Kay, Mel Lewis (drums)




    Recording: 1962 at RCA Victor's Studio A, New York City by Ray Hall, Bob Simpson and Mickey Crofford

    Production: Bob Prince and George Avakian





    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. All the Things You Are
    2. Stardust

    3. Two of a Mind
    4. Blight of the Fumble Bee
    5. The Way You Look Tonight
    6. Out of Nowhere
    Paul Desmond & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blues Roots (Pure Pleasure) Blues Roots (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Blues Roots (Pure Pleasure)

    Although this is a blues-oriented set, there is plenty of variety in tempos and grooves. The 1968 Quartet featured the leader/pianist, baritone saxophonist Gerry Mulligan, bassist Jack Six and drummer Alan Dawson. The repertoire on this LP ranges from Limehouse Blues (which is not really a blues) to Things Ain't What They Used To Be and several originals. These songs are average for 1968, but the soloing is remarkable and the musicians here are some of the best. Journey is a remarkably beautiful piano ballad, while Blues Roots narrowly rises above in it's epic scope, and over-the-top ending. It's probably my favourite song here. But, Broke Blues is also exceptional. This one, along with Cross Ties and Blues Roots, are fairly progressive, drawing as much from post bop as blues and traditional Jazz, pushing toward avante-garde. -G. Skate/S. Yannow

    Musicians:



    • Dave Brubeck (piano)
    • Gerry Mulligan (bassoon))
    • Jack Six (bass, electric bass)
    • Alan Dawson (drums)




    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. Limehouse Blues
    2. Journey
    3. Cross Ties
    4. Broke Blues
    5. Things Ain't What They Used To Be
    6. Movin' Out
    7. Blues Roots
    The Dave Brubeck Trio And Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Write About Love Write About Love Quick View

    $21.99
    Buy Now
    x

    Write About Love

    Back after a 5-year hiatus doing solo projects, soundtracks and more, Glasgow's beloved BELLEANDSEBASTIAN have returned with one of their finest albums. Marrying the intimacy of early works like Sinister and Tigermilk with the production values of their more recent work, Write About Love is a varied, captivating and occasionally disturbing trawl through the mind of Stuart Murdoch and his colleagues.The album features duets with Norah Jones and actress Carey Mulligan (An Education).
    1. I Didn't See It Coming
    2. Come on Sister
    3. Calculating Bimbo
    4. I Want the World to Stop
    5. Little Lou, Ugly Jack, Prophet John [ft. Norah Jones]
    6. Write About Love [ft. Carey Mulligan]
    7. I'm Not Living in the Real World
    8. Ghost of Rockschool
    9. Read the Blessed Pages
    10. I Can See Your Future
    11. Sunday's Pretty Icons
    Belle And Sebastian
    $21.99
    Vinyl LP Buy Now
  • Compadres (Speakers Corner) Compadres (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Compadres (Speakers Corner)

    To this day, the typical sound colouring of the Dave Brubeck Quartet is quite distinctive and unmistakable thanks to Paul Desmond's tenor saxophone. But Gerry Mulligan's low-pitched horn and his restrained swing also offers enough appeal to make one want to listen to these somewhat less popular but - for all that - very worthwhile recording by the Quartet.



    The Quartet's concert tour of Mexico's major cities in 1968 was a great success and so Dave Brubeck's recording company had no qualms in making live recordings of the group - complemented by bassist Jack Six and drummer Alan Dawson. Themes from indigenous folk music were skilfully coupled with new compositions with the result that the LP Compadres with its concert excerpts was in great demand and became a top hit.
    This carefully remastered new pressing will certainly contribute to the popularity of Dave Brubeck and Gerry Mulligan long after their demise.



