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  • Hi De Hi De Ho (Pure Pleasure) Hi De Hi De Ho (Pure Pleasure) Quick View

    $34.99
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    Hi De Hi De Ho (Pure Pleasure)

    In that wistful, screwball age that was the Thirties, one man, practically single-handed, launched an era of musical nonsense that had the whole nation humming bits of rhythmic fol-de-rol.



    It was Cab Calloway, the 'Hi-De-Ho man' in cream colored tails who gyrated to the point of actually flying while leading his band, and who sang slightly insane ditties (as well as the leading hit songs of the day) in a remarkably rich and resonant baritone. The Cab was one of that group of leaders of the 1930's who, although playing no musical instrument, collected a fine band and a completely personal style.
    In this album, Cab has freshly recorded a dozen of his biggest hits of former years, taking full advantage of the most modern high fidelity recording techniques. In so many ways Cab symbolized that whole era of "The Jumpin' Jive" when people needed something to make you nine feet tall when you're four feet five .




    Musicians:



    • Cab Calloway (voc) & orchestra





    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. The Hi De Ho Man (That's Me)
    2. I'll Be Around
    3. Summertime
    4. It Ain't Necessarily So
    5. Kickin' the Gong Around
    6. You Rascal You
    7. Minnie the Moocher (The Ho De Ho Song)
    8. I See a Million People (But All I Can See Is You)
    9. St. James Infirmary
    10. Stormy Weather
    11. The Jumpin' Jive
    Cab Calloway
    $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
  • Anatomy of a Murder Anatomy of a Murder Quick View

    $34.99
    Buy Now
    x

    Anatomy of a Murder

    Import

    One of the best movie posters transformed to an LP cover; what more could one wish for in a vinyl re-issue? And with Duke Ellington and Billy Strayhorn at the helm, you know the score of one of Hollywood's most controversial movies is going to be a show stopper.


    Released in 1959, the film Anatomy Of A Murder was banned in several cities because of indecent language and its sexual and violent subject matter. But its soundtrack stood out from the start as one of the best Jazz compositions around. Evocative, alluring, eloquent, 'it beckons like the scent of a femme fatale'...

    1. Main Title And Anatomy Of A Murder (Featuring - Jimmy Hamilton, Ray Nance)
    2. Flirtibird (Featuring - Johnny Hodges)
    3. Way Early Subtone (Featuring - Russell Procope)
    4. Hero To Zero (Featuring - Harry Carney, Paul Gonsalves)
    5. Low Key Lightly (Featuring - Ray Nance)
    6. Happy Anatomy (Featuring - Clark Terry, Paul Gonsalves)
    7. Midnight Indigo
    8. Almost Cried (Featuring - Shorty Baker)
    9. Sunswept Sunday (Featuring - Jimmy Hamilton)
    10. Grace Valse
    11. Happy Anatomy (Featuring - The P. I. Five)
    12. Haupe (Featuring - Johnny Hodges)
    13. Upper And Outest
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Undercurrent (Kenny Drew) Undercurrent (Kenny Drew) Quick View

    $54.99
    Buy Now
    x

    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
  • Jazz Winds From A New Direction (Speakers Corner) Jazz Winds From A New Direction (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    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.


    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
  • Emergency Ward Emergency Ward Quick View

    $34.99
    Buy Now
    x

    Emergency Ward

    Import

    Remastered


    Emergency Ward! (1972) is Nina Simone's statement on the Vietnam War, and by dealing with matters more spiritual than political, this album aptly reflect the events of the day.


    The entire first side consists of a 18-minute medley of George Harrison's My Sweet Lord and a poem by David Nelson called Today Is a Killer, set to music by Simone. This is a very strong, gospel-like performance, sometimes resembling the Capitols' Cool Jerk with a call-and-response vocal arrangement - one of Simone's finest moments. It was performed together with the Bethany Baptist Church Junior Choir of South Jamaica, New York.


    Side two consists of the Lennie BleecherJeremy Wind song Poppies and George Harrison's Isn't It A Pity. Tracks 1 and 4 were recorded november 18, 1971 at Fort Dix, and tracks 2-3 were recorded at the RCA Studio in New York City.

