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  • The Original Nina Simone The Original Nina Simone Quick View

    $27.99
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    The Original Nina Simone

    1. Mood Indigo
    2. Don't Smoke In Bed
    3. He Needs Me
    4. Little Girl Blue
    5. Love Me Or Leave Me
    6. My Baby Just Cares For Me
    7. Good Bait
    8. Plain Gold Ring
    9. You'll Never Walk Alone
    10. I Loves You Porgy
    11. Central Park Blues
    Nina Simone
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Amazing Nina Simone The Amazing Nina Simone Quick View

    $21.99
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    The Amazing Nina Simone

    1. Blue Prelude
    2. Children Go Where I Send You
    3. Tomorrow (We Will Meet Once More)
    4. Stompin' At The Savoy
    5. It Might As Well Be Spring
    6. You've Been Gone Too Long
    7. That's Him Over There
    8. Chilly Winds Don't Blow
    9. Theme From Middle of the Night
    10. Can't Get Out Of This Mood
    11. Willow Weep For Me
    12. Solitaire
    Nina Simone
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina Simone At Carnegie Hall (Pure Pleasure) Nina Simone At Carnegie Hall (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Nina Simone At Carnegie Hall (Pure Pleasure)

    Pianist and singer Nina Simone defied categorization by blending classical, jazz and popular music into an unconventional and highly personal idiom: over four decades, she galvanized audiences with albums and performances replete with deep passion and keen attention to emotion.



    Fiercely honest, Simone was admired for her eccentricity and individualism. She was known for her spirited personality on and off the stage, which included flirting with audience members and voicing her opinions about social topics of the time.



    The legacy of Simone's music and message can be heard not only in jazz but amongst the many pop artists who cite her influence. Several of Simone's songs have become jazz standards, and her voice is even familiar to audiences who don't know her name through their frequent use in movie soundtracks and commercials.



    Musicians:



    • Nina Simone (piano, vocal)

    • Alvin Schackman, Phil Orlando (guitar)

    • Lisle Ackinson (b)

    • Montego Joe (dr)




    Recording: May 1963 live at Carnegie Hall, New York

    Production: Jack Lewis




    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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




    This title is not eligible for discount.

    1. Black Swan
    2. Theme From Samson and Delilah
    3. If You Knew
    4. Theme From Sayonara
    5. The Twelth Of Never
    6. Will I Find My Love Today
    7. The Other Woman/Cotton Eyed Joe
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Amazing Nina Simone (Colored Vinyl) The Amazing Nina Simone (Colored Vinyl) Quick View

    $23.99
    Buy Now
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    The Amazing Nina Simone (Colored Vinyl)


    Lavender & Pink Colored Vinyl


    Limited To 1000


    This is Simone's 2nd recording released in 1959. She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey. Lavender and pink vinyl reissue. Original artwork.

    1. Blue Prelude
    2. Children Go Where I Send You
    3. Tomorrow (We Will Meet Once More)
    4. Stompin' At The Savoy
    5. It Might As Well Be Spring
    6. You've Been Gone Too Long
    7. That's Him Over There
    8. Chilly Winds Don't Blow
    9. Theme From Middle of the Night
    10. Can't Get Out Of This Mood
    11. Willow Weep For Me
    12. Solitaire
    Nina Simone
    $23.99
    Colored Vinyl LP - Sealed Buy Now
  • Nina Simone and Piano! (Speakers Corner) Nina Simone and Piano! (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Nina Simone and Piano! (Speakers Corner)

    Musicians certainly don't have it easy with record companies. First of all they must struggle to even get a contract. Then, when their debut release has proved a success, they are bandied around from one arranger to another in all the recording studios imaginable. But having been treated with such sounds as a snappy combo, meaty bigband, and smoochy string orchestra, there at last comes an opportunity for some artists to be themselves again.



    This album wholly concentrates on Nina Simone and demonstrates that she does not need help from anyone else in order to bring her strikingly expressive voice into the limelight. Accompanying her in her songs about loneliness, identity crises, and desires is her faithful friend, the piano, which she masters equally as well as her voice. The piano parts are far more than just casual accompaniments. Varying from number to number, they range from a classical, bluesy sound, to late-Romantic fervour, right up to avantgarde aggression. And yet all these pieces have something in common: filled with bizarre beauty, they portray a complex personality with all its ups and downs.



    Musicians:



    • Nina Simone (piano, vocals)




    Recording: 1969 in RCA Victor's Studio B, New York City, by Ray Hall

    Production: Stroud Productions, Inc.




