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  • Undercurrent (Kenny Drew) Undercurrent (Kenny Drew) Quick View

    $54.99
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    Undercurrent (Kenny Drew)

    Cut at 33 1/3 RPM by Kevin Gray at Cohearent Audio from the Original Rudy Van Gelder Blue Note Master Tapes


    Pressed 180 Gram Virgin Vinyl LPs by RTI


    Top Quality Gatefold Packaging with Laminated Covers & High Quality Session Photos


    Kenny Drew was an unsung master of bebop. A brilliant pianist who started with the example of Bud Powell and then developed his own sound within the style, in the '50s Drew worked with some of the most important innovators of all time including Coleman Hawkins, Lester Young, Charlie Parker, Buddy DeFranco, Dinah Washington and Art Blakey. By 1960 when he recorded Undercurrent, Drew had already led ten albums of his own, mostly with duos and trios. Oddly enough he only had the opportunity to lead two albums in his life for Blue Note, an early effort from 1953 and the classic Undercurrent. Joined in a quintet by the young firebrand trumpeter Freddie Hubbard, the always-stimulating tenor-saxophonist Hank Mobley, bassist Sam Jones and drummer Louis Hayes, the 32-year old pianist shows that he was ready to truly make his mark on the jazz world. All six compositions are his, and in his accompaniment of the passionate horn men and also in his soulful solos, Drew shows that he was one of the major hard bop stylists. This high energy album, which finds Hubbard, Mobley and Drew consistently inspiring each other to come up with heated statements, has many of the pianist's finest compositions including the roaring "Undercurrent," the bluesy "Funk-Cosity," the gospellish "The Pot's On," the well titled "Groovin' The Blues" and the beautiful "Ballade." Kenny Drew, who would move permanently to Europe in 1964 and would not lead another album until 1973, is heard throughout at the peak of his powers, creating his finest recording.


    Features:

    Limited Edition of Only 3500 Copies!

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    Remastered by Kevin Gray at Cohearent Audio

    Pressed 180 gram Virgin Vinyl LPs by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    Musicians:

    Kenny Drew, piano

    Freddie Hubbard, trumpet

    Hank Mobley, tenor saxophone

    Sam Jones, bass

    Louis Hayes, drums


    This title is not eligible for discount.

    1. Undercurrent
    2. Funk-cosity
    3. Lion's Den
    4. The Pot's On
    5. Groovin' The Blues
    6. Ballade
    Kenny Drew
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Speak No Evil (Pre-Order) Speak No Evil (Pre-Order) Quick View

    $39.99
    Buy Now
    x

    Speak No Evil (Pre-Order)

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Wayne Shorter made a major impact on the Jazz world during 1963-64. He left Art Blakey's Jazz Messengers to become a member of the Miles Davis Quintet, and he recorded Night Dreamer and Juju as a leader for Blue Note. Speak No Evil is even notable than those two gems, for Shorter had developed into not only one of the most original tenor-saxophonists of the 1960?s but also one of its most vital composers. With superb playing by Herbie Hancock, Ron Carter, Freddie Hubbard and Elvin Jones, Shorter introduces six unique compositions including Fee-Fi-Fo-Fum, Speak No Evil and Infant Eyes. Hubbard and Hancock consistently raise the temperature with fiery solos. Shorter's playing and writing are both beyond description, utilizing a logic all his own which, over time, has become a major influence in Modern Jazz. Throughout Speak No Evil, Shorter creates brilliant new music like no one else.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Wayne Shorter
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Us Three (Pre-Order) Us Three (Pre-Order) Quick View

    $39.99
    Buy Now
    x

    Us Three (Pre-Order)

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Us Three, featuring pianist Horace Parlan, bassist George Tucker and drummer Al Harewood, is one of Blue Note's greatest trio albums. The piano-bass-drums trio has long been the most compact of all jazz combos, a complete orchestra with just three pieces. Some trios have been completely dominated by its pianist including the Oscar Peterson and Art Tatum Trios. The trio on Us Three is a bit different for it features three superior jazz men who constantly play off of each other, communicating immediately and telepathically in sensitive yet funky interactions. Horace Parlan, already well known at 29 and a member of the Lou Donaldson Quartet, was perfect for the trio format in 1960. His soulful chordal style matches very well with the subtle contributions of George Tucker and Al Harewood. There are some very memorable originals and the trio makes some superior standards sound as if they were written for them. The members of Us Three seem to think as one and the resulting music, which has sonics never before realized, is fantastic.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Horace Parlan
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Alabama Blues (Pure Pleasure) Alabama Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Alabama Blues (Pure Pleasure)