    1. My Sweet Lord
    2. Today Is A Killer
    3. Poppies
    4. Isn't It A Pity
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    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. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - 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.



    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
  • The Wonderful World Of Jazz (Pure Pleasure) The Wonderful World Of Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Wonderful World Of Jazz (Pure Pleasure)

    There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to Body And Soul as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to I Remember Clifford where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis. - S.C.Berry


    Whether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on Body & Soul makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly Afternoon In Paris, is at the same level. Wonderful is the perfect title for this record. - E Barrios

    Musicians:



    • John Lewis (piano)

    • Eric Dolphy (alto saxophone)

    • James Rivers (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Herb Pomeroy (trumpet)

    • Gunther Schuller (french horn)

    • Jim Hall (guitar)

    • George Duvivier (bass)

    • Connie Kay (drums)



    Recording: July and September 1960

    Production: Nesuhi Ertegun & Tom Dowd



    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. Body And Soul
    2. I Should Care
    3. Two Degrees East, Three Degrees West
    4. Afternoon In Paris
    5. I Remember Clifford
    John Lewis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Hottest New Group In Jazz (Pure Pleasure) The Hottest New Group In Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Hottest New Group In Jazz (Pure Pleasure)

    The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion as their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like Summertime, Moanin', and Twisted, and Annie Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.



    Musicians:



    • Dave Lambert (vocals)

    • Joe Hendricks (vocals)

    • Annie Ross (vocals)

    • Harry Edison (trumpet)

    • Gildo Mahones (piano)

    • Ike Isaacs (bass)

    • Jimmy Wormworth (drums)



    Recording: 1959



    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. Charleston Alley
    2. Moanin'
    3. Twisted
    4. Bijou
    5. Cloudburst
    6. Centerpiece
    7. Gimme That Wine
    8. Sermonette
    9. Summertime
    10. Everybody's Boppin'
    Lambert, Hendricks & Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Music From Peter Gunn (Speakers Corner) The Music From Peter Gunn (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Music From Peter Gunn (Speakers Corner)

    This is not only a great LP but a key piece of jazz and pop music history. Back in 1958, Peter Gunn was one of the unexpected hits of the new television season, capturing the imagination of millions of viewers by mixing private eye action with a jazz setting. Composer Henry Mancini was more than fluent in jazz, and his music nailed down the popularity of the series. With the main title theme, a driving, ominous, exciting piece of music to lead off the album, The Music from Peter Gunn became a huge hit, charting extraordinarily high for a television soundtrack and doing so well that RCA Victor came back the next year asking for a second helping (More Music From Peter Gunn) from Mancini.



    The music holds up: Session At Pete's Pad is a superb workout for the trumpets of Pete Candoli, Uan Rasey, Conrad Gozzo, and Frank Beach, while Barney Kessel's electric guitar gets the spotlight during Dreamsville; and Sorta Blue and Fallout are full-ensemble pieces that constitute quintessential 'cool' West Coast jazz of the period. In other words, it's all virtuoso orchestral jazz, presented in its optimum form.





    Musicians:



    • Henry Mancini (arranger, conductor)

    • Ted Nash, Ronnie Lang (alto saxophone)

    • Dick Nash, Milt Bernhart (trombone)

    • Pete Candoli (trumpet)

    • Johnny T. Williams (piano)

    • Larry Bunker (vibraphone)

    • Rolly Bundock (bass)

    • Jack Sperling (drums)




    Recording: August and September 1958 in Hollywood, CA.

    Production: Simon Rady




    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. Peter Gunn
    2. Sorta Blue
    3. The Brothers Go to Mother's
    4. Dreamsville
    5. Session at Pete's Pad
    6. Soft Sounds
    7. Fallout!
    8. The Floater
    9. SLow and Easy
    10. A Profound Gass
    11. Brief and Breezy
    12. Not from Dixie

    Henry Mancini
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Kansas City Suite: The Music Of Benny Carter (Pure Pleasure)

    A session from 1960 with Basie and his Orchestra on absolute top form. It's hardly surprising when you see the line up of star players and also the fact that every single selection was written by Benny Carter.