    About Speakers Corner



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



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



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



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



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



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




    This title is not eligible for discount.

    1. Seems I'm Never Tired Lovin' You
    2. Nobody's Fault But Mine
    3. I Think It's Going To Rain Today
    4. Everyone's Gone To The Moon
    5. Compensation
    6. Who Am I
    7. Another Spring
    8. The Human Touch
    9. I Get Along Without You Very Well (Except Sometimes)

    10. The Desperate Ones
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina Simone: The Philips Years Nina Simone: The Philips Years Quick View

    $174.99
    Buy Now
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    Nina Simone: The Philips Years

    The Phillips Years is a collection of seven albums released by Nina Simone during her tenure on the label.
    Simone's albums covered topics as diverse as romance, politics, Broadway, civil rights and more.


    Albums included in this package are Nina Simone in Concert, Broadway-Blues- Ballads, I Put a Spell on You, Pastel Blues, Let It All
    Out, Wild is The Wind and High Priestess of Soul. All albums on 180 gram vinyl.

    LP 1
    1. I loves You Porgy (live In New York/1964)
    2. Plain Gold Ring (live In New York/1964)
    3. Pirate Jenny (live In New York/1964)
    4. Old Jim Crow (live In New York/1964)
    5. Don't Smoke In Bed (live In New York/1964)
    6. Go Limp (live In New York/1964)
    7. Mississippi Goddam (live In New York/1964)


    LP 2
    1. Don't Let Me Be Misunderstood
    2. Night Song (album Version)
    3. The Laziest Gal In Town
    4. Something Wonderful
    5. Don't Take All Night
    6. Nobody (album Version)
    7. I am Blessed
    8. Of This I'm Sure
    9. See-Line Woman (album Version)
    10. Our Love (will See Us Through)
    11. How Can I?
    12. The Last Rose Of Summer (album Version)


    LP 3
    1. I put A Spell On You (album Version)
    2. Tomorrow Is My Turn (album Version)
    3. Ne Me Quitte Pas (album Version)
    4. Marriage Is For Old Folks (album Version)
    5. July Tree (album Version)
    6. Gimme Some (album Version)
    7. Feeling Good (album Version)
    8. One September Day (album Version)
    9. Blues On Purpose (album Version)
    10. Beautiful Land (album Version)
    11. You've Got To Learn (album Version)
    12. Take Care Of Business (album Version)


    LP 4
    1. Be My Husband (live In New York/1965)
    2. Nobody Knows You When You're Down And Out (live In New York/1965)
    3. End Of The Line (live In New York/1965)
    4. Trouble In Mind (live In New York/1965)
    5. Tell Me More And More And Then Some (live In New York/1965)
    6. Chilly Winds Don't Blow (live In New York/1964)
    7. Ain't No Use (live In New York/1965)
    8. Strange Fruit (live In New York/1965)
    9. Sinnerman (live In New York/1965)

    LP 5
    1. Mood Indigo (album Version)
    2. The Other Woman (live In New York/1964)
    3. Love Me Or Leave Me (album Version)
    4. Don't Explain (album Version)
    5. Little Girl Blue (live In New York/1964)
    6. Chauffeur (album Version)
    7. For Myself (album Version)
    8. The Ballad Of Hollis Brown (album Version)
    9. This Year's Kisses (album Version)
    10. Images (live In New York/1964)
    11. Nearer Blessed Lord (album Version)


    LP 6
    1. I love Your Lovin' Ways
    2. Four Women
    3. What More Can I Say?
    4. Lilac Wine
    5. That's All I Ask
    6. Break Down And Let It All Out
    7. Why Keep On Breaking My Heart
    8. Wild Is The Wind
    9. Black Is The Color Of My True Love's Hair
    10. If I Should Lose You
    11. Either Way I Lose


    LP 7
    1. Don't You Pay Them No Mind (album Version)
    2. I'm Gonna Leave You (album Version)
    3. Brown Eyed Handsome Man (album Version)
    4. Keeper Of The Flame (album Version)
    5. The Gal From Joe's (album Version)
    6. Take Me To The Water (album Version)
    7. I'm Going Back Home (album Version)
    8. I hold No Grudge (album Version)
    9. Come Ye (album Version)
    10. He Ain't Comin' Home No More (album Version)
    11. Work Song (album Version)
    12. I love My Baby (album Version)

    Nina Simone
    $174.99
    180 Gram Audiophile Virgin Vinyl LP Box Set -7 LPs Sealed Buy Now
  • Folksy Nina (Pure Pleasure) Folksy Nina (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Folksy Nina (Pure Pleasure)

    Pianist and singer Nina Simone defied categorization by blending classical, jazz and popular music into an unconventional and highly personal idiom: over four decades, she galvanized audiences with albums and performances replete with deep passion and keen attention to emotion.
    Fiercely honest, Simone was admired for her eccentricity and individualism. She was known for her spirited personality on and off the stage, which included flirting with audience members and voicing her opinions about social topics of the time.



