Pro-ject Authorized & Certified VPI Dealer

VINYL. OUR WAY OF LIFE SINCE 2004

(877) 929-8729
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl - LP20
Home > Products for: '

Smooth Jazz

'
  • 1
  • 2
Results per page:
  • Gerry Mulligan Meets Ben Webster (200 Gram) Gerry Mulligan Meets Ben Webster (200 Gram) Quick View

    $34.99
    Buy Now
    x

    Gerry Mulligan Meets Ben Webster (200 Gram)


    Classic 1959 Session By Two Jazz Giants!


    200-Gram Vinyl Pressing By Quality Record Pressings!


    Mastered By Ryan K. Smith At Sterling Sound From The Original Analog Tapes


    Sleeved In A Deluxe Tip-On Jacket From Stoughton Printing


    Gerry Mulligan Meets Ben Webster was just one of may meets albums that Gerry Mulligan appeared on during the period when this classic was recorded - Nov. 3 and Dec. 2, 1959, in Los Angeles. Mulligan and Pepper Adams were the baritone saxophonists during the golden age of modern jazz, both masters of the unwieldy and deep-toned instrument.


    History was made here, as was a classic record for the ages. Now, hear Gerry Mulligan Meets Ben Webster in all its sonic glory, courtesy of Analogue Productions and Quality Record Pressings! Mastered and cut to lacquer by Ryan K. Smith at Sterling Sound, working from the original analog tapes, this 33 1/3 edition sounds spectacular, pressed on super-silent 200-gram vinyl by Gary Salstrom and his crew at Quality Record Pressings. Nothing but the best packaging is allowed here either - you'll get a handsome heavyweight tip-on jacket from Stoughton Printing.


    Mulligan was an innovator of the west coast cool jazz style who flourished playing with all manner of jazz musicians. The tunes he and Webster recorded are smooth, lush and emotional, driven along by a rhythm section that swings with just the right amount of bop. The result is an album that's included among NPR's Basic Jazz Record Library.


    Let this silky and supple set make its presence known - order your copy of Gerry Mulligan Meets Ben Webster today, and prepare to be enveloped by the sound.


    This title is not eligible for discount.

    1. Chelsea Bridge
    2. The Cat Walk
    3. Sunday
    4. Who's Got Rhythm
    5. Tell Me When
    6. Go Home
    Gerry Mulligan & Ben Webster
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • What's Going On (Pure Pleasure) What's Going On (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    What's Going On (Pure Pleasure)

    In 2006, exactly a year after Katrina, in the aftermath of a vicious natural disaster that displayed the incompetence of the Crescent City's infrastructure, the Army Corps of Engineers, and the Federal Government, they addressed the tragedy in the only way they know how, by re-creating the same kind of bewilderment and anger that Marvin Gaye felt and witnessed in 1971 by issuing their own take on Gaye's classic album What's Goin' On. This is a question that is proved all the more poignant given the efforts of an entire region trying not only to rebuild homes and businesses, but trying to preserve a culture as this recording was released. The Dirty Dozen recruit a number of vocalists to help out on the hinge tunes. The samples of New Orleans Mayor Ray Nagin's voice in the aftermath of the hurricane usher in the brass slip-sliding along the dark funky overtones of Gaye's signature tune. Guitarists Doug Bossi and Ben Keeler dig into the groove, as does drummer Terence Higgins and keyboardist/producer Anthony Marinelli, as Chuck D raps the refrain in the context of modern history, the disaster, and the ineptitude and even hostility of a government who wages war and ignores domestic problems. It's a news report from the front lines as the horns cut the melody, the harmony, and the deep, steamy funk groove. What's Happening Brother, closes the funk from the inside, turning the groove back in on itself not only playing the rage, but echoing it in the grain of Bettye LaVette's vocal, which dares to spit out the truth with questions and observations in the pain of a first person narrative. The airy arrangement of Flyin' High (In the Friendly Sky) is nearly mournful, nostalgic for a more innocent time, but is all the more poignant for that longing. The deep tribal drums Mardi Gras Indian-style, with the skronky saxophones, tight guitar groove, and screaming narrative in Save The Children give way to the smoothness of Gaye's melody. It's a bewildered tune, sad with undercurrents of rage. Ivan Neville's arrangement for God Is Love is a stunner, full of deeply imaginative hues and colors and gospel grooves. G. Love helps out on Mercy Mercy Me (The Ecology), where the musicality in Gaye's vocal disappears but is supercharged in the horn charts, and Love's vocal sounds confused, displaced, out of time against the instruments. Right On is both militant and celebratory. It's got the funk, but it's also got gospel, rock, and deep soul blaring from the trombones and the repetitive riff in the rest of the brass section. Guru from Gang Starr cuts out from the moody, spectral introduction of Inner City Blues, when Higgins drums play counter to Kirk Joseph's deep blues sousaphone on the bassline. Frustration is everywhere and the horns point fingers to this truth which Guru lays out: that today is the same and perhaps even more so than it was in Gaye's time. The desolation in Gaye's lyric isn't lost but it is fleshed out over the chart so that they are merely the ghosts from the past preaching and exhorting in this new generation. Never has party music sounded so poignant, so utterly damning and hopeful and unbowed. This is the next step in the Homecoming that was a funeral for a friend; this is the aftermath, the sound of angry resurrection coming out with the sun, one where the revolution may be televised but bursts out of the edges in the screen and makes itself known by the medium understood by the people who have to live its realization. With killer grooves that take no prisoners, What's Goin' On is the most fitting tribute yet to Gaye, because not only does it prove the timelessness of the music itself, it echoes that what is indeed goin' on (Gaye's dedication to Detroit as its decline became a reality with no onlookers interested in doing anything) is even more true today than it was in 1971.