    The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions.It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to. He has written an original modern jazz suite that is flavored with the elements of Kansas City stomp jazz, and tailored for the big brash sound of the Basie band of today. To Benny Carter, the different streets and places in Kansas City, where so many of these jazz greats lived and worked, and where so much of jazz history was written, evokes a mood, a rememberance of things past. He has, for this reason, titled the selections of this suite after these very same streets and places. The Kansas City of the '20s and 30s is now a legend, and the music that saw it's beginnings there has since developed and moved into the mainstream of today's jazz. It has reached its full maturity and greatness in the music of Benny Carter, and through the dynamic force of the great Basie band!




    Musicians:



    • Sonny Cohn (trumpet)

    • Thad Jones (trumpet)

    • Henry Coker (trombone)

    • Benny Powell (trombone)

    • Marshall Royal (alto saxophone,clarinet)

    • Billy Mitcheel (tenor saxophone, clarinet)

    • Charles Fowlkes (bassoon, bass clarinet, flute)

    • Count Basie (piano)

    • Freddie Green (guitar)

    • Eddie Jones (bass)

    • Sonny Payne (drums)




    Recording: September 1960 at United Recorders, Los Angeles, by Wally Heider

    Production: Teddy Reig



    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. Vine Street Rumble
    2. Katy-Do
    3. Miss Missouri
    4. Jackson County Jubilee
    5. Sunset Glow
    6. The Wiggle Walk
    7. Meetin' Time
    8. Paseo Promenade
    9. Blue Five Jive
    10. Rompin' At The Reno
    Count Basie And His Orchestra
    $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
    x

    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
  • Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Electric Music For The Mind And Body (Pure Pleasure) (Awaiting Repress)

    Country Joe & The Fish full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible - in fact, often delightfully witty - body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions (Flying High, Section 43, Bass Strings, The Masked Marauder), the group's folk roots (Sad and Lonely Times), McDonald's personal ode to Grace Slick (Grace), and their in-your-face politics (Superbird). Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results - given the prodigious talents and wide-ranging orientation of this group - might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. One of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.




    Musicians:



    • Country Joe McDonald (guitar, harmonica, tambourine, vocal)

    • David Cohen (guitar, organ, vocal)

    • Barry Melton (guitar, vocal)

    • Bruce Barthol (bass, harmonium)

    • Chicken Hirsh (drums)




    Recording at Sierra Sound Laboratories, Berkeley, CA, USA, by Robert di Souza

    Production: Samuel Charters




    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.


    Country Joe & The Fish
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner) Quick View

    $34.99
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    x

    The Gil Evans Orchestra Plays The Music Of Jimi Hendrix (Speakers Corner)

    Critics find this album rather difficult to evaluate. Their judgement ranges from a colourful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon - Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as Birth Of The Cool and Sketches Of Spain it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.
    When you listen - or rather experience - how the crystal-clear sound in Angel is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style (Crosstown Traffic), or fluffy, cloud-like sounds are built up on the flutes in Castles Made From Sand, then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.




    Musicians:



    • Gil Evans (arranger, conductor, piano)

    • David Sanborn, Billy Harper (saxophone, flute)

    • Billy Harper (saxophone, flute)

    • Lewis Soloff (trumpet)

    • Tom Malone (synthesizer, trombone, flute, bass)

    • David Horowitz (electric piano, synthesizer)

    • John Abercrombie (guitar)

    • Don Pate (bass)

    • Warren Smith, Jr. (chimes, percussion, vibraphone)

    • Bruce Ditmas (drums)



    Recording: 1974 at RCA's Studio B, New York City, by Bob Simpson
    Production: Mike Lipskin




    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. Angel
    2. Crosstown Traffic/ Little Miss Lover
    3. Castles Made of Sand/Foxey Lady
    4. Up From the Skies
    5. 1983 - A Merman I Should Turn to Be
    6. Voodoo Child (Slight Return)
    7. Gypsy Eyes
    8. Angel
    9. Castles Made of Sand
    10. Up From the Skies
    11. Gypsy Eyes
    Gil Evans Orchestra
    $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
  • 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
  • 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
  • Misterioso Misterioso Quick View