    Like the 1963 LP Nina Simone At Carnegie Hall (Pure Pleasure SCP 455), this was recorded in front of a devoted and enthusiastic live audience at Carnegie Hall on May 12, 1963. It isn't just unworthy leftovers, but a strong set in its own right, concentrating on material that could be seen as traditional or folk in orientation. It's not exactly strictly folk music, in repertoire or arrangement (which includes piano, guitar, bass, and drums, though not every tune has all of the instruments); Twelfth Of Never certainly isn't folk music. However, there was also an uptempo piano blues, Leadbelly's Silver City Bound; covers of the Israeli Erets Zavat Chalav and Vanetihu which served as further proof that Simone's eclecticism knew no bounds; and the stark, moody, spiritually shaded ballads at which she excelled (When I Was a Young Girl, Hush Little Baby). Lass Of The Low Country is as exquisitely sad-yet-beautiful as it gets.



    Musicians:



    • Nina Simone (piano, vocal)

    • Alvin Schackman, Phil Orlando (guitar)

    • Lisle Ackinson (bass)

    • Montego Joe (drums)




    Recording: May 1963 at Carnegie Hall, New York, by Dick Alderson

    Production: Jack Lewis



    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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


    This title is not eligible for discount.

    1. Silver City Bound
    2. When I Was a Young Girl
    3. Erets Zavat Chalav
    4. Lass of the Low Country
    5. The Young Knight
    6. Twelfth of Never
    7. Vanetihu
    8. You Can Sing a Rainbow
    9. Hush Little Baby
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina At Town Hall Nina At Town Hall Quick View

    $21.99
    Buy Now
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    Nina At Town Hall

    One of Nina Simone's finest recordings, this 1959 Colpix LP features the unique singer/pianist performing classic versions of 'Black Is the Color of My True Love's Hair,' 'The Other Woman,' and 'Wild Is the Wind.' With supportive work from bassist Jimmy Bond and drummer Al 'Tootie' Heath, she also sounds fine on a few instrumentals. 'Summertime' is performed twice, once as a vocal. From the start of her career, Nina Simone carved out her own unique niche, meshing together her classical piano technique with folk singing, civil rights protest lyrics and jazz. All of those elements are in evidence on this highly recommended set. Original artwork.
    1. Black is the Color of My True Love's Hair
    2. Exactly Like You
    3. The Other Woman
    4. Under the Lowest
    5. You Can Have Him
    6. Summertime
    7. Summertime
    8. Cotten Eyed Joe
    9. Return Home
    10. Wild is the Wind
    11. Fine and Mellow
    Nina Simone
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Simone Felice Simone Felice Quick View

    $17.99
    Buy Now
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    Simone Felice

    Over the course of a year, this Catskill Mountains-based artist found the most deeply resonant places in which to play guitar and sing, settings that were as haunted in their rafters as he felt in his bones: a barn near his house, a church in London, an abandoned high school building by the Hudson River. What he created in these hushed, hallowed places is music that could be called folk but that has running through it a ghostly gospel-like feel. Occasionally helping him realize his vision were his brothers and former band-mates in The Felice Brothers and his friends from Mumford & Sons.
    1. Hey Bobby Ray
    2. You & I Belong
    3. New York Times
    4. Courtney Love
    5. Stormy-Eyed Sarah
    6. Charade
    7. Dawn Brady's Son
    8. Gimme All You Got
    9. Ballad of Sharon Tate
    10. Splendor in the Grass
    Simone Felice
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina At The Village Gate (Pure Pleasure) Nina At The Village Gate (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Nina At The Village Gate (Pure Pleasure)

    In the intimate ambiance of The Village Gate, Nina Simone made pure magic with her voice and on the keyboard, one Manhattan evening back in 1961. She sang and played with a trio, which featured her favorite guitarist, Al Shackman. We are so fortunate that the moment was captured and recorded.