    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. What's Going On feat. Chuck D
    2. What's Happening Brother feat. Bettye Lavette
    3. Flying High (In the Friendly Skies)
    4. Save the Children
    5. God is Love feat. Ivan Neville
    6. Mercy Mercy Me (The Ecology)
    7. Right On
    8. Wholy Holy
    9. Inner City Blues (Make Me Wanna Holler)
    The Dirty Dozen Brass Band
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • True Blue True Blue Quick View

    $19.99
    Buy Now
    x

    True Blue

    With a strong, smooth tone and an amazing flow of fresh ideas every time he soloed, tenor saxophonist Tina Brooks should have been a major jazz artist, but his legacy is confined to a series of dates that he did for Blue Note as a sideman and leader. True Blue is the only album under his own name to come out in his lifetime. He and Freddie Hubbard had recorded Hubbards Open Sesame a week earlier. True Blue also features Hubbard on trumpet along with Duke Jordan on piano, Sam Jones on bass and Art Taylor on drums. Brooks made the best out of this opportunity here as it is a phenomenal set containing five of his originals.
    1.Good Old Soul
    2.Up Tight's Creek
    3.Theme For Doris

    4.True Blue
    5.Miss Hazel
    6.Nothing Ever Changes My Love For You

    Tina Brooks
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Brothers In Arms (Awaiting Repress) Brothers In Arms (Awaiting Repress) Quick View

    $49.99
    Buy Now
    x

    Brothers In Arms (Awaiting Repress)

    Blockbuster Brothers In Arms Helped Define 80s, Catapulted Dire Straits to Arena Status


    The End-All-Be-All Ultimate-Sounding Version of This Audiophile Standard: Mobile Fidelity 180g 45RPM 2LP Captures Nuances, Textures, Finite Information


    1985's Brothers In Arms Has Sold More Than Nine Million Copies in U.S. Alone, Ranked #351 on Rolling Stone's List of the 500 Greatest Albums of All Time


    There are hit records. And then there are blockbusters. One of the world's best-selling records, a winner of two Grammy Awards, an era-defining reference statement, an MTV favorite, and a set that catapulted an already-acclaimed band to arena status, Dire Straits' Brothers In Arms is the kind of epic spectacular that comes around only once or twice a decade. Surpassed only in fame and visibility during the period by Michael Jackson's Thriller, the 1985 album remains idiosyncratic for its covetable combination of adventurous songwriting, precision-based performances, and reference-caliber fidelity.


    Mastered from the original master tapes, pressed on 45RPM LPs at RTI, and possessing a richness befitting the album's stellar reputation, Mobile Fidelity's numbered limited-edition 180g 45RPM 2LP set of Brothers In Arms breathes with transparent highs, atmospheric heft, and lifelike tonalities. This is the hand-down ultimate-sounding version of this audiophile favorite ever made.


    The sense of realism this edition delivers will leave slack-jawed even the most hard-to-please audiophiles. As the recipient of the Grammy for Best-Engineered Recording, the album has always been a go-to sonic standard, but never has it sounded so reach-out-and-touch-it realistic as it does on this analog pressing. All of the hallmark characteristics-ample spaciousness, ideal balances, widescreen dynamics, immersive depth, lush production-are here in spades. As is music-making of enviable proportions.


    While it's easy to speculate that the colossal success of Brothers In Arms relates to its timing-its release during an era obsessed with catchy singles, flashy MTV videos, and whistle-friendly melodies-reasons for the album's chart-busting success primarily owe to the expertly crafted songs and memorable playing turned in by a group hitting its creative peak. Not to mention the spatial dimensions that cause instruments and vocals to naturally float in a fixed area.


    Anchored by "Money for Nothing," a caustically themed smash immediately identifiable via Mark Knopfler's resonant finger-picked guitar riff and Sting's "I want my MTV" vocal refrain, Dire Straits' fifth album is stuffed with bluesy signatures, jazz-rock motifs, clever lyrics, and organic accents. Diversity and consistency also extend to the songs' moods. Singing with his trademark light-to-the-touch timbre, Knopfler conjures feelings of poignancy, peacefulness, and mellowness, channeling wistfulness on the Top 10 single "So Far Away" and somber assurance on "Why Worry."