    Musicians:



    • Dave Brubeck (piano)

    • Gerry Mulligan (bassoon)

    • Jack Six (bass)

    • Alan Dawson (drums)




    Recording: 1968 live in Mexico by John Guerriere and Russ Payne

    Production: Teo Macero



    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. Jumping Bean
    2. Adios Mariquita Linda
    3. Indian Song
    4. Tender Woman
    5. Amapola
    6. Lullaby De Mexico
    7. Sapito
    8. Recuerdo
    Dave Brubeck
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Quartets: Live At The Village Vanguard Vol. 2 Quartets: Live At The Village Vanguard Vol. 2 Quick View

    $24.99
    Buy Now
    x

    Quartets: Live At The Village Vanguard Vol. 2


    Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign


    Named Jazz Album of the Year by readers of Downbeat Magazine, this double album features tenor saxophonist Joe Lovano during two appearances at the Village Vanguard recorded ten months apart. Other than the leader, the pair of quartets are completely different and they bring out two sides of Lovano. The earlier session features the leader in a stimulating piano-less quartet, matching wits and creativity with flÜgelhornist Tom Harrell. While the music is closer to Ornette Coleman than to Gerry Mulligan (to name two famous pianoless groups), Harrell's tone more closely resembles Chuck Mangione than Don Cherry although fortunately he is much more inventive. The four Lovano originals are adventurous and all of the musicians sound as if they are stretching themselves. The second disc showcases Lovano in a more conventional quartet. The repertoire (just one original this time) covers John Coltrane, Thelonious Monk, Miles Davis, Charles Mingus, and Gordon Jenkins and finds the tenorman displaying his roots in Sonny Rollins. The rhythm section on the later date (pianist Mulgrew Miller, bassist Christian McBride, and drummer Lewis Nash) is excellent at accompanying (rather than challenging) Lovano. In both cases, Joe Lovano is heard in prime form, making this an easily recommended two-fer.


    - Scott Yanow (All Music Guide)

    1. Lonnie's Lament
    2. Reflections
    3. Little Willie Leaps
    4. This Is All I Ask
    5. 26-2
    6. Duke Ellington's Sound Of Love
    7. Sounds Of Joy
    Joe Lovano
    $24.99
    Vinyl LP Reissue - 2 LPs Sealed Buy Now
  • Jazz Winds From A New Direction (Speakers Corner) Jazz Winds From A New Direction (Speakers Corner) Quick View

    $34.99
    Buy Now
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    Jazz Winds From A New Direction (Speakers Corner)


    Hank Garland wasn't the first Country and Western guitarist to discover jazz as a new way of playing. Mundell Lowe (who knows him these days?) and Tal Farlow (whose Verve recordings have long become classics) are just two such musicians who are better known to jazz fans.


    Garland's shining example Charlie Christian was his inspiration when he was invited to participate in a super session, and the LP Jazz Winds From A New Direction became a smash hit. With Joe Morello, the drummer responsible for the tricky, odd meter and Joe Benjamin, who had been instructed by Gerry Mulligan and performs harmonic magic even without a piano, and then Gary Burton, a newcomer (only 17 years old and completely unknown at the time!) on the vibraphone, these six numbers are a real phenomenon with regard to musicality, style and recording technique.


    Unfortunately it was to remain a unique jazz session, for Hank Garland could never aspire to such heights again after his tragic car accident. That's why jazz fans should snap at the chance to grab this newly mastered LP: it enriched the musical horizon of the musicians during the recording, and is guaranteed to bewitch the listener of today.



    Musicians:



    • Hank Garland (guitar)

    • Gary Burton (vibraphone)

    • Joe Benjamin (bass)

    • Joe Morello (drums)




    Recording: 1961



    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. All The Things You Are
    2. Three-Four, The Blues
    3. Move
    4. Always
    5. Riot-vhous
    6. Relaxing
    Hank Garland
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Manny Albam And The Jazz Greats Of Our Time Volume 1 Manny Albam And The Jazz Greats Of Our Time Volume 1 Quick View

    $24.99
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    Manny Albam And The Jazz Greats Of Our Time Volume 1

    In mid-1957, composer and arranger Manny Albam produced two albums under the title Manny Albam and the Jazz Greats of Our Time, each of which reunited spectacular jazz stars. The first volume, presented here, included the likes of Art Farmer, Gerry Mulligan, Bob Brookmeyer, Phil Woods, Zoot Sims, Al Cohn and Hank Jones. The second volume presented Richie Kamuca, Jack Sheldon, Bill Holman, Conte Candoli, Charlie Mariano, Herb Geller, Lou Levy, and Harry Sweets Edison.
    1. Blues From Neither Coast
    2. Latined Fracture
    3. Poor Dr. Millmoss
    4. Minor Matters
    5. My Sweetie Went Away (He Didn't Say Where, When Or Why)(Roy Turk - Lou Handman)
    6. All Too Soon (Duke Ellington - Carl Sigman)
    7. See Here, Miss Bromley
    Manny Albam
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Birth Of The Cool Birth Of The Cool Quick View