    I can't really categorize Nina's sound or her music and call her 'just' a fabulous jazz vocalist. Although, she plays extraordinary jazz with her voice, as in Just In Time. She has been often called a musical anomaly, because there is no one category for her work. She was trained as a classical pianist, and in cuts like Bye Bye Blackbird, the complexity of her piano comes through loud and clear. Her folk songs, like the biting House Of The Rising Sun, and Zungo, an African work song, place her at the top of a long list of folk singers. Ms. Simone's gospel songs, i.e., Children Go Where I Send You, can raise the roof and bring down the house, as she did at the Gate in '61. She is a protest singer, Brown Baby, and an actress, capable of an extraordinary range of emotions.



    Nina has the rare ability to dig into her material and bring unexpected meaning to familiar lyrics. She is eclectic with her taste and her repertoire. But whatever touches Nina, and whatever Nina touches, will reach you and evoke an emotional response. Her music is as fresh today, as it was 42 years ago, singing for that Manhattan audience. They could not have loved her more then, than we do now.




    Musicians:



    • Nina Simone (piano, vocal)

    • Al Schackman (guitar)

    • Chris White (bass)

    • Bob Hamilton (drums)




    Recording: 1961 in New York City

    Production: Cal Lampley



    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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



    This title is not eligible for discount.

    1. Just In Time
    2. He Was Too Good to Me
    3. House of the Rising Sun
    4. Bye Bye Blackbird
    5. Brown Baby
    6. Zungo
    7. If He Changed My Name
    8. Children Go Where I Send You
    Nina Simone
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina At Town Hall (Colored Vinyl) (Pre-Order) Nina At Town Hall (Colored Vinyl) (Pre-Order) Quick View

    $23.99
    Buy Now
    x

    Nina At Town Hall (Colored Vinyl) (Pre-Order)

    Dark Pink Colored Vinyl

    This 1959 LP features the unique singer/pianist performing classic versions of Black Is the Color of My True Love's Hair, The Other Woman, and Wild Is the Wind. Dark pink vinyl reissue.

    1. Black is the Color of My True Love's Hair
    2. Exactly Like You
    3. The Other Woman
    4. Under the Lowest
    5. You Can Have Him
    6. Summertime (Instrumental)
    7. Summertime
    8. Cotten Eyed Joe
    9. Return Home
    10. Wild is the Wind
    11. Fine and Mellow
    Nina Simone
    $23.99
    Colored Vinyl LP - Sealed PRE-ORDER Buy Now
  • Paul Simon Paul Simon Quick View

    $24.99
    Buy Now
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    Paul Simon

    If any musical justification were needed for the breakup of Simon & Garfunkel, it could be found on this striking collection, Paul Simon's post-split debut. From the opening cut, Mother and Child Reunion (a Top Ten hit), Simon, who had snuck several subtle musical explorations into the generally conservative S&G sound, broke free, heralding the rise of reggae with an exuberant track recorded in Jamaica for a song about death. From there, it was off to Paris for a track in South American style and a rambling story of a fisherman's son, Duncan (which made the singles chart). But most of the album had a low-key feel, with Simon on acoustic guitar backed by only a few trusted associates (among them Joe Osborn, Larry Knechtel, David Spinozza, Mike Manieri, Ron Carter, and Hal Blaine, along with such guests as Stefan Grossman, Airto Moreira, and Stephane Grappelli), singing a group of informal, intimate, funny, and closely observed songs (among them the lively Top 40 hit Me and Julio Down by the Schoolyard). It was miles removed from the big, stately ballad style of Bridge Over Troubled Water and signaled that Simon was a versatile songwriter as well as an expressive singer with a much broader range of musical interests than he had previously demonstrated. You didn't miss Art Garfunkel on Paul Simon, not only because Simon didn't write Garfunkel-like showcases for himself, but because the songs he did write showed off his own, more varied musical strengths.

    - William Ruhlmann (All Music Guide)

    1. Mother and Child Reunion
    2. Duncan
    3. Everything Put Together Falls Apart
    4. Run That Body Down
    5. Armistice Day
    6. Me and Julio Down by the Schoolyard
    7. Peace Like a River
    8. Papa Hobo
    9. Hobo's Blues
    10. Paranoia Blues
    11. Congratulations
    Paul Simon
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At Newport At Newport Quick View

    $34.99
    Buy Now
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    At Newport

    For his appearance at the Newport Jazz Festival on July 5, 1958, Charles pulled out all the stops, performing raucous versions of The Right Time, his massive hit I Got A Woman and Talkin' 'Bout You. Featuring (a.o.) Bennie Crawford on baritone sax, David Fathead Newman on tenor sax and the Raylettes on backing vocals, the band is really on fire. The detailed liner notes on the album were written by Kenneth Lee Karpe.
    1. The Right Time
    2. In A Little Spanish Town
    3. I Got A Woman
    4. Blues Waltz
    5. Hot Rod
    6. Talkin' About You
    7. Sherry
    8. A Fool For You
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At Newport At Newport Quick View