    Perfection abounds, not only in the manner in which the band nails its pop hooks and uptempo boogies with debonair flair-but also in the control room. Iconic session jazz drummer Omar Hakim supplies fluid beats and solid rhythmic foundations while Knopfler and Co. comb over grooves so smooth it seems that they're made of honey butter. Dire Straits would never play with such effortless again.


    Experience this era-defining classic in the best-possible fidelity!


    This title is not eligible for discount.

    1. So Far Away
    2. Money for Nothing
    3. Walk of Life
    4. Your Latest Trick
    5. Why Worry
    6. Ride Across the River
    7. The Man's Too Strong
    8. One World
    9. Brothers in Arms
    Dire Straits
    $49.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Greatest Hits (Awaiting Repress) Greatest Hits (Awaiting Repress) Quick View

    $42.99
    Buy Now
    x

    Greatest Hits (Awaiting Repress)

    180 Gram Translucent Gold Colored Vinyl With Gatefold Cover


    During the 1970s, a new brand of pop music was born - one that was steeped in African and African-American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force-feeding listeners' spiritual content."Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs.After graduating high school, Maurice moved to the Windy City to continue his musical education at the prestigious Chicago Conservatory Of Music. He continued picking up drumming jobs on the side, which eventually lead to a steady spot as a studio percussionist with the legendary Chicago label, Chess Records. At Chess, Maurice had the privilege of playing with such greats as Etta James, Fontella Bass, Billy Stewart, Willie Dixon, Sonny Stitt and Ramsey Lewis, whose trio he joined in 1967. He spent nearly three years as part of the Ramsey Lewis Trio. "Ramsey helped shape my musical vision beyond just the music," Maurice explains. "I learned about performance and staging." Maurice also learned about the African thumb piano, or Kalimba, an instrument whose sound would become central to much of his work over the years.In 1969, Maurice left the Ramsey Lewis Trio and joined two friends in Chicago, Wade Flemons and Don Whitehead, as a songwriting team composing songs and commercials in the Chicago area. The three friends got a recording contract with Capitol and called themselves the "Salty Peppers," and had a marginal hit in the Midwestern area called "La La Time." That band featured Maurice on vocals, percussion and Kalimba along with keyboardists/vocalists Wade Flemons and Don Whitehead.


    After relocating to Los Angeles and signing a new contract with Warner Bros., Maurice simultaneously made what may have been the smartest move of his young career. He changed the band's name to Earth, Wind & Fire (after the three elements in his astrological chart). The new name also captured Maurice's spiritual approach to music - one that transcended categories and appealed to multiple artistic principals, including composition, musicianship, production, and performance. In addition to White, Flemons and Whitehead, Maurice recruited Michael Beal on guitar, Leslie Drayton, Chester Washington and Alex Thomas on horns, Sherry Scott on vocals, percussionist Phillard Williams and his younger brother Verdine on bass.


    Earth, Wind & Fire recorded two albums for Warner Brothers: the self-titled 1970 album Earth, Wind And Fire and the 1971 album The Need Of Love. A single from this album, "I Think About Lovin' You," provided EWF with their first Top 40 R&B hit. Also in 1971, the group performed the soundtrack to the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'.


    In 1972, White dissolved the line-up (except he and brother Verdine White) and added Jessica Cleaves (vocals - formerly of the R&B group The Friends of Distinction), Ronnie Laws (flute, saxophone), Roland Bautista (guitar), Larry Dunn (keyboard), Ralph Johnson (percussion) and Philip Bailey (vocals, formerly of Friends & Love). Maurice became disillusioned with Warner Brothers, which had signed the group primarily as a jazz act. Maurice, in contrast, was more interested in combining elements of jazz, rock, and soul into an evolving form of fusion, a truly universal sound.


    A performance at New York's Rockefeller Center introduced EWF to Clive Davis, then President of Columbia Records. Davis loved what he saw and bought their contract from Warner Bros. With Columbia Records, debuting with the 1972 album Last Days And Time, the group slowly began to build a reputation for innovative recordings and exciting, live shows, complete with feats of magic (floating pianos, spinning drum kits, vanishing artists) engineered by Doug Henning and his then-unknown assistant David Copperfield. Their first gold album, Head To The Sky, peaked at number 27 pop in the summer of 1973, yielding a smooth tangy cover of "Evil" and the title track single. The first platinum EWF album, Open Our Eyes, whose title track was a remake of the classic originally recorded by Savoy Records group the Gospel Clefs, included "Mighty Mighty" (number four R&B) and "Kalimba Story" (number six R&B).