    J. B. Lenoir was one of the outstanding blues artists of all times. His album Alabama Blues is the first recorded document by any blues poet, who included and incorporated very critically the social and political situation of black people living in the U.S.A. in the year of 1965. Thus a musical document was created long before the black communities in the United States became proud of their heritage - their roots. Jimi Hendrix was the first artist who acknowledged that J. B. Lenoir's work, preserved in this album, was a major part of his self-liberation and of finding his own identity. Though the Library of Congress has placed this album in its achives as an important part of American Musical History - comparable to Duke Ellington's Black, Brown and Beige Suite for example - it was never released in the United States, and even in Europe its distribution was poor. Because of this it has become one of the most searched-for collectors' items in music today. Pure Pleasure Records is happy and proud to release this masterpiece of music again.



    Musicians:



    • J. B. Lenoir (vocal, guitar)

    • Willie Dixon (vocal)

    • Freddie Below (drums)




    Recording: May 1965 in Chicago, Ill.

    Production: Horst Lippmann



    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.



    1. Alabama Blues
    2. The Mojo Boogie
    3. God's Word
    4. The Whale Has Swallowed Me
    5. Move This Rope
    6. I Feel So Good
    7. Alabama March
    8. Talk To Your Daughter
    9. Mississippi Road
    10. Good Advice
    11. Vietnam
    12. I Want To Go
    J.B. Lenior
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • How Will The Wolf Survive? How Will The Wolf Survive? Quick View

    $34.99
    Buy Now
    x

    How Will The Wolf Survive?

    Import

    Produced by T-Bone Burnett, the major breakthrough of Los Lobos' How Will The Wolf Survive? was a launching pad for the tried & true sound of these Latin American musical heroes. Honing their craft in '70s L.A. by doing loads of weddings and dance gigs, they incorporated Rock into their Mexican sound which resulted in a Pop staple of legendary proportions. The band switch easily between Rockers like "Don't Worry Baby" and "A Matter Of Time" and modern Mexican evergreens "Corrida #1" and "Serenata Norteña".

    1. Don't Worry Baby
    2. A Matter Of Time
    3. Corrida #1
    4. Our Last Night
    5. The Breakdown
    6. I Got Loaded
    7. Serenata Norteña
    8. Evangeline
    9. I Got To Let You Know
    10. Lil' King Of Everything
    11. Will The Wolf Survive?
    Los Lobos
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cool Struttin' (Awaiting Repress) Cool Struttin' (Awaiting Repress) Quick View

    $54.99
    Buy Now
    x

    Cool Struttin' (Awaiting Repress)

    Cut at 33 1/3 RPM by Kevin Gray at Cohearent Audio from the Original Rudy Van Gelder Blue Note Master Tapes


    Pressed 180 Gram Virgin Vinyl LPs by RTI


    Top Quality Gatefold Packaging with Laminated Covers & High Quality Session Photos!


    Considered one of the great young pianists of the mid-to-late 1950s, Sonny Clark was practically the house pianist at Blue Note during 1957-62 before his tragically early death in 1963 when he was just 31. He began his career playing and recording with Teddy Charles and Wardell Gray in the early 1950s. Inspired by Bud Powell, he made a particularly strong impression during his period with clarinetist Buddy DeFranco's group. He also worked with Dinah Washington, Serge Chaloff and Sonny Criss in addition to leading his own trio. But he is most famous for his work for Blue Note In addition to leading seven albums for the label, Clark was on many sessions as a sidemen, uplifting every date with his adventurous and swinging playing. His playing was full of joyful discoveries, constant swing, and an optimistic creativity that was indescribable and quite infectious. Cool Struttin,' the pianist's most famous and rewarding album, features Sonny Clark in a quintet with altoist Jackie McLean, trumpeter Art Farmer, bassist Paul Chambers and drummer Philly Joe Jones. On this 1958 gem, Clark is featured on four lengthy performances, including Miles Davis "Sippin' At Bells" and the exotic "Deep Night." The music is filled with magical moments where the five musicians seem to think and create like one. The greatest jazz performances include moments like those heard on "Cool Struttin'" where the music has a life of its own beyond the individual players. The more one plays this superb album, the more it is obvious that this is one of the truly essential Blue Note recordings.


    Features:

    Limited Edition of Only 3500 Copies!

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    Remastered by Kevin Gray at Cohearent Audio

    Pressed 180 gram Virgin Vinyl LPs by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    Musicians:

    Sonny Clark, piano

    Art Farmer, trumpet

    Jackie McLean, alto sax

    Paul Chambers, bass

    Philly Joe Jones, drums


    This title is not eligible for discount.