    $32.99
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    At Newport

    Limited Edition of 500 on Audiophile Clear Vinyl


    The afternoon concerts at the Newport Jazz Festivals usually are given over to the presentation of new jazz talent, new groups, foreign born artists, and "new directions!' Taking care of the latter category at the 1957 show were, prominent among several others, the Cecil Taylor Quartet and the Gryce-Byrd Jazz Lab group. It's doubtful that either had ever played before an audience more attentive, more earnest in its desire to understand (...)I believe the overwhelming majority of jazz fans got some message, and came away convinced that these groups merited many more hearings. (from original liner notes)


    About Audiophile Clear Vinyl

    Audiophile Clear Vinyl is made using the highest quality co-polymer available and processed without any carbon additive in order to dramatically reduce the "electrical distortion" often found on records.
    By itself the co-polymer of vinyl is transparent. In order to make the record black in color the plant must use a carbon additive with trace metals that can become magnetized. This is what causes electrical distortion during playback.
    That is the reason why we choose to offer our records in the following manner:


    - Audiophile Clear Vinyl (ACV)


    - 140 gram


    - 25 minutes maximum per side

    Side A:
    Cecil Taylor Quartet:
    1. Johnny Come Lately
    2. Nona's Blues
    3. Tune 2


    Side B:
    Gigi Gryce-Donald Byrd:
    1. Splittin'
    2. Batland
    3. Love For Sale

    Gigi Gryce, Donald Byrd Jazz Laboratory & Cecil Taylor Quartet
    $32.99
    Clear Vinyl LP - Sealed Buy Now
  • There Goes Rhymin' Simon There Goes Rhymin' Simon Quick View

    $24.99
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    x

    There Goes Rhymin' Simon

    Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin' Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On Love Me Like a Rock and Tenderness (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on Take Me to the Mardi Gras, Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly. For several tracks, Simon traveled to the Muscle Shoals Sound Studios to play with its house band, getting a variety of styles, from the gospel of Love Me Like a Rock to the Dixieland of Mardi Gras. Simon was so confident that he even included a major ballad statement of the kind he used to give Garfunkel to sing: American Tune was his musical State of the Union, circa 1973, but this time Simon was up to making his big statements in his own voice. Though that song spoke of the age's most uncertain hour, otherwise Rhymin' Simon was a collection of largely positive, optimistic songs of faith, romance, and commitment, concluding, appropriately, with a lullaby (St. Judy's Comet) and a declaration of maternal love (Loves Me Like a Rock) -- in other words, another mother-and-child reunion that made Paul Simon and There Goes Rhymin' Simon bookend masterpieces Simon would not improve upon (despite some valiant attempts) until Graceland in 1986.

    - William Ruhlmann (All Music Guide)

    1. Kodachrome (Album Version)
    2. Tenderness
    3. Take Me to the Mardi Gras
    4. Something So Right
    5. One Man's Ceiling Is Another Man's Floor
    6. American Tune
    7. Was a Sunny Day
    8. Learn How to Fall
    9. St. Judy's Comet
    10. Loves Me Like a Rock
    Paul Simon
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • At Newport 1960 At Newport 1960 Quick View

    $27.99
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    At Newport 1960

    Ranked 348/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Import


    At Newport 1960 is a live album by Muddy Waters performed at Newport Jazz Festival in Newport, Rhode Island with his backing band, consisting of Otis Spann (piano, vocals), Pat Hare (guitar), James Cotton (harmonica), Andrew Stevens (bass) and Francis Clay (drums), in July 3. Water's performances across Europe in the 50s and at Newport helped popularize blues to broader audience, especially to whites. The album is often said to be one of the first blues live albums.


    The album was released in the US on November 15 that year, featuring eight songs, from I Got My Brand On You to Goodbye Newport Blues. Although At Newport 1960 never charted, it received critical acclaim and was influential for future bands.

    1. I Got My Brand On You
    2. (I'm Your) Hoochie Coochie Man
    3. Baby, Please Don't Go
    4. Soon Forgotten
    5. Tiger In Your Tank
    6. I Feel So Good
    7. I've Got My Mojo Working (Part 1)
    8. I've Got My Mojo Working (Part 2)
    9. Goodbye Newport Blues
    Muddy Waters
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ellington At Newport Ellington At Newport Quick View

    $24.99
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    Ellington At Newport

    Numbered, Limited Edition Mono LP


    Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance


    Ellington's Legendary Comeback Punctuated by Paul Gonsalves' 27-Chorus Saxophone Solo


    Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    One of the Most Riveting and Important Jazz Recordings Ever Made


    It spurred Duke Ellington's comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue. It is jazz of the highest order, played at an almost rock n' roll pace, and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd's reaction as the collective lit into each new stanza. It is Ellington's best-selling album. It is Ellington at Newport.


