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  • Bright Moments (Pure Pleasure) Bright Moments (Pure Pleasure) Quick View

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    Bright Moments (Pure Pleasure)

    Rahsaan Roland Kirk's live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments is a near-definitive document of the Kirk live experience, and his greatest album of the '70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it's clear in the outcome of the music that Kirk fed voraciously off the energy of the room.


    Most of the tracks are long (seven minutes or more), demonstrating Kirk's wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). Pedal Up is a jaw-dropping demonstration of Kirk's never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible. There's more quintessential Kirk weirdness on Fly Town Nose Blues, which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute.


    His repertoire is typically eclectic: Ellington's Prelude to a Kiss; a groovy Bacharach pop tune in You'll Never Get To Heaven; a lovely version of Fats Waller's Jitterbug Waltz; and a stomping, exultant New Orleans-style original, Dem Red Beans and Rice. Perhaps the best, however, is an impassioned rendition of the ballad standard If I Loved You, where Kirk's viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk's bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it's nothing less than a 'tour de force'.



    Musicians:



    • Rahsaan Roland Kirk (tenor saxophone, flute)

    • Ron Burton (piano)

    • Henry Pearson (bass)

    • Todd Barkan (synthesizer)

    • Joe Habao (percussion)

    • Robert Shy (drums)



    Recording: 1973 live at Keystone Korner, San Francisco, by Biff Davies, Ed Barton & Jack Crymes

    Production: Joel Dorn



    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.

    LP 1
    1. Introduction
    2. Pedal Up
    3. You'll Never Get To Heaven
    4. Clackety Clack
    5. Prelude To A Kiss
    6. Talk (Electric Nose)
    7. Fly Town Nose Blues


    LP 2
    1. Talk (Bright Moments)
    2. Bright Moments Song
    3. Dem Red Beans And Rice
    4. If I Loved You
    5. Talk (Fats Waller)
    6. Jitterbug Waltz
    7. Second Line Jump

    Rahsaan Roland Kirk
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Out of the Afternoon Out of the Afternoon Quick View

    $54.99
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    Out of the Afternoon

    A 1962 set from the Roy Haynes Quartet which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano and Roland Kirk on saxes, manzello, stritch and flutes. The album is a delightful mix of technique in arrangement and performance, with all of the musicians delivering terrific work Haynes' drumming is absolutely wonderful here, lightly dancing around the other instruments. Flanagan's piano playing is equally light and delicate, and Grimes' bass work is outstanding. There's not much that can be said about Kirk's sax and flute work that hasn't already been said a hundred times.


    Roy Haynes, drums
    Tommy Flanagan, piano
    Henry Grimes, bass
    Rahsaan Roland Kirk, flute, percussion, tenor saxophone


    This title is not eligible for discount.

    1. Moon Ray
    2. Fly Me To The Moon (In Other Words)
    3. Raoul
    4. Snap Crackle
    5. If I Should Lose You
    6. Long Wharf
    7. Some Other Spring
    Roy Haynes
    $54.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Big Band Bossa Nova Big Band Bossa Nova Quick View

    $27.99
    Buy Now
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    Big Band Bossa Nova

    A byproduct of the bossa nova fad that followed the success of Desafinado (and preceded the famous recording Getz/Gilberto), this set finds Quincy Jones utilizing and exploiting bossa nova rhythms in his arrangements for a big band. The personnel includes flÜgelhornist Clark Terry, altoist Phil Woods, pianist Lalo Schifrin, guitarist Jim Hall, and (on Soul Bossa Nova) the remarkable Rahsaan Roland Kirk. However, since the selections are all quite brief, and some of the charts are a bit cheesy and inappropriate for the gentle rhythms, this disc (although pleasant enough) is of lesser interest.

    -All Music Guide
    1. Soul Bossa Nova
    2. Boogie Bossa Nova
    3. Desafinado
    4. Manha De Carnival
    5. Se E Tarde Me Perdoa
    6. On The Street
    7. Una Nota Samba
    8. Lalo Bossa Nova
    9. Serenata
    10. Chega De Saudade (No More Blues)
    11. A Taste of Honey*


    *Bonus Track

    Quincy Jones
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mingus At Carnegie Hall (Pre-Order) Mingus At Carnegie Hall (Pre-Order) Quick View

    $54.99
    Buy Now
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    Mingus At Carnegie Hall (Pre-Order)

    Numbered, Limited Edition


    Pressed at RTI!


    Mastered by Bernie Grundman from the Original Masters


    A larger than life bass player, Charlie Mingus had an appetite for creativity. In this live 1974 session at Carnegie Hall, he jams with an all-star list of musicians including George Adams, Hamiet Bluiett, Don Pullen, and Dannie Richmond. Guest artists include Jon Faddis, John Handy, Rahsaan Roland Kirk and Charles McPherson.


    Features:

    Numbered, Limited Edition

    Audiophile 180g, 45rpm Vinyl

    Double LP, Gatefold Packaging

    Pressed at RTI!

    Mastered by Bernie Grundman from Original Masters


    Musicians:

    Charles Mingus, bass

    George Adams, tenor saxophone

    Hamiet Bluiett, baritone saxophone

    Don Pullen, piano

    Dannie Richmond, drums


    Guest artists:

    Jon Faddis, trumpet

    John Handy, alto & tenor saxophone

    Rahsaan Roland Kirk, tenor saxophone, stritch

    Charles McPherson, alto saxophone


    This title is not eligible for discount.

    1. C Jam Blues
    2. Perdido


    Recorded January 19, 1974 at Carnegie Hall, New York City

    Charles Mingus
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed PRE-ORDER Buy Now
  • Out of the Afternoon (Speakers Corner) (Out Of Stock) Out of the Afternoon (Speakers Corner) (Out Of Stock) Quick View

    $34.99
    x

    Out of the Afternoon (Speakers Corner) (Out Of Stock)

    Roy Haynes - despite his 80 years still an active drummer and bandleader - can look back upon an extraordinary career. Almost more than any other drummer, he defined the rhythm of modern playing 'behind the drums'. A role in the background gave him no satisfaction, so it is no wonder that he has more than 30 LPs to his name.



    The present recording, which his Quartet made together with the blind multi-instrumentalist Roland Kirk in Rudy Van Gelder's studio in 1962, is certainly one of his very best. The seven numbers not only offer astounding moments of 'drum talk', and of syncopation carried out with absolute precision, they also offer the main soloist Roland Kirk the opportunity to display his amazing technique of simultaneous performance on some unusual instruments, in Moon Ray for example, or his use of various types of flute in Snap Crackle (see the cover text for further details), and his wealth of ideas in the ballads (If I Should Lose You).



    Perfect recording technique, brilliant arrangements of standard numbers, highly original evergreens, all played by true giants of their respective instruments - what better reasons are there to obtain this fantastic LP with its lavish gatefold sleeve?





    Musicians:



    • Tommy Flanagan (piano)

    • Henry Grimes (bass)

    • Rahsaan Roland Kirk (flute, percussion, tenor saxophone, stritch, manzello)

    • Roy Haynes (drums)




    Recording: May 1962 at Rudy Van Gelder Studios, Englewood Cliffs, N.J., USA, by Rudy Van Gelder

    Production: Bob Thiele





    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. Moon Ray
    2. Fly Me To The Moon
    3. Raoul
    4. Snap Crackle
    5. If I Should Lose You
    6. Long Wharf
    7. Some Other Spring
    Roy Haynes Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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