    Maurice once again shared a label roster with Ramsey Lewis, whose Columbia debut Sun Goddess, was issued in December 1974. The radio-aired title track was released as a single under the name Ramsey Lewis and Earth, Wind & Fire. It went to number 20 R&B in early 1975. The Sun Goddess album went gold, hitting number 12 pop in early 1975. Maurice had also played on Lewis' other high-charting album, Wade In The Water; the title track single peaked at number three R&B in the summer of 1966.


    The inspiration for "Shining Star" (one of EW&F's most beloved singles) was gleaned from thoughts Maurice had during a walk under the star-filled skies that surrounded the mountains around Caribou Ranch, CO a popular recording site and retreat during the '70s. The track was originally included in the 'That's The Way Of The World' movie that starred Harvey Keitel and was produced by Sig Shore (Superfly). "Shining Star" glittered at number one R&B for two weeks and hit number one pop in early 1975. It was included on their 1975 multi-platinum album That's The Way Of The World that held the number one pop spot for three weeks in Spring 1975 and earned them their first Grammy Award. The title track single made it to number five R&B in summer of 1975. It also yielded the classic ballad "Reasons," an extremely popular radio-aired album track.


    The multi-platinum album Gratitude held the number one pop album spot for three weeks in late 1975. On the album was "Singasong" (gold, number one R&B for two weeks, number five pop), the Skip Scarborough ballad "Can't Hide Love" (number 11 R&B), and the popular radio-aired album tracks "Celebrate," "Gratitude," and the live version of "Reasons." In 1976, Maurice decided he wanted to record a spiritual album. The multi-platinum album Spirit parked at number two pop for two weeks in fall of 1976 and boasted the gold, number one R&B single "Getaway" and "Saturday Nite." Spirit is remembered as one of EWF's best albums and sadly for also being the last project of Producer Charles Stepney. He died May 17, 1976, in Chicago, IL, at the age of 45. Charles was a former Chess Records arranger/producer/session musician/multi-instrumentalist/songwriter and Maurice's main collaborator on his EWF projects. The multi-platinum album All 'N All peaked at number three pop in late 1977, won three Grammy's, and had arrangements by Chicago soul mainstay Tom Tom Washington and Eumir Deodato. The singles were "Serpentine Fire" (number one R&B for seven weeks) and "Fantasy." The group's horn section, the legendary Phenix Horns (Don Myrick on saxophone, Louis Satterfield on trombone, Rahmlee Michael Davis and Michael Harris on trumpets) became an integral part of the Earth, Wind & Fire sound.


    During this time, Maurice produced several artists such as The Emotions (1976's Flowers and 1977's Rejoice which included the number one R&B/pop hit "Best Of My Love") and Deniece Williams (1976's This Is Niecy which included the Top Ten R&B hit "Free"). In the late seventies, in association with Columbia Records, Maurice also launched a record label, ARC.


    The multi-platinum greatest-hits set The Best Of Earth, Wind & Fire, Vol. I included a cover of the Beatles' "Got To Get You Into My Life" went to number one R&B and number nine pop in Summer 1978. The group performed the song in the 1978 Bee Gees/Peter Frampton movie 'Sgt. Pepper's Lonely Hearts Club Band'. Another single, "September," made it to number one R&B, number eight pop in early 1978. On the flip side was the enchanting popular radio-aired album track "Love's Holiday" from All 'N All.


    Their live performances were stellar as well. Sellout crowds were spellbound by the band's bombastic performances. Their performances blasted a cosmic wave of peace, love and other happy vibrations to audiences using a combination of eye-popping costumes, lights, pyrotechnics and plain old good music. Sometimes they even threw in magic illusions. Earth, Wind & Fire's message was one of universal harmony, in both musical and cultural senses. "We live in a negative society," Maurice told Newsweek. "Most people can't see beauty and love. I see our music as medicine."


    The multi-platinum album I Am hit number three pop in Summer 1979 on the strength of the million-selling single "Boogie Wonderland" with The Emotions (number two R&B for four weeks, number six pop) and the phenomenal gold ballad "After The Love Has Gone," written by David Foster, Jay Graydon and Bill Champlin that stayed at number two R&B/pop for two weeks. Their Faces album peaked at number ten pop in late 1980 and was boosted to gold by the singles "Let Me Talk" (number eight R&B), "You" (number ten R&B), and "And Love Goes On."


    The million-selling funked-up "Let's Groove," co-written by The Emotions' Wanda Vaughn and her husband Wayne Vaughn, was the track that re-energized EWF's career, parking at number one R&B for eight weeks and number three pop, causing their Raise! album to go platinum (hitting number five pop in late 1981). Their next gold album Powerlight made it to number 12 pop in spring 1983 and included the Top Ten R&B single and Grammy-nominated "Fall In Love With Me." Their 1983 Electric Universe album stalled at number 40 pop, breaking the band's string of gold, platinum and multi-platinum albums.