    $27.99
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    Birth Of The Cool

    Culled from three separate nonet sessions that took place from early 1949 through March of 1950, The Birth Of Cool was the literal blue print for the sound known as cool jazz thus its title. Featuring the fluidity of bop, innovative big band arrangements and a relaxed overall elegance, the Gil Evans arranged sessions find Davis supported by pivotal performances from such jazz luminaries as Kai Winding, Gerry Mulligan, Lee Konitz and Max Roach among others. Despite such a large band, the proceedings sound remarkably intimate with concise and sophisticated songs built largely on tone and mood. A seminal recording in the history of jazz!
    1. Jeru
    2. Move
    3. Godchild
    4. Budo
    5. Venus De Milo
    6. Rouge
    7. Boplicity
    8. Israel
    9. Deception
    10. Rocker
    11. Moondreams
    12. Darn That Dream
    Miles Davis
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Take It Easy With The Walker Brothers Take It Easy With The Walker Brothers Quick View

    $34.99
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    Take It Easy With The Walker Brothers

    Contains 4 Bonus Tracks


    Featuring The Hit Make It Easy On Yourself


    Take It Easy with the Walker Brothers is the debut album by American Pop group the Walker Brothers, also commonly known as Take It Easy. It was released in 1965 and reached number three on the UK Albums Chart. The album received good reviews from the majority of critics.


    The album contains the group's first major hit single Make It Easy on Yourself. The sleeve notes were written by Brian Mulligan, the then press officer for Philips Records, with photography by Terence Donovan.

    1. Make It Easy On Yourself
    2. There Goes My Baby
    3. First Love Never Dies
    4. Dancing In The Street
    5. Lonely Winds
    6. The Girl I Lost In The Rain
    7. Land Of 1,000 Dances
    8. You're All Around Me
    9. Love Minus Zero
    10. I Don't Want To Hear It Anymore
    11. Here Comes The Night
    12. Tell The Truth


    Bonus Tracks:
    1. Love Her
    2. The Seventh Dawn
    3. But I Do
    4. My Ship Is Coming In

    The Walker Brothers
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Inside Llewyn Davis Soundtrack Inside Llewyn Davis Soundtrack Quick View

    $24.99
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    Inside Llewyn Davis Soundtrack

    Nonesuch Records releases the soundtrack to Inside Llewyn Davis. Written and directed by Academy Award© winners Joel and Ethan Coen and produced by Scott Rudin and Joel and Ethan Coen, the film stars Oscar Isaac, Carey Mulligan, John Goodman, Garrett Hedlund, and Justin Timberlake. T Bone Burnett, Joel Coen, and Ethan Coen produced the soundtrack, with Marcus Mumford as associate producer. The album includes 12 new recordings made especially for the film and soundtrack plus an existing recording by Dave Van Ronk.


    Also featured is a never-before-released version of Bob Dylan performing his song "Farewell," which was recorded during the sessions for his album The Times They Are A-Changin' and is available exclusively on this soundtrack.

    1. Hang Me, Oh Hang Me - Oscar Isaac
    2. Fare Thee Well (Dink's Song) - Marcus Mumford and Oscar Isaac
    3. The Last Thing on My Mind - Stark Sands
    4. Five Hundred Miles - Justin Timberlake, Carey Mulligan and Stark Sands
    5. Please Mr. Kennedy - Oscar Isaac, Justin Timberlake and Adam Driver
    6. Green, Green Rocky Road - Oscar Isaac
    7. The Death of Queen Jane - Oscar Isaac
    8. The Roving Gambler - John Cohen with the Down Hill Strugglers
    9. The Shoals of Herring - Oscar Isaac
    10. The Auld Triangle - Chris Thile, Chris Eldridge, Marcus Mumford, Justin Timberlake and Gabe Witcher
    11. The Storms Are on the Ocean - Nancy Blake
    12. Fare Thee Well (Dink's Song) - Oscar Isaac
    13. Farewell - Bob Dylan
    14. Green, Green Rocky Road - Dave Van Ronk
    Various Artists
    $24.99
    Vinyl LP - Sealed Buy Now
  • Suffragette Soundtrack Suffragette Soundtrack Quick View