    Like few records before or since, the 1956 set owes as much to context and circumstance as it does instrumental execution. Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted tradition big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards.


    The iconic arranger/composer's foresight comes into fruition throughout the white-hot set, never more so than on "Diminuendo and Crescendo In Blue," on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe-and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.


    The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through "Festival Junction" with a requisite balance of poise and panache, and kicking heels on Newport Up via Ellington's spry piano riffs, Jimmy Hamilton's spicy clarinet feeds, and Clark Terry's trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.


    And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition Silver Series LP of Ellington's triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke's 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It's that simple.


    This title is not eligible for discount.

    1. Festival Junction
    2. Blues to Be There
    3. Newport Up
    4. Jeep's Blues
    5. Diminuendo and Crescendo In Blue
    Duke Ellington
    $24.99
    Vinyl LP Mono - Sealed Buy Now
  • Newport Rebels (Pure Pleasure) Newport Rebels (Pure Pleasure) Quick View

    $34.99
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    Newport Rebels (Pure Pleasure)

    The jazz experience just doesn't get any better than this! Newport Rebels was nominated for Sterophile's Records To Die For because of Roy Eldridge's ballsy, all-out trumpet playing on Mysterious Blues and Me and You. Eldridge approached the horn as if neither he nor it had limits - his electrifying, perfectly paced solos prove him right. Neither do the other musicians disappoint. The result is jazz tastefully stretched beyond traditional roots. And the late-1960s, direct-to-two-track recording guarantees a natural sound with few production artifacts.




    Musicians:



    • Abbey Lincoln (vocal)

    • Booker Little, Benny Bailey, Roy Eldridge (trumpet)

    • Jimmy Knepper, Julian Priester (trombone)

    • Eric Dolphy (alto saxophone)

    • Walter Benton (tenor saxophone)

    • Kenny Dorham, Tommy Flanagan (piano)

    • Charles Mingus, Peck Morrison (bass)

    • Max Roach, Jo Jones (drums)




    Recording: November 1960 at the Newport Jazz Festival, Rhode Island, and Nola Penthouse Studios, New York City

    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.




    This title is not eligible for discount.

    1. Mysterious Blues
    2. Cliff Walk
    3. Wrap Your Troubles In Dreams (And Dream Your Troubles Away)
    4. Taint Nobodys Bizness If I Do
    5. Me and You
    Jazz Artists Guild
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Newport Uproar (Pure Pleasure) Newport Uproar (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Newport Uproar (Pure Pleasure)

    The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: »This hasn't happened since Duke « he begins, casting back in his mind to 1956 and the nearest comparable triumph.



    There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival's climatic spot - the last act on the last night - his performance would be compared with those of all the others. He prepared accordingly.
    Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.



    All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo-driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel's long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of Flying Home. Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves - Alan Dawson, Milt Buckner and Illinois Jacquet - at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.



    Musicians:



    • Lionel Hampton (vibraphone, piano, drums)

    • Illinois Jacquet (tenor saxophone)

    • Snooky Young, Wallace Davenport (trumpet)

    • Al Grey, Benny Powell (trombone)

    • Jerome Richardson, George Dorsey, Ed Pazant (reeds)

    • John Spruill, Milt Buckne (piano)

    • Billy Mackel (guitar)

    • George Duvivier (bass)

    • Steve Little (drums)



    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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


    This title is not eligible for discount.

    1. Turn Me Loose
    2. Thai Silk
    3. Tempo's Birthday
    4. Greasy Greens
    5. Greasy Greens (Encore)
    6. Meety Benny Baily
    7. Medley:
    Hey! Ba-Ba-Re-Bop/Hamp's Boogie Woogie
    8. Misunderstood Blues
    9. Flying Home
    Lionel Hampton
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Best Of Carly Simon The Best Of Carly Simon Quick View

    $31.99
    Buy Now
    x

    The Best Of Carly Simon

    Impeccably Mastered By Joe Reagoso From The Original Elektra Records Tapes


    Carly Simon is truly one of the greatest exponents of the singer/songwriter boom that rocked the seventies music scene when she debuted her first hit single That's the Way I've Always Heard It Should Be in 1970. Carly's stunning artistry and her smash hits continue to be some of the most played on radio stations worldwide, as witnessed in her classic greatest hits collection The Best of Carly Simon.