    In 1983, Maurice decided he and the band needed a break. During this hiatus, Maurice recorded his self-titled solo album Maurice White and produced various artists including Neal Diamond, Barbra Streisand and Jennifer Holliday. Reuniting with the band in 1987, EWF released the album Touch The World and scored yet another number one R&B single, "System of Survival" and embarked on a corresponding nine-month world tour. This was followed by the 1988 release The Best Of Earth, Wind & Fire Vol. II.


    In 1990 the group released the album Heritage. Two years later, Earth, Wind & Fire released The Eternal Dance; a 55-track boxed set retrospective of the band's entire history. The appearance of such a project after a prolonged period of relative inactivity signaled to many listeners that the band was calling it quits but that did not turn out to be case. In 1993, EWF released the album, Millennium that included the Grammy-nominated "Sunday Morning" and "Spend The Night."


    Earth, Wind & Fire kept recording and in 1996 released Avatar and Greatest Hits Live; followed by 1997's In The Name Of Love; 2002's That's The Way Of The World: Alive In '75; Live In Rio which was recorded during their 1979 "I Am World Tour;" 2003's The Promise, which included the Grammy-nominated "Hold Me" and 2005's Illumination, which included the Grammy-nominated "Show Me The Way."


    In 2000, the nine-piece '70s edition of Earth, Wind & Fire reunited for one night only in honor of their induction into The Rock And Roll Hall Of Fame. In 2001, Eagle Rock Entertainment released the documentary 'Earth, Wind & Fire: Shining Stars', which contains rarely seen historic video footage along with in-depth interviews with the band members.


    Even though Maurice is no longer a part of the touring group, he remains the band's heart and soul from behind the scenes as composer and producer. Maurice reflects, "I wanted to create a library of music that would stand the test of time. 'Cosmic Consciousness' is the key component of our work. Expanding awareness and uplifting spirits is so important in this day. People are looking for more. I hope our music can give them some encouragement and peace."

    LP 1
    1. Shining Star

    2. That's The Way Of The World
    3. September

    4. Can't Hide Love

    5. Got To Get You Into My Life
    6. Sing A Song

    7. Gratitude

    8. Serpentine Fire

    9. Fantasy


    LP 2
    1. Kalimba Story
    2. Mighty Mighty

    3. Reasons

    4. Saturday Nite

    5. Let's Groove

    6. Boogie Wonderland ( with The Emotions)
    7. After The Love Has Gone

    8. Getaway

    Earth, Wind & Fire
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • Mecca & The Soul Brother Mecca & The Soul Brother Quick View

    $42.99
    Buy Now
    x

    Mecca & The Soul Brother

    Mecca And The Soul Brother from 1992 is considered by fans and critics as one of the finest hip hop albums of the early 90s. Songs like Lots of Lovin, They Reminisce Over You (T.R.O.Y.), Anger In The Nation and It It Ain't Rough, It Ain't Right have everything; funky basslines, solid production, convincing lyrics and lots of soul. Producer Pete Rock built his beats from obscure R&B, funk and jazz records and CL Smooth added his sometimes philosophical raps.


    Guest rappers on the album include Grand Puba (of Brand Nubian), Heavy D, Rob-O, Grap & Dida, and it reached #7 in the US R&B/Hip-hop charts and #43 in the US album charts.


    Pete Rock & C.L. Smooth stopped working together in 1995 after finishing their follow-up album The Main Ingredient. Rumor has it that the duo will be reuniting for a brand new album.

    LP 1
    1. Return Of The Mecca
    2. For Pete's Sake
    3. Ghettos Of The Mind
    4. Lots Of Lovin
    5. Act Like You Know

    6. Straighten It Out
    7. Soul Brother #1
    8. Wig Out
    9. Anger In The Nation
    10. They Reminisce Over You (T.R.O.Y.)


    LP 2
    1. On And On
    2. It's Like That
    3. Can't Front On Me
    4. The Creator (Remix) Bonus Track
    5. Mecca And The Soul Brother (Remix) Bonus Track
    6. The Basement (Featuring Heavy D., Rob-o, Grap & Dida)
    7. If It Ain't Rough, It Ain't Right
    8. Skinz (Featuring Grand Puba)

    Pete Rock & C.L. Smooth
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Main Ingredient The Main Ingredient Quick View

    $35.99
    Buy Now
    x

    The Main Ingredient

    Import

    The Main Ingredient is the second album by Pete Rock & CL Smooth, originally released in 1994.


    Characterized by sultry soul and jazz samples, the album saw a more polished sound than the duo's debut Mecca & The Soul Brother [MOVLP1633 , building on the praise that they had already garnered. The Main Ingredient is notable for its snappy, crispy drums and extensive use of vocal scratches. It contains some of the duo's best known work, in the form of tracks such as the upbeat In The House, and the catchy Sun Won't Come Out, which features a lush vocal sample from the song of the same name by Harvey Scales.