    $39.99
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    Suffragette Soundtrack


    4-Page Insert


    PVC Protective Sleeve


    In early 20th-century Britain, the growing suffragette movement forever changes the life of working wife and mother Maud Watts (Carey Mulligan). Galvanized by political activist Emmeline Pankhurst (Meryl Streep), Watts joins a diverse group of women who fight for equality and the right to vote. Faced with increasing police action, Maud and her dedicated suffragettes must play a dangerous game of cat-and-mouse, risking their jobs, homes, family and lives for a just cause.


    On his score for Suffragette, Oscar-, BAFTA-, Golden Globe-, and Grammy-winning composer Alexandre Desplat (The Grand Budapest Hotel, The King's Speech) offers un-nostalgic orchestral accompaniment to the film. A musical shape-shifter, here Desplat imparts the urgency at the heart of the film above all else, with unresolved chords, climbing progressions, and a pulsing low-end via, most prominently, percussion, strings, piano, and horns.


    From the gently ominous waltz of "Demonstration" to the trembling high-pitched strings of "Child Taken," the score is quiet but tense and, as always, well-suited.

    LP 1
    1. Suffragette
    2. An Army
    3. Beaten
    4. Hope
    5. Demonstration
    6. Abuse
    7. Surveillance
    8. Prison
    9. Force-Fed


    LP 2
    1. Bombings
    2. Plotting
    3. Child Taken
    4. Votes For Women
    5. 1998. The New Mac.
    6. Dreaming Of Equality
    7. Epsom Derby
    8. Legacy

    Alexandre Desplat
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Sound Of Jazz (Pure Pleasure) The Sound Of Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Sound Of Jazz (Pure Pleasure)

    The Sound Of Jazz is a 1957 edition of the CBS television series Seven Lively Arts, and was one of the first major programmes featuring jazz to air on American network television.
    The one-hour program aired on Sunday, December 8, 1957, at 5 p.m. Eastern Time, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.
    The Sound Of Jazz brought together 32 leading musicians from the swing era including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry 'Red' Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on Fine and Mellow.
    The show's performance of Fine and Mellow reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.




    Musicians:



    • Red Allen Stars

    • Billie Holiday & Band

    • Count Basie All Stars

    • The Jimmy Giuffre Trio

    • Mal Waldron

    • Pee Wee Russell




    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. Wild Man Blues - The Henry "Red" Allen All-Stars

    2. Rosetta -  Henry Allen And His Orchestra

    3. Fine And Mellow - Billie Holiday with Mal Waldron & The All Stars

    4. Blues - Jimmy Giuffre;Pee Wee Russell

    5. I Left My Baby - Count Basie with All-Stars featuring Jimmy Rushing

    6. The Train And The River -  The Jimmy Giuffre Trio

    7. Nervous - Mal Waldron

    8. Dickie's Dream - Count Basie with All-Stars

    9. Wild Man Blues (Alternate Take) - The Henry "Red" Allen All-Stars
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Babel Babel Quick View

    $16.99
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    Babel


    Babel follows the 2009 release of Mumford & Sons' debut album, Sigh No More. It is produced by Markus Dravs.


    Fantastic 4 Star review from American Songwriter!



    There are some guitar sounds so indelibly stuck into our collective pop-consciousness that even those who can't tell a minor from a major chord can identify the band or player from just a few riffs -a dreamy John Lennon lick, the cosmic climb of Joe Perry, Slash's slash, Nirvana's fuzzy-barre rips, the post-punk fury of Sonic Youth. Now, the chugging, kinetic strum of Mumford & Sons is slowly creeping onto this revered list - not born out of extreme skill or virtuosity but by sheer branding, note for note. And it's how the band's second album, Babel, opens on the title track: with that same very strum, born somewhere between English mountain folk and an old time Appalachia. You can nearly hear the sweat flying off Marcus Mumford, his Martin instrument hiked high on his chest, every time he and banjo player Winston Marshall attack their strings.