    1. Cool Struttin'
    2. Blue Minor
    3. Sippin' At Bells
    4. Deep Night
    Sonny Clark
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Brazilian Byrd (Pure Pleasure) Brazilian Byrd (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Brazilian Byrd (Pure Pleasure)

    The arrangements by Tommy Newsom for strings, brass, and woodwinds may be a bit sweet and the 12 performances may be overly concise (often under three minutes), but the resulting music is strangely pleasing. Acoustic guitarist Charlie Byrd always had a strong affinity for Brazilian jazz, and he sticks exclusively to Antonio Carlos Jobim songs during this tasteful and melodic effort. Truly beautiful music.



    Musicians:



    • Charlie Byrd (guitar) & with strings, brass & woodwinds




    Recording: 1965

    Production: Teo Macero



    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.

    1. Jazz 'n' Samba (So Danco Samba)
    2. Corcovado
    3. That Look You Wear (Este Seu Olhar)
    4. The Girl From Ipanema
    5. Samba do Aviao (Song of the Jet)
    6. Engano
    7. O Amor em Paz
    8. Dindi
    9. Cancao do Amor Demais
    10. As Praias Desertas
    11. Samba Torto
    12. Someone To Light Up My Life (Se Todo)
    13. Engano (alternate take)
    Charlie Byrd
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Charles Mingus Presents Charles Mingus (Pure Pleasure) Charles Mingus Presents Charles Mingus (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Charles Mingus Presents Charles Mingus (Pure Pleasure)

    Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus, has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus, and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off Folk Forms No. 1, followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. Original Faubus Fables is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, What Love? and the outrageously titled All the Things You Could Be by Now if Sigmund Freud's Wife Was Your Mother, are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free.




    Musicians:



    • Eric Dolphy (alto saxophone, bass clarinet)

    • Ted Curson (trumpet)

    • Charles Mingus (bass)

    • Dannie Richmond (drums)




    Recording: October 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    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.



    1. Folk Forms, No. 1

    2. Original Faubus Fables

    3. What Love

    4. All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother

    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Idle Moments (Awaiting Repress) Idle Moments (Awaiting Repress) Quick View

    $54.99
    Buy Now
    x

    Idle Moments (Awaiting Repress)

    Cut at 33 1/3 RPM by Kevin Gray at Cohearent Audio from the Original Rudy Van Gelder Blue Note Master Tapes


    Pressed 180 Gram Virgin Vinyl LPs by RTI


    Top Quality Gatefold Packaging with Laminated Covers & High Quality Session Photos


    Grant Green was, along with Wes Montgomery, the top new jazz guitarist to become prominent in the early 1960s. Due to his single-note style (Green rarely every played a chord) and his ability to create fast lines on the spot, Green was in some ways the Charlie Parker of the guitar. He gained experience playing in St. Louis in the 1950s including with Jimmy Forrest, Harry "Sweets" Edison and Lou Donaldson, moved to New York, and immediately became Blue Note's house guitarist. When it came to playing soul jazz with organ combos, jamming bebop with a quartet, caressing ballads or coming up with fresh approaches to Latin jazz and spirituals, the versatile Green was at the top of his field. But among his many recordings, Grant Green's most vital and adventurous was Idle Moments. With such inspiring sidemen as Joe Henderson, Bobby Hutcherson and Duke Pearson, Green is heard at the absolute apex of his creativity throughout this stunning set. He builds up statements like a masterful speaker, sounds both passionate and thoughtful at every tempo, and never runs out of brilliant and personal ideas to express. Every phrase leads to the next one yet all of his solos are spontaneous. While the other musicians are inspired and in top form, Idle Moments is particularly notable as the height of Grant Green's musical genius.


    Features:

    Limited Edition of Only 3500 Copies!

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    Remastered by Kevin Gray at Cohearent Audio

    Pressed 180 gram Virgin Vinyl LPs by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    Musicians:

    Joe Henderson, tenor sax

    Bobby Hutcherson, vibes

    Grant Green, guitar

    Duke Pearson, piano

    Bob Cranshaw, bass

    Al Harewood, drums


    This title is not eligible for discount.