    Continuing a theme initiated by Mecca and the Soul Brother, brief instrumental interludes are placed at the beginning and end of songs. With the exception of just a few tracks, this feature is recurrent throughout the album. In addition, The Main Ingredient saw Rock fleshing out and defining his trademark production style, which is now recognized for often containing smooth basslines, swirling horns, filtered samples, and spacious grooves.


    The production on this album proved to be influential upon a legion of latter day producers.

    LP 1
    1. In The House
    2. Carmel City
    3. I Get Physical
    4. Sun Won't Come Out
    5. I Got A Love
    6. Escape
    7. The Main Ingredient
    8. Worldwide


    LP 2
    1. All The Places
    2. Tell Me
    3. Take You There
    4. Searching
    5. Check It Out
    6. In The Flesh
    7. It's On You
    8. Get On The Mic

    Pete Rock & C.L. Smooth
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Englewood Cliffs Sessions Englewood Cliffs Sessions Quick View

    $35.99
    Buy Now
    x

    Englewood Cliffs Sessions

    In legendary Jazz producer Rudy Van Gelder's studio's Englewood Cliff Sessions came to life; a Souljazz album by Dutch Jazz organist Rob Mostert.


    It's a truly buzzing album, too; Influenced by great artists such as Jimmy Smith, Jimy McCriff, J.S. Bach, en Herbie Hancock and inspired by his surroundings, Rob recorded an album with Rudy that howls, moans, and swings like no other.


    All the great music that was recorded there for labels such as Blue Note, Verve! and CTI seeped out of the walls and immersed Rob in a Smooth jazz esthetic.
    Beautiful Hammond Souljazz, now also available on vinyl!


    180 grams audiophile vinyl

    Gatefold sleeve

    Includes one bonus track Blues DeLuxe

    Recorded by Rudy Van Gelder (Blue Note Records)

    LP1
    Side A


    The D.O.G.
    Killer Bee
    Organic Moves


    Side B


    All I Need
    Hey Jop
    Song For My Daddy
    Sales Call


    LP2
    Side A


    Groove Control
    You Sexy Thang
    Back At The Chicken Shack


    Side B


    BluesDeLuxe
    Summertime
    Black Coffee
    J's Blues (Song For Julian)

    Rob Mostert
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Boss Guitar Boss Guitar Quick View

    $21.99
    Buy Now
    x

    Boss Guitar

    Before he moved away from straight-ahead jazz and starting playing what is now known as smooth jazz, Wes Montgomery was one of bop's finest guitarists. Montgomery's bop period ended much too soon, but thankfully, he recorded his share of rewarding bop albums when he was still bop-oriented -- and one of them is Boss Guitar, which Orrin Keepnews produced in 1963. It's a trio recording, employing Mel Rhyne on organ and Jimmy Cobb on performances that have held up well over time; Montgomery shows how expressive a ballad player he could be on the standards For Heaven's Sake and Days of Wine and Roses, but the fast tempo exuberance of The Trick Bag (a Montgomery original) serves him equally well. Montgomery swings the blues with pleasing results on Fried Pies (another Montgomery original), while Consuelo Velázquez's Besame Mucho (which is usually played at a slow ballad tempo) is successfully transformed into medium-tempo Latin jazz. Boss Guitar is among the bop-oriented Montgomery albums that should continue to be savored after all these years.


    - Alex Henderson (All Music Guide)

    1. Besame Mucho
    2. Dearly Beloved
    3. Days of Wine and Roses
    4. The Trick Bag
    5. Canadian Sunset
    6. Fried Pies
    7. The Breeze And I
    8. For Heaven's Sake
    Wes Montgomery
    $21.99
    Vinyl LP - Sealed Buy Now
  • Stan Getz / Cal Tjader Sextet Stan Getz / Cal Tjader Sextet Quick View

    $21.99
    Buy Now
    x

    Stan Getz / Cal Tjader Sextet


    This Newly Reissued Vinyl Addition Is A 'Must Have' Title For For Both Getz And Tjader Fans.


    In the vein of many a smooth West Coast jazz outing, this 1958 disc finds original cool stylist Getz paired with vibraphonist Cal Tjader on a very enjoyable
    selection of jazz standards and Tjader originals. The lineup includes pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott La Faro, and drummer
    Billy Higgins (this was one of the earliest record dates for either La Faro or Higgins, both of whom were playing with Getz at San Francisco's Black Hawk
    in between recording sessions). Guaraldi's spry Ginza Samba kicks thing off with nimble and imaginative statements by all the soloists. Tjader's
    swinging originals Crow's Nest and Big Bear provide prime solo vehicles as well, while his lovely waltz number Liz-Anne adds some nice contrast to
    the set, eliciting one of Getz's best solos in the process. The group rounds things out with fine ballad readings of I've Grown Accustomed to Her Face
    and For All We Know.