    The 1978 smash LP features her biggest hit singles and album tracks from her finest albums on Elektra Records. Masterworks like You're So Vain, Anticipation, Attitude Dancing, Haven't Got Time for the Pain, Mockingbird (with James Taylor) and The Right Thing to Do surely make The Best of Carly Simon one of the most revered greatest hits albums in classic rock history.


    Friday Music is no stranger to the music of the legendary Carly Simon, that is why we are so very
    proud to announce another fine installment in the Carly Simon/Friday Music 180 Gram Audiophile
    Vinyl Series with her greatest hits masterpiece The Best of Carly Simon. The original Elektra Records classic is now mastered impeccably by Joe Reagoso (Carly Simon, James Taylor, Hall & Oates) and for a very limited time, this first time audiophile release will be presented in a first time gatefold cover, including the lyrics to all the great songs that you will want to sing along to.


    Carly Simon The Best of Carly Simon Impeccable first time audiophile vinyl and gatefold
    cover Happy New Year! Anticipation

    1. That's the Way I've Always Heard It Should Be
    2. The Right Thing to Do
    3. Mockingbird
    4. Legend In Your Own Time
    5. Haven't Got Time for the Pain
    6. You're So Vain
    7. (We Have) No Secrets
    8. Night Owl
    9. Anticipation
    10. Attitude Dancing
    Carly Simon
    $31.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Miles & Monk At Newport Miles & Monk At Newport Quick View

    $24.99
    Buy Now
    x

    Miles & Monk At Newport

    Miles & Monk at Newport was a combined album of a Miles Davis appearance at Newport with an appearance of Thelonious Monk, from the LP era. Despite the title, the two artists do not perform together on the LP, and they are represented on each side by separate live appearances at the Newport Jazz Festival.
    1. Ah-Leu-Cha - Miles Davis
    2. Straight, No Chaser - Miles Davis
    3. Fran-Dance - Miles Davis
    4. Two Bass Hit - Miles Davis
    5. Nutty - Thelonious Monk Quartet
    6. Blue Monk - Thelonious Monk Quartet
    Miles Davis & Thelonious Monk
    $24.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Muddy Waters At Newport 1960 Muddy Waters At Newport 1960 Quick View

    $29.99
    Buy Now
    x

    Muddy Waters At Newport 1960


    The Muddy Waters/Friday Music 180 Gram Audiophile Series Continues!


    Muddy Waters Masterwork Live Album! In Stereo!


    First Time Official Audiophile Vinyl - Stunning First Time Gatefold Cover


    Mastered From The Authorized Chess Records Stereo Tapes By Joe Reagoso


    Muddy Waters (McKinley Morganfield) will always be known as one of the founding fathers of modern day blues. His legendary style of playing guitar, his unique vocal prowess and of course his stellar list of classic Chicago and Mississippi Delta blues tunes
    have all gone on to influence generations upon generations of rock and blues performers worldwide.


    With almost six decades in the music business, this Mississippi native began his career cutting early sides for defunct labels
    before landing in Chicago in the early forties, where he began a long climb to the top of the blues world, later cutting a series of
    hit sessions for Aristocrat which became Chess Records. Phil and Leonard Chess knew they had a kingpin on their hands when
    Muddy started his endless stream of blues smashes. The label honored the man with his first live album simply titled Muddy Waters
    At Newport 1960. Recorded at the Newport Jazz Festival, Muddy drove the crowd into a frenzy with his famous guitar licks and his
    Delta growl, truly a thrilling presence on the stage.


    Featuring an all-star band with the likes of the legendary James Cotton on harp and the masterful Otis Spann on piano, Muddy
    Waters At Newport 1960 would go on to become one of the most revered albums in modern day Chicago blues history.


    Kicking things off with one of his finest smash hits I Got My Brand On You, Muddy continues to rock the crowd through a
    treasure trove of 8 more blues champions which made this one of the most important live recordings of all time. The album features
    classic gems like his classics Got My Mojo Working, Baby Please Don't Go, and I'm Your Hoochie Coochie Man. Noted for his stellar
    guitar work, pretty much introducing his Chicago laden blues style to a whole new generation of guitar players, Muddy Waters At
    Newport 1960 became truly a primer for a ton of rock and blues guitarists for years like Eric Clapton, Johnny Winter, Canned Heat
    and The Rolling Stones. Muddy broke down barriers for millions of music fans worldwide to enjoy rock and blues, making him along
    with John Lee Hooker, Elmore James and Robert Johnson one of the first pioneers of the blues and rock genre.