    $34.99
    Buy Now
    x

    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
  • Like Water For Chocolate Like Water For Chocolate Quick View

    $35.99
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    x

    Like Water For Chocolate

    Common spent the '90s carrying the Native Tongues torch through an era dominated by gangsta rap, earning a sizable underground following. Positive-minded alternative rap came back into vogue by the new millennium, and Common managed to land with major label MCA for 2000's Like Water for Chocolate. The album established him as a leading figure of alternative rap's second generation, not just because of the best promotion he'd ever had, but also because it was his great musical leap forward, building on the strides of One Day It'll All Make Sense. There's production work by the Roots' ?uestlove, neo-soul auteur D'Angelo, the Soulquarians, and DJ Premier. But the vast majority of the album was handled by Slum Village's Jay Dee, and his thick, mellow, soul- and jazz-inflected sonics make Like Water for Chocolate one of the richest-sounding albums of the new underground movement. Common isn't always a master technician on the mic, but it hardly matters when the music serves his deeply spiritual vision and smooth-flowing raps so effectively. The singles The Light and The 6th Sense are quintessential Common, uplifting and thoughtful, and helped bring him a whole new audience. They're well complemented by the slinky, jazzy funk and lush neo-soul ballads that make up the record. Not everything is sweetness and utopia, either; Common sends up his own progressive image on A Film Called (Pimp), which features a hilarious guest appearance by MC Lyte, and spins a gripping first-person tale of revenge on the streets on Payback Is a Grandmother (though the tougher Dooinit feels a bit forced). The album could have been trimmed a bit to keep its momentum going, but on the whole, Like Water for Chocolate is a major statement from an artist whose true importance was just coming into focus.

    - Steve Huey (All Music)
    1. Time Travelin' (A Tribute to Fela)
    2. Heat

    3. Cold Blooded
    4. Dooinit

    5. The Light
    6. Funky for You
    7. The Questions
    8. Time Travelin' Reprise
    9. The 6th Sense
    10. A Film Called (Pimp)
    11. Nag Champa (Afrodisiac for the World)
    12. Thelonius
    13. Payback Is a Grandmother
    14. Geto Heaven, Pt. 2
    15. A Song for Assata
    16. Pops Rap III...All My Children
    Common
    $35.99
    Vinyl LP - 2 LPs 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
  • Swing, Swang, Swingin' (Discontinued) Swing, Swang, Swingin' (Discontinued) Quick View

    $49.99
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    Swing, Swang, Swingin' (Discontinued)

    Prior to 1959, Jackie McLean was an important young Turk whose sharp tone and intense style on alto grew out of Charlie Parker yet were very much his own. Growing up in New York, his neighbors included such friends as Bud Powell, Thelonious Monk and Sonny Rollins. By 1951 he was recording with Miles Davis and other associations in the 1950s included Charles Mingus and two years with Art Blakey's Jazz Messengers. But all of that was a prelude to his recording 21 brilliant, explorative and frequently explosive albums for Blue Note during 1959-67. While McLean became one of the first jazz musicians of his generation to stretch beyond hard bop into freer explorations inspired by Ornette Coleman, Swing, Swang, Swingin' is a straight ahead affair in which he mostly puts his stamp on standards. Few versions of Let's Face The Music And Dance and I Love You have ever had this much intensity and, when McLean digs into the ballad What's New, he gives it a fiery passion that had never been heard before. Jackie McLean not only swings and swangs but he burns with the urgency, agony and ecstasy of the 1960s.



    Features:



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

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound!

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Limited Edition

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


    Musicians:



    • Jackie McLean, alto saxophone

    • Walter Bishop Jr., piano

    • Jimmy Garrison, bass

    • Art Taylor, drums 


     



    This title is not eligible for discount.