    Stan Getz: one of the all-time great tenor saxophonists


    Cal Tjader: The legendary percussionist who is often linked to the development of Latin rock and acid jazz. Although fusing jazz with Latin music is often
    categorized as Latin jazz (or, earlier, Afro-Cuban jazz), Tjader's output swung freely between both styles.

    1. Ginza Samba
    2. I've Grown Accustomed To Her Face
    3. For All We Know
    4. Crows' Nest
    5. Liz-Anne
    6. Big Bear
    7. My Buddy
    Stan Getz / Cal Tjader Sextet
    $21.99
    Vinyl LP - Sealed Buy Now
  • In Flight (Pure Pleasure) In Flight (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    In Flight (Pure Pleasure)

    Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.


    Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.


    In the wake of This Masquerade, the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as Nature Boy and The World Is a Ghetto, and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's Valdez in the Country, prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star.


    - Richard S. Ginell (AllMusic)

    Musicians:



    • George Benson (vocal, guitar)

    • Jorge Dalto (clavinet, piano)

    • Ronnie Foster (electric piano, synthesizer)

    • Phil Upchruch (guitar, bass)

    • Stanley Banks(bass)

    • Harvey Mason (drums)

    • Ralph MacDonald (percussion)



    Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt

    Production: Tommy Lipuma



    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. Nature Boy
    2. The Wind And I
    3. The World Is A Ghetto
    4. Gonna Love You More
    5. Valdez In The Country
    6. Everything Must Change
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mirror Conspiracy Mirror Conspiracy Quick View

    $24.99
    Buy Now
    x

    Mirror Conspiracy

    This highly anticipated follow up to Sounds From the Thievery Hi-fi left both critics and audiophiles delighted with Thievery Corporation's expert treatment
    of bossa nova, dub, and downtempo. Featuring lush vocals by Bebel Gilberto, Pam Bricker, Lou Lou, and See-I, The Mirror Conspiracy is a fantastic
    statement from ESL Music.


    " their remix work since then has since established them as leaders of the pack. And true to its name, the Corporation surreptitiously lays down
    overdubs of keyboards, congas, and percussive instruments to piece together a darkly beautiful piece of music in The Mirror Conspiracy." - Wall of Sound


    "The only thing snappier than Rob Garza and Eric Hilton's Armani suits and Bruno Magli shoes is the suave, downbeat dance tracks the Washington D.C.
    duo creates as Thievery Corporation. The pair's top-shelf aural cocktails, which involve a smooth mixture of dub reggae, trip-hop, acid jazz and Middle
    Eastern musics, have been fueling the fires of backroom lounges and dimly lit bedrooms since the pair's first singles emerged in 1996. The Mirror
    Conspiracy, TC's long-awaited sophomore album, raises the temperature of the mix by melding the synthetic serenity of lush keyboards with the warm
    hues of live strings, brass, percussion and the pipes of a host of vocalists " - CMJ

    1. Treasures
    2. Le Monde
    3. Indra
    4. Lebanese Blonde
    5. Focus on Sight
    6. Air Batucada
    7. Só com você
    8. Samba Tranquille
    9. Shadows of Ourselves
    10. The Hong Kong Triad
    11. Illumination
    12. The Mirror Conspiracy
    13. Tomorrow
    14. Bario Alto
    15. Guide for I and I
    Thievery Corporation
    $24.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Like Water For Chocolate Like Water For Chocolate Quick View

    $35.99
    Buy Now
    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
  • The Sound Of Sonny The Sound Of Sonny Quick View

    $21.99
    Buy Now
    x

    The Sound Of Sonny

    The Sound Of Sonny marks a new phase in Sonny Rollins' career. At the time of the album's recording in 1957, the tenor saxophone legend was reaching
    the height of his powers, having been proclaimed Down-Beat Magazine Critics' Poll New Star of the tenor saxophone that very same year. Joined by a
    variety of accompaniment (Sonny liked to shake it up!), including pianist Sonny Clark, drummer Roy Haynes and bassists Percy Heath and Paul
    Chambers, Rollins attains a level of freedom in his soloing and rhythmic interplay that only serves to underscore his melodic brilliance. A landmark
    recording in the development of one of Jazz's true giants of the tenor saxophone, The Sound Of Sonny is a canonical smooth bop LP and an underrated
    gem in Sonny Rollins' brilliant catalog.
    1. The Last Time I Saw Paris
    2. Just In Time
    3. Toot, Toot, Tootsie
    4. What Is There To Say
    5. Dearly Beloved
    6. Ev'ry Time We Say Goodbye
    7. Cutie
    8. It Could Happen To You
    9. Mangoes
    Sonny Rollins
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Time Is Right The Time Is Right Quick View

    $49.99
    Buy Now
    x

    The Time Is Right

    A soul survivor in every sense of the term, this alto saxophonist is one of the few remaining jazz artists who made a major impact on the jazz community via an extensive run with producer Alfred Lion and the Blue Note label (Horace Silver being another Blue Note legend that comes to mind). From his first recordings for the label with Art Blakey's Jazz Messengers, it was clear that Lou Donaldson put melody and sound at a premium, coming up with an amalgam that combined the creamy smoothness of Johnny Hodges with the quicksilver bop inflections of Charlie Parker. All About Jazz


    This title is not eligible for discount.