    So it's no coincidence, it seems, that the band's highly anticipated sophomore record begins exactly where we might expect, and the rest of LP that follows proves that this isn't an attempt to smash any expectations with a sudden progression of their style. For those devotees looking for the Mumfords to evolve drastically, well, you're out of luck. But who would that audience be, anyway? The band is no doubt polarizing: old time and bluegrass faithfuls wouldn't be caught dead with a copy of Sigh No More, and their most ardent followers are more likely to have an iPod stocked with Coldplay and John Mayer than Bill Monroe or Doc Watson. Even pop addicts can't deny the catchy craft of "Little Lion Man" or "The Cave." No one is looking for their Kid A. Thus Babel's not a new sentence in the book of Mumford & Sons - it's what happens after an ellipses. And in many ways, that suits them just fine. It will most definitely suit their fans.


    Marcus Mumford has always been a bit of a melancholy fellow, and even a marriage to pixie-haired starlet Carey Mulligan, sold-out shows and Grammy nominations haven't shaken the teary introspection from this set of songs. Obviously, Babel deals in a lot of religious imagery and lyrics - with all the success and opportunities to indulge, it seems the boys have taken a moment to ask a few questions of their maker. "This cup of yours tastes holy/but a brush with the devil can clear your mind," Mumford sings on the second track "Whispers in the Dark." It's an anthem call with a firm statement: "I'm a cad but I'm not a I'm not a fraud / I set out to serve the lord." Maybe the trials and tribulations of being simultaneously loved and harangued have worn on the Mumford's, but at least they can prove to themselves, their audience or even their lord that this stuff comes from the heart.


    The album's single, "I Will Wait," is an easy crowd-pleaser moment with an arena-ready hushed chorus, set to those furious strings. The lyric and melody could easily be a Fray song if you removed the plucking banjo -and that's the amazing thing about Mumford & Sons. Purists aside, there's no one else that can get an audience from ages eight to eighty screaming along to a bunch of acoustic instruments or urge a kid to choose guitar lessons over computer games. Every time they perform - live or on Babel - they do it with sheer fervor, as if it's both their first and last time.


    While the band is mostly known for their "Americana" sound, they also pull references from their side of the pond: from both classic British countryside folk and Celtic punk bands like The Pogues. Those influences run a little more clear on Babel - "Ghosts That We Knew" and "Reminder" are both soft, melancholy stunners born out of grassy hills and cockney-tinged tales told in wood-paneled bars. And "Broken Crown" is the boys at their angriest yet: "I'll never be your chosen one," Mumford sings lightly before launching into an all-out war over minstrel plucks. It's a force of a song, and not your firmest pick nor hard-earned callous could weather that storm.


    Babel has some other unexpected moments, too, like on "Hopeless Wanderer," which begins with keys instead of strum, and "Lover of the Light" is a sunnier moment, perhaps a nod to the singer's recent vows ("to have and to hold," Mumford howls on the track). And the album's closer, "Not Without Haste," is a beautiful lullaby meant more for singing a restless man to sleep than a still-innocent child.


    There's also a continuation of the Mumford's love of literary references, with the boys even copping recently to ripping a line from Hilary Mantel's Wolf Hall - this is the band, after all, that was able to loop Macbeth's fateful cry of "stars, hide your fires" into their rollicking song "Roll Away Your Stone." So while the album title, Babel, is most likely a biblical reference, it's hard not to think of Jorge Louis Borges' short story, The Library of Babel. In it Borges imagines a universe composed of an endless library that contains every book in every possible permutation, and, therefore, nothing at all. This excess causes great despair for people of the library as they try to search for meaning in all of it. They fret. They come up empty.


    Babel may not hold all the answers, and it may not be some exotic transformation of their original formula - it's a safe bet to say that nothing from the Mumford & Sons may ever be. In The Library of Babel, the final realization that everything repeats itself is the universe's saving grace. And in Babel, you could say the same. Though there may not be endless possibilities, there's comfort - elegance, even - in that familiar, now nearly iconic rip of those strings, strummed in the way only those boys from West London can strum. It's not perfect, but it's perfectly Mumford & Sons.