    1. What's New
    2. Let's Face the Music and Dance
    3. Stable Mates
    4. I'll Remember You
    5. I Love You
    6. I'll Take Romance
    7. 116th and Lenox
    Jackie McLean
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • For One To Love For One To Love Quick View

    $35.99
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    For One To Love

    CÉcile McLorin Salvant, the wildly talented 25-year-old singer, songwriter, visual artist and illustrator, became a breakout star with 2013's 'WomanChild.' Her follow-up, 'For One To Love,' is a courageous statement of contrast: love and longing, delight and desire.


    CÉcile composed five original songs for 'For One To Love.' Each of these tunes explore the album's underlying themes and display CÉcile's strong personality, sharp intellect, coy humor, unfettered romanticism, and penetrating honesty. The thematic elements continue to grow with a smoldering take on Burt Bacharach's bygone Wives and Lovers and Growlin' Dan by Blanche Calloway, the first woman to lead an all-male orchestra. What's The Matter Now, originally popularized by Bessie Smith, is a juxtaposition of feel versus subject matter: a plea for fair treatment enclosed in a playful blues. Le Mal De Vivre, written by French singer Barbara in 1966, is a stark ballad performed by CÉ cile in French.


    'For One To Love' is a riotous showcase for this riveting voice: quivering highs and soul-shaking lows, all delivered with grace and style. Salvant has reunited with decorated young pianist Aaron Diehl, joined by his trio of Paul Sikivie on bass and Lawrence Leathers on drums. Together this ensemble swings and swirls, nimbly hanging on CÉcile's every cry, snarl and coo. A gifted illustrator, CÉcile accents the albums poignant music with original artwork.


    CÉcile was born in Miami, Fl and studied French law, baroque and jazz vocal performance in Aix-En-Provence before winning the 2010 Thelonious Monk competition. 'WomanChild' was praised by the NY Times, NPR, won Downbeat's Album of the Year and earned CÉcile her first Grammy nomination. She now lives in Harlem. An extensive international tour is planned through 2015 including performances at the Newport Jazz Festival, Hollywood Bowl, La Villette (Paris) the Johannesburg Joy of Jazz Festival and London Jazz Festival.

    1. Fog
    2. Growlin' Dan
    3. Stepsister's Lament
    4. Look At Me
    5. Wives And Lovers
    6. Leftover
    7. The Trolley Song
    8. Monday
    9. What's The Matter Now
    10. Le Mal De Vivre
    11. Somethin's Coming
    12. Underling
    Cecile McLorin Salvant
    $35.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Fontessa (Speakers Corner) Fontessa (Speakers Corner) Quick View

    $34.99
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    Fontessa (Speakers Corner)

    The famous critic and jazz expert Ralph J. Gleason quite rightly mentioned two highly distinctive men in his liner notes - John Donne and Pablo Picasso. Almost four hundred years and a great deal of seawater separate the two exceptional artists from England and Spain. Nevertheless the four black US-Americans who make up the Modern Jazz Quartet bridge the gap between time and continents effortlessly.


    And what's more, blues is also to be heard - and bebop! And evergreens from the Broadway shows of the Thirties too!


    In contrast to some of the other rather more dawdling and laid-back MJQ LPs, Fontessa offers diversified and intense music. Nothing is routine, perhaps because the drummer Connie Kay had replaced Kenny Clark just one year previously. But maybe too because Milt Jackson's blues influence inspired John Lewis perceptibly to forget all about discipline. All seven numbers are true gems. But if you want a special hint, just listen to Bluesology. Well, perhaps the present author is too much of a Milt Jackson fan. Be that as it may, the music magazine Rolling Stone gave this LP a five-star rating!


    Musicians:


    • John Lewis (piano)
    • Milt Jackson (vibraphone)
    • Percy Heath (bass)
    • Connie Kay (drums)


    Recording: January and February 1956 by Rudy Van Gelder in mono

    Production: Nesuhi Ertegun


    About Speakers Corner


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



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



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



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



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



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


    1. Versailles (Porte de Versailles)
    2. Angel Eyes
    3. Fontessa
    4. Over the Rainbow
    5. Bluesology
    6. Willow Weep for Me
    7. Woody 'N You
    The Modern Jazz Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
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