    1. Idle Moments
    2. Jean De Fleur
    3. Django
    4. Nomad
    Grant Green
    $54.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Traffic Traffic Quick View

    $29.99
    Buy Now
    x

    Traffic

    Mastered from the Original Island Records Tapes by Joe Reagoso at Friday Music Studios with Kevin Gray


    Traffic were one of the premier architects of the acid rock movement in the '60s and blossomed further into one of the most important super groups of the '70s. Their recordings are the soundtrack to a generation of music enthusiasts that continues to this day and will forever stand the test of time. In 1968, the legendary founding members Stevie Winwood, Dave Mason, Jim Capaldi and Chris Wood sojourned on after a smash debut with Dear Mr. Fantasy and continued the winning streak with the groundbreaking self-titled classic Traffic.


    Known for their superior progressive rock, jazz and pop influences, the multi-faceted music of this LP offers non-stop entertainment which truly illustrates the legendary talent of this English quartet. Whether standout tracks from the pens of Dave Mason like the classic rock smash anthem Feelin' Alright? or the prog-rock masterpiece Winwood and Capaldi's classic Forty Thousand Headmen, the Traffic album has surely earned its currency over the years as one of the more important albums of the classic rock era.


    Filled with the piano driven melodies and vocals of the legendary Stevie Winwood, the hard rocking vocals and guitar work of the masterful Dave Mason, the explosive sax breaks by the late Chris Wood and the power drumming and vocals of the late great Jim Capaldi, the Traffic album will always be one of the most revered albums in their extraordinary career.


    Even further classics ensued with each of the hard rockin' ten tracks that make up this masterwork. How about the smash sounds of Pearly Queen or another Winwood and Capaldi classic Means To An End, plus more Dave Mason treasures like You Can All Join In or Don't Be Sad. No matter what track is your favorite, it's all classic Traffic, and it just doesn't get much better than this.


    Friday Music continues with their second installment in the Traffic/Friday Music 180 Gram Audiophile Vinyl Series with the monumental rock classic Traffic. Mastered impeccably by Joe Reagoso from the original Island Records tapes at Friday Music Studios with Kevin Gray, Traffic is a truly one of the most important audiophile vinyl releases of 2012.


    Friday is also including a very rare gatefold cover, which includes the original gatefold photo of Dave Mason, Stevie Winwood, Chris Wood and Jim Capaldi, for the first time in North America since its 1968 release!

    1. You Can All Join In
    2. Pearly Queen
    3. Don't Be Sad
    4. Who Knows What Tomorrow May Bring
    5. Feelin' Alright?
    6. Vagabond Virgin
    7. Forty Thousand Headmen
    8. Cryin' To Be Heard
    9. No Time To Live
    10. Means To An End
    Traffic
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Little Johnny C (Pre-Order) Little Johnny C (Pre-Order) Quick View

    $39.99
    Buy Now
    x

    Little Johnny C (Pre-Order)

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Trumpeter Johnny Coles, a distinctive and passionate player best known for his associations with Gil Evans, the remarkable Charles Mingus Quintet of 1964, and Herbie Hancock's late 60's Sextet, led relatively few albums of his own, and only two before 1982. Recorded in 1963, Little Johnny C is universally recognized as Johnny Coles' finest recording. Coles' soulful trumpet is heard in superb form as he pushes the hard bop mainstream forward. Duke Pearson, who was both a very skilled pianist, as well as one of the top arrangers of the 1960s, contributes five very fresh originals to the set. Notably, Little Johnny C is also one of tenor saxophonist Joe Henderson's finest early recordings, and his round sound and innovative phrasing clearly evident at this early point in his career. With the superb title cut, the ballad So Sweet My Little Girl, and Jano being high-points, in addition to beautiful flute and alto solos contributed by Leo Wright, Little Johnny C is a masterful album by an artist at his creative peak. This is a set to be savored again and again.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Johnny Coles
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Ravel Debussy - Ma  Mere Nocturnos (Speakers Corner) Ravel Debussy - Ma Mere Nocturnos (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Ravel Debussy - Ma Mere Nocturnos (Speakers Corner)

    Ravel's ballet music Ma Mère l'Oye, originally written for piano, four hands, was inspired by Charles Perrault's fairy tale. Ravel mostly wrote music for small forms which is reflected by the short movements of the suite. The world renowned Orchestre de la Suisse Romande, led by the conductor best suited to this kind of music, Ernest Ansermet, bring out the vivacious and colourful elements of the work. The orchestra's timbre is well suited to the gentle shading of the music, as is shown in the final Jardin fÉerique.



    Completed by Debussy in 1899, the three Nocturnes reveal the aesthetics of a composer who put Nature above Art. Debussy endeavoured to achieve a natural flow and consistency in his music without slavishly copying the sounds of nature. Although Nuages (Clouds), Fêtes (Festivals) and Sirènes (Sirents) are night pieces, they are seen with a view to light and shadow: two optic conditions that influence the music.