    Friday Music is no stranger to the music of the legendary Chess Records arsenal of fine recordings. That is why we are so
    very proud to announce another installment in The Muddy Waters/Friday Music 180 Gram Audiophile Vinyl Series with his legendary
    masterpiece Muddy Waters At Newport 1960.


    Mastered impeccably by Joe Reagoso (Muddy Waters, John Lee Hooker, Chuck Berry) for the first time on audiophile vinyl from
    the Chess stereophonic tapes, Muddy Waters At Newport 1960 will truly become one of the most important and historical 180 Gram
    Audiophile Vinyl titles to be released in quite some time.


    To further celebrate this first time authorized stereophonic audiophile vinyl LP, we enhance this limited edition masterwork
    with a stunning gatefold cover featuring the original artwork elements as well as a rare inside gatefold photo of the man who helped
    fuse blues and rock music for millions of music lovers across the globe.


    Muddy Waters Muddy Waters At Newport 1960 Impeccable stereophonic sound from the AUTHORIZED Chess Records
    tapes! Baby, Please Don't Go

    1. I Got My Brand On You
    2. I'm Your Hoochie Coochie Man
    3. Baby, Please Don't Go
    4. Soon Forgotten
    5. Tiger In Your Tank
    6. I Feel So Good
    7. Got My Mojo Working
    8. Got My Mojo Working, Part 2
    9. Goodbye Newport Blues
    Muddy Waters
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • The TV Collection Plus Newport 1968 The TV Collection Plus Newport 1968 Quick View

    $37.99
    Buy Now
    x

    The TV Collection Plus Newport 1968

    A superb collection of Janis Joplin's best TV broadcasts plus her performance from the Newport Folk Festival in 1968!

    Tracks 1-2: The Dick Cavett Show - July 8th, 1969.
    Track 3: Music Scene - September 8th, 1969.
    Tracks 4-5: The Tom Jones Show - December 4th, 1969.
    Tracks 6-7: The Dick Cavett Show - June 25th, 1970.
    Tracks 8-10: The Dick Cavett Show - August 3rd, 1970.
    Tracks 11-16: Newport Folk Festival, Rhode Island - July 27th, 1968.

    On deluxe vinyl for the first time!

    LP 1: The TV Collection
    1. Try (Just a Little Bit Harder)
    2. To Love Somebody
    3. Maybe
    4. Little Girl Blue
    5. Raise Your Hand
    6. Move Over
    7. Get It While You Can
    8. Half Moon
    9. My Baby
    10. The Last Interview


    LP 2: Newport Folk Festival, Rhode Island, July 27th, 1968
    1. Intro/Piece of My Heart
    2. Summertime
    3. Coo Coo/Piece of My Heart (Reprise)
    4. Combination of the Two
    5. Ball and Chain
    6. Down On Me

    Janis Joplin
    $37.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure)

    This is a wonderful live album. Recorded toward the end of Ella's career, by concert's end it is apparent that she has about lost her voice, but not the audience's adoration. The album showcases her in various settings: with the (obviously) reconstituted Chick Webb Orchestra, with Ellis Larkins, with Joe Pass and with Tommy Flanagan (of course); the album also has some nods to the Webb Orchestra, noteworthy for late-career blowing by 'Lockjaw' Davis. Highlights: Nice Work If You Can Get It, Good Morning Heartache (an intended and most worthy tribute to Lady Day), Miss Otis Regrets, the first encore of Some of these Days, and intended set-ender of Ella doing what she does best, scatting through Lemon Drop.



    Musicians:



    • Ella Fitzgerald (vocal)

    • Chick Webb Orchestra




    Recording: July 1973 at Carnegie Hall, New York



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



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



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




    This title is not eligible for discount.

    1. I've Gotta Be Me
    2. Good Morning Heartache
    3. Miss Otis Regrets
    4. Medley: Don't Worry 'Bout Me/These Foolish Things
    5. Any Old Blues
    6. A-Tisket A-Tasket
    7. Indian Summer
    8. Smooth Sailing
    9. You Turned The Tables On Me
    10. Nice Work If You Can Get It
    11. I've Got A Crush On You
    12. Medley: I Can't Get Started/The Young Man With The Horn/'Round Midnight
    13. Star Dust
    14. C Jam Blues
    15. Medley: Taking A Chance On Love/I'm In The Mood For Love
    16. Lemon Drop
    17. Some Of These Days
    18. People
    Ella Fitzgerald
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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