    1. Babel
    2. Whispers In The Dark
    3. I Will Wait
    4. Holland Road
    5. Ghosts That We Knew
    6. Lover Of The Light
    7. Lovers' Eyes
    8. Reminder
    9. Hopeless Wanderer
    10. Broken Crown
    11. Below My Feet
    12. Not With Haste
    Mumford And Sons
    $16.99
    Vinyl LP - Sealed Buy Now
  • What Is There To Say? (Out Of Stock) What Is There To Say? (Out Of Stock) Quick View

    $54.99
    x

    What Is There To Say? (Out Of Stock)

    Numbered Limited Edition


    Mastered by Bernie Grundman from the Original Analog Master Tapes and Pressed at RTI


    Only 2500 Numbered Limited Edition Copies Housed in Deluxe Laminated Double Gatefold Jackets


    Originally released in 1959, What Is There To Say? finds baritonist/leader Gerry Mulligan in a pianoless quartet with Art Farmer (trumpet), Bill Crow (bass) and Dave Bailey (drummer). The memorable set features 8 tracks highlighted by the cuts What Is There to Say, Just in Time, Festive Minor, My Funny Valentine and Utter Chaos.


    This title is not eligible for discount.

    1. What Is There To Say

    2. Just In Time
    3. News From Blueport
    4. Festive Minor
    5. As Catch Can
    6. My Funny Valentine
    7. Blueport
    8. Utter Chaos

    Gerry Mulligan
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Temporarily out of stock
  • Passionate Guitars (Out Of Stock) Passionate Guitars (Out Of Stock) Quick View

    $17.99
    x

    Passionate Guitars (Out Of Stock)

    Musicians:

    Bucky Pizzarelli-guitar

    John Pizzarelli-guitar

    Gene Bertoncini-guitar

    Ray Kennedy-piano

    Butch Miles-drums

    Martin Pizzarelli-double bass


    Bucky Pizzarelli joins his son (and fellow guitarist) John (whose trio includes brother Martin Pizzarelli on bass and pianist Ray Kennedy), plus fellow guitarist Gene Bertoncini and drummer Butch Miles for this swinging session that covers many different styles of jazz, though bossa nova is the flavor of the day. In addition to the usual standards from the genre, Latin-flavored arrangements of cool jazz (Gerry Mulligan's "Line for Lyons"), swing ("I Found a New Baby"), and standards (George and Ira Gershwin's "'S Wonderful") work every bit as well."- Ken Dryden, All Music Guide (4 Stars)

    Besame Mucho
    Triste
    One Note Samba
    Girl from Ipanema
    Line for Lyons
    I Found a New Baby
    Orchids in the Moonlight
    Maybe This Summer
    'S Wonderful
    Day in the Life of a Fool
    Meditation
    Bucky Pizzarelli and John Pizzarelli
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Chet Baker Sings (Out Of Stock) Chet Baker Sings (Out Of Stock) Quick View

    $27.99
    x

    Chet Baker Sings (Out Of Stock)

    Chet Baker made his musical debut in 1952 as an integral member of Gerry Mulligan's modernist piano-less quartet, by all accounts marking the beginning of the post-bop West Coast style. So it came as quite a surprise when Baker made his singing debut on this seminal 1954 release at the age of 24. Baker's sideline singing here reveals his songful roots in the swing of Harry James and other formative influences while the innocence of his All-American vocals make for an eerily cool listening experience as well as an authentically satisfying one. Throughout, pianist Russ Freeman's warm, solid touch serves as the perfect foil for Baker's affectless romanticism as heard to stunning affect on the definitive version of My Funny Valentine found herein.
    1. That Old Feeling
    2. It's Always You
    3. Like Someone In Love
    4. My Ideal
    5. I've Never Been In Love Before
    6. My Buddy
    7. But Not For Me
    8. Time After Time
    9. I Get Along Without You Very Well
    10. My Funny Valentine
    11. There Will Never Be Another You
    12. Thrill Is Gone
    13. I Fall In Love To Easily
    14. Look For The Silver Lining
    Chet Baker
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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