    The artists give an amazingly transparent and differentiated performance of the music. The present recording should not be missed by any lover of Impressionist music.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet




    Recording: November 1957 at Victoria Hall, Geneva by Roy Wallace

    Production: James Walker




    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. PrÉlude et Danse du Rouet (Ravel)
    2. Pavane da la Belle au bois dormant (Ravel)
    3. Petit Poucet (Ravel)
    4. Laideronnette ImpÉratrice des Pagodes (Ravel)
    5. Les entretiens de la Belle et de la Bête (Ravel)
    6. La jardin fÉrique (Ravel)
    7. Nuages (Debussy)
    8. Fêtes (Debussy)
    9. Sirènes (Debussy)
    Ernest Ansermet with Orchestre de la Suisse Romande
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Vivaldi: Concertos Vivaldi: Concertos Quick View

    $34.99
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    Vivaldi: Concertos

    In the 18th century, long before any quota agreement or gender studies had taken place, a major part of Venice's musical life lay in the hands of four local orphanages for girls. In 1703, Vivaldi took on the position as conductor, violinist and composer at one of these homes, the Ospedale della Pietà. There he wrote works that are among the very best in music literature due to their inventiveness and artistic demands upon the musicians. As such, one can well imagine just how extraordinarily talented the young girls were. A notion of the fine compositions that floated through the city of canals 300 years ago is given by the Stuttgart Chamber Orchestra in a selection taken from a collection of 12 violin concertos known as L'estro armonico, op. 3. The animated dialogue among the strings takes place on several levels: for example, the leading parts not only concertise with and against one another but also after one another, so that the characteristic art of performance of each individual soloist is clearly to be discerned.


    And because no one knows how Vivaldi's girl orchestra would have sounded, anyone listening to this recording can let his imagination run riot as to how it could have been. It goes without saying that the Tacet team have pulled out all the stops with regard to technical matters in order to achieve the best possible analogue sound.

    Antonio Vivaldi: Concerto for Two Violins, RV 522
    Concerto for Two Cellos, RV 531
    Concerto for Three Violins, RV 551
    Concerto for Violin and Cello, RV 547
    Antonio Vivaldi
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Workout (Pre-Order) Workout (Pre-Order) Quick View

    $39.99
    Buy Now
    x

    Workout (Pre-Order)

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    In a word association game, the name "Hank Mobley" will often generate "Blue Note" and vice versa. While Mobley had a musical life beyond the Blue Note label including associations with Dizzy Gillespie, Art Blakey's Jazz Messengers and Miles Davis (the 1961 Quintet), it is for his Blue Note recordings that he rightfully most remembered. Mobley led 25 albums for Blue Note and appeared on over 30 others as a sideman. His consistency resulted in all of those recordings being recommended to hard bop collectors. Mobley's mastery of the style, his attractive tone, and his skill at writing songs that inspire memorable solos made him a perfect representative of the Blue Note sound. Even with his large number of great recordings, Workout is something special and a real standout. Joined by Grant Green, Wynton Kelly, Paul Chambers and Philly Joe Jones, Mobley creates brilliant statements on four of his best originals (including the soulful "Uh Huh" and "Greasin' Easy"), "The Best Things In Life Are Free" and "Three Coins In A Fountain." The passion in Mobley's playing is exciting and will surprise many. He takes wild chances that challenge the other all-stars, and he plays with a constant stream of creative ideas. Even collectors who own a dozen other Hank Mobley albums will have to get this version of Workout which, with its superb remastering, has never sounded better.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Hank Mobley
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Misterioso Misterioso Quick View

    $34.99
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    Misterioso

    Import

    Originally released in 1965 and produced by Jazz great Teo Macero, this Hard Bop album by Thelonious Monk is an essential part of Monk fans, and rightfully belongs in any Jazz collection for that matter.


    Misterioso (Recorded On Tour) contains 8 powerful live performances at venues such as Brandeis University, Lincoln Center and The Village Gate in New York and the Newport Jazz Festival during the early Sixties, when Jazz was pushed into further directions.


    This album features Thelonious Monk on piano, Larry Gales and Butch Warren on double bass, Ben Riley and Frankie Dunlop on drums and longtime Monk band member Charlie Rouse on tenor sax.

    1. Well, You Needn't
    2. Misterioso
    3. Light Blue
    4. I'm Gettin' Sentimental Over You
    5. All The Things You Are
    6. Honeysuckle Rose
    7. Bemsha Swing
    8. Evidence
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Handel - Water Music - Fireworks Music (Speakers Corner) Handel - Water Music - Fireworks Music (Speakers Corner) Quick View

    $34.99
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    x

    Handel - Water Music - Fireworks Music (Speakers Corner)

    Composed in the spirit of the Baroque, the Water Music and Royal Fireworks Music were written by the highly regarded George Frideric Handel on commissions from Kings George I and George II of England.



    The remarkable première of the Water Music - a suite of instrumental airs, fanfares, dances, and other delights - was played in 1717 by musicians in a barge who entertained the King and his entourage on a banquet held on board the royal barge which travelled up and down the river Thames. According to reports at the time, Handel's new work was greeted with unanimous acclaim.



    Music appeared equally fitting for the solemn but festive commemoration of a peace treaty. The Royal Fireworks Music - originally scored for brass, oboes and bassoons, plus timpani and the bizarre serpent horn - was composed in 1749 for the victory gala in London's Green Park celebrating the Peace of Aix-La-Chapelle.



    In both pieces Georg Szell and the London Symphony Orchestra conjure up the full splendour of baroque tonality. Orchestra and conductor are clearly in a festive mood. The strings show rare form, lush and radiant. The brass are brilliant but never shrill. The atmosphere is transparent, the spatial effects are impressive.



    For the outstanding quality of this recording we are indebted not least to its inspired recording engineer, Kenneth E. Wilkinson.






    Musicians:



    • London Symphony Orchestra

    • George Szell (conductor)




    Recording: August 1961 at Watford Town Hall, Watford by Kenneth E. Wilkinson
    Production: John Culshaw





    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.



    Georg Szell with the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • New Moon Daughter (Pure Pleasure) (Awaiting Repress) New Moon Daughter (Pure Pleasure) (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    New Moon Daughter (Pure Pleasure) (Awaiting Repress)

    This is no easy listen ... sparse, complex, often brooding arrangements coupled with Cassandra Wilson's deep, earthy voice and complicated phrasing demand your attention. Waver and you're lost. But ... give this album the listening time & space it deserves and reap the rewards. Unusual, highly atmospheric tracks that combine superb singing and marvellously 'distant' musical backings to weave real magic.


    Cassandra Wilson's own excellent, jazz tinged compositions sit alongside a stunning set of ingenious covers from a highly diverse spectrum of composers. Last Train To Clarksville is transformed from a catchy pop song into a stripped-down and genuinely effective jazz vocal work-out. Harvest Moon slows down Neil Young's already wistful ballad to an almost painful level and, in so doing, takes it to an even higher level of gentle reflection. Hank Williams' I'm So Lonesome I Could Cry & U2's Love Is Blindness are transformed into three in the morning jazz club classics.
    The vocals and backing to Robert Johnson's 32-20 are simplified to the point where only the essence of the blues is allowed to shine and, Lewis Allan's Strange Fruit becomes as desolate and challenging as it's horrific lyrics.


    Clever, very effective and worth the required effort!

    Musicians:



    • Cassandra Wilson (vocal)

    • Graham Haynes (cornet)

    • Chris Whitley, Brandon Ross, Kevin Breit (guitar)

    • Charlie Burnham (violin)

    • Tony Cedras (accordion)

    • Gary Breit (organ)

    • Lonnie Plaxico (bass)

    • Dougie Bowne (drums, percussion)

    • Cyro Baptista (percussion)



    Recording: 1995 at the Turtle Creek Barn, Bearsville, NY / Sound on Sound, New York City / Beartracks, Suffern, NY / Bearsville Studio B , Bearsville, NY.

    Production: Craig Street




    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.

    LP 1

    1. Strange Fruit

    2. Love Is Blindness

    3. Solomon Sang

    4. Death Letter

    5. Skylark

    6. Find Him
    7. I'm So Lonesome I Could Cry


    LP 2

    1. Last Train to Clarksville
    2. Until
    3. A Little Warm Death
    4. Memphis
    5. Harvest Moon
    6. 32-20

    Cassandra Wilson
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) (Awaiting Repress) Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Tchaikovsky - Symphony No. 6 Pathetique (Speakers Corner) (Awaiting Repress)

    Made during the pioneering days of stereo technology when everyone was vying for a piece of the cake, it is hard to believe that this absolutely top-notch recording of Tchaikovsky's "PathÉtique" has never been brought to the ears of music lovers until today. And it is even more unbelievable since it was made by a first-class orchestra, the Berlin Radio Symphony Orchestra, and conducted by one of the greatest conductors of the 20th century, Ferenc Fricsay. The reasons for the non-release are a matter of speculation because those responsible have kept them under their hat.



    Not even the man behind the microphone, Werner Wolf, can recall making this recording - although a yellowed recording protocol discloses carefully noted details about the recording venue and date. No wonder that the tapes never got made into records. It is not with a little pride and much joyful anticipation that the announcement can be made: the record is spinning on the turntable at last!



    And at long last a gap in Fricsay's repertoire can be closed. Specially recommended: listen to the wonderful clarity of the upper strings which is preserved even in the softest passages.



    This record was part of the 3-LP Set "The Conductors" and is now available again.




    Musicians:



    • Radio-Symphony-Orchestra Berlin

    • Ferenc Fricsay (conductor)




    Recording: 17-19 and 22 September 1959 at Jesus-Christus Kirche, Berlin, by GÜnter

    Hermanns and Werner Wolf / Production: Otto Gerdes





    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.



    Symphony No. 6 in B minor, Op. 74 (Pathetique)
    Satz: Adagio - Allegro non troppo
    Satz: Allegro con grazia
    Satz: Allegro molto vivace
    Satz: Finale. Adagio lamentoso
    Pyotr Ilich Tchaikovsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Tchaikovsky - Nutcracker (Speakers Corner) Tchaikovsky - Nutcracker (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Tchaikovsky - Nutcracker (Speakers Corner)

    When the evenings grow longer, the autumn leaves begin to fall and Jack Frost calls during the night, then it is time to conjure up the magic world of Tchaikovsky's Nutcracker while relaxing in front of a crackling fire.



    In this double album you will hear the delightfully varied ballet music in its entirety and not just the usual highlights. Each and every one of the highly individual numbers, be it a dance, a march or a waltz, is enchanting with its ever varying orchestral colouring, here merry and impudent and tripping along lightly without a care in the world, there sturdy and vigourous, even coarse.



    The Orchestre de la Suisse Romande, led by its conductor of many years standing, Ernest Ansermet, is very much at home in Russian repertoire and masters the occasional immense difficulties of the score with bravado. The DECCA team has once again proved its worth and leaves any nuts which still need to be cracked to the hi-fi equipment - the airy strings, the delicate triangles, the thrill of cymbals clashing, and the wooden clack of the castanets. And if, by an amazing coincidence, the heating should fail when you are listening to this record, there is no reason to worry - this music is guaranteed to warm the cockels of your heart and keep Jack Frost from the door.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: October / November 1958 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker




    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.



    Pyotr Ilich Tchaikovsky
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Roll The Bones Roll The Bones Quick View

    $26.99
    Buy Now
    x

    Roll The Bones

    200 Gram Vinyl LP


    From a lyrical perspective, 1991's Roll the Bones is quite possibly Rush's darkest album (most of the songs deal with death in no uncertain terms), but from a musical point of view, the record treads territory (highbrow melodic hard rock) similar to its recent predecessors, with only a few surprises thrown in for good measure. These include an amusing rap section in the middle of the title track, a welcome return to instrumentals with Where's my Thing?, and one of the band's finest songs of the '90s in the gutsy Dreamline. Neurotica is another highlight which lives up to its title, and though their negative subject matter can feel stifling at times, fine tracks like Bravado, The Big Wheel, and Heresy feature wonderful melodies and arrangements.

    1. Dreamline
    2. Bravado
    3. Roll The Bones
    4. Face Up
    5. Where's My Thing?
    6. The Big Wheel
    7. Heresy
    8. Ghost Of A Chance
    9. Neurotica
    10. You Bet Your Life
    Rush
    $26.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner)

    Max Bruch's Scottish Fantasia is a late-Romantic work which is seldom found on concert hall programmes today. One realises after listening to the piece for the first time that the composition proves to be at least as solid and artistic as all the other works of the composer.



    The London Symphony Orchestra, conducted by Jascha Horenstein gives a sonorous interpretation of the melancholic which, according to Bruch, depicted an aged minstrel who, while gazing upon the ruins of an ancient keep, ponders over the splendid days gone by. The well-known slender but warm timbre of David Oistrakh's violin is well suited to this music which was inspired by Scotland.
    David Oistrakh demonstrates his versatility in this performance of Hindemith's Violin Concerto, written in 1939, where he effortlessly mesmerises the audience with breakneck cascades of scales. With many years of experience in the performance of modern music, the London Symphony Orchestra, led by the composer himself, prove that they are a match for this work.



    This DECCA recording offers first class interpretations of two great masterpieces from differing eras that have been acclaimed widely and have reached far beyond the circle of Oistrakh fans.



    Musicians:



    • David Oistrakh (violin(/li>
    • London Symphony Orchestra

    • Jascha Horenstein and Paul Hindemith (conductor)




    Recording:October 1962 at the Walthamstow Town Hall, London by Arthur Lilley and Alan Reeve

    Production: Erik Smith





    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.



    and that the lacquer discs are newly cut.


    Jascha Horenstein conducts the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Golden 8 (Pre-Order) The Golden 8 (Pre-Order) Quick View

    $39.99
    Buy Now
    x

    The Golden 8 (Pre-Order)

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    This is one of the rarest of all Blue Note albums, and one that is a must for record collectors. The Francy Boland/Kenny Clarke big band was one of the most exciting orchestras of the 1960s and '70s. Much less known but also brilliant was a unique octet co-led by Boland and Clarke just prior to the big band. Called The Golden Eight, the group, in addition to pianist Boland and drummer Clarke, includes the dazzling hard bop trumpeter Duscko Gojkovic, alto sax, tenor sax, string bass and top musicians on both alto horn and baritone horn. The latter two horns were hardly ever featured in a jazz setting and they really add a great deal to the sound of the ensembles. The debut recording by the Golden Eight from 1961 is up to the level of the best Blue Note albums of the time even if few know about it. Mixing together inventive versions of standards with Boland's memorable originals, this obscure classic will amaze today's listeners.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Kenny Clarke
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • And His Mother Called Him Bill (Speakers Corner) And His Mother Called Him Bill (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    And His Mother Called Him Bill (Speakers Corner)

    When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger's own compositions.



    The album features well-known and previously unrecorded Strayhorn tunes that showcase his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music.



    Full of informality and soulful verve, these recordings feel like they are an afterthought, an unwillingness to completely let go, a eulogy whose final words are questions, elegantly stated and met with only the echo of their last vibrations ringing in an empty room, full of wondering, longing, and helplessness, but above all the point of the questions themselves: "Is this enough?" or "Can there ever be enough to pay an adequate tribute to this man?"
    They are interesting questions, because only five years later we would all be saying the same thing about Ellington. For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.






    Musicians:



    • Duke Ellington (piano)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Clark Terry (fluegel horn)

    • Lawrence Brown, Chuck Connors (trombone)

    • Johnny Hodges (alto saxophone)

    • Russell Procope (alto saxophone, clarinet)

    • Jimmy Hamilton (tenor saxophone, clarinet)

    • Paul Gonsalves (tenor saxophone)

    • Aaron Bell (bass)

    • Steve Little (drums)




    Recording: August and September 1967 in RCA Victor's Studio A, New York City, by Ed Begley

    Production: Brad McCuen





    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.



    and that the lacquer discs are newly cut.


    1. Boo-Dah
    2. U.M.M.G. (Upper Manhattan Medical Group)
    3. Blood Count 9

    4. Smada
    5. Rock Skippin' at the Blue Note

    6. Rain Check
    7. Midriff
    8. My Little Brown Book
    9. Lotus Blossom
    10. Snibor
    11. After All
    12. All Day Long
    13. Lotus Blossom
    14. Day Dream
    15. The Intimacy of the Blues
    16. Charpoy
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Let My Children Hear The Music (Pure Pleasure) Let My Children Hear The Music (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Let My Children Hear The Music (Pure Pleasure)

    On the original LP issued by Columbia, Mingus thanked producer Teo Macero for his »untiring efforts in producing the best album I have ever made.« From his deathbed in Mexico in 1979 he sent a message to Sy Johnson (who was responsible for many of the arrangements on the album), saying that Let My Children Hear Music was the record he liked most from his career. Although Mingus' small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington. The pieces had been brewing over the years, one from as far back as 1939, and had been given more or less threadbare performances on occasion, but this was his first chance to record them with a sizable, well-rehearsed orchestra.





    Musicians:



    • Snooky Young (trumpet)

    • Jimmy Knepper (trombone)

    • Julius Watkins (fruegel horn)

    • Charles McPherson (alto saxophone)

    • Jaki Byard (piano)

    • Charles McCracken (cello)

    • Ron Carter (bass)

    • Charles Mingus (bass, composer, arranger)

    • Dannie Richmond (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.


    1. Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
    2. Adagio ma Non Troppo
    3. Don't Be Afraid, the Clown's Afraid Too
    4. Hobo Ho
    5. Chill of Death
    6. The I of Hurricane Sue
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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