    1. The Nearness Of You
    2. Mack the Knife
    3. Lou's Blues
    4. Be My Love
    5. Tangerine
    6. Crosstown Shuffle
    7. Idaho
    Lou Donaldson
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
  • Song For Juli Song For Juli Quick View

    $24.99
    Buy Now
    x

    Song For Juli

    The former Youngbloods lead singer's 1972 solo masterpiece... over one year on the Billboard Album chart!


    While lead singer of The Youngbloods, Jesse Colin Young's legendary rock band took the nation by storm when their single Get Together became a worldwide #1 hit and a prominent soundtrack for peace. After seven albums with the group, Jesse released more than 15 celebrated solo albums including Song for Juli a work many critics agree is his solo masterpiece.


    Although it was his fourth solo album, Song for Juli was Young's first full-fledged effort under his own name. Jesse organized a versatile backup band in which piano, violin, and horns complemented his beautiful tenor voice in arrangements that recalled Van Morrison's Caledonia Soul Orchestra and featured familiar blues, country, and Cajun elements. In his lyrics, Young hewed closely to the current back-to-the-land philosophy, celebrating his family life (Juli is his daughter) and his Ridgetop retreat in Marin County, CA.


    Young's fans responded strongly to Song for Juli, giving it a higher chart placing than any album The Youngbloods ever made and keeping it in the charts longer than any album he ever made.


    This is 70's California pop at it's best and the album is enjoyable from the first note to the last and shows the breadth of Young's stylistic talents. Solid songs, solid rhythm section, brilliant solos, perfect piano parts and one of the most distinctive voices in pop music. There are no disconcerting interludes here. You've got rock, jazz, country, and Cajun all smoothly rolled into one.

    1. Morning Sun
    2. Song For Juli
    3. Ridgetop
    4. Evenin'
    5. Miss Hesitation
    6. T-Bone Shuffle
    7. Lafayette Waltz
    8. Jambalaya (On The Bayou)
    9. Country Home
    Jesse Colin Young
    $24.99
    Vinyl LP - Sealed Buy Now
  • We Three We Three Quick View

    $21.99
    Buy Now
    x

    We Three

    We Three, recorded in a single session on November 14, 1958, was the first American studio date as a bandleader for the diminutive and legendary jazz drummer Roy Haynes, although with pianist Phineas Newborn on board (along with bassist Paul Chambers), it really is a set dominated by Newborn, whose busy, two-handed technique here works in tandem balance with Haynes' cool refinement. Newborn was all about amazing and dazzling piano runs that on some dates created simply too much flash and clutter to allow pieces to flow and breathe properly, but Haynes has always been about grace and flow throughout his career (if a drummer's style can said to be elegant, Haynes fits the bill), and here he rubs off on Newborn, who exercises just enough restraint to keep him in the proper orbit, resulting in a fine album. Highlights include the easy, pure swing of the opener, a version of Ray Bryant's Reflection, a wonderful and bluesy rendition of Avery Parrish's After Hours (which finds Newborn in perfect balance between explosive ornamentation and smooth functionality), and a jaunty, fun spin through Newborn's own Sugar Ray, a tribute to boxer Sugar Ray Robinson. This trio had a brief recording career together, but as this solid set shows, they made the best of it.


    - Steve Leggett (All Music Guide)

    1. Reflection
    2. Sugar Ray
    3. Solitaire
    4. After Hours
    5. Sneakin' Around
    6. Our Delight
    Haynes/Newborn/Chambers
    $21.99
    Vinyl LP - Sealed Buy Now
  • St. Louis Blues St. Louis Blues Quick View

    $54.99
    Buy Now
    x

    St. Louis Blues

    Included with this deluxe reissue is a striking six-panel booklet complete with rare photos, a 1,600-word essay by Jordan Taylor on the album and a 1,200-word essay by Michael Fremer about the remastering process. This truly is a no-expenses-spared project, resulting in the ultimate version of this title.


    An influential figure in the early 20th century development of blues and popular music as a music scholar and as the composer of numerous popular songs, W.C. Handy has often been called the Father of the Blues. When two of the finest and most popular of mid-20th century musical figures, jazz and popular music icon Nat King Cole and style setting arranger extraordinare Nelson Riddle undertook an album dedicated to the music of W.C. Handy, the results were at once a worthy tribute and transformative. Particularly smooth vocals by Nat King Cole were aptly backed by resourceful orchestrations from Nelson Riddle. From the landmark laments of St. Louis Blues and the loving appreciation of Morning Star on through to the colloquial rag of Joe Turner's Blues, the varied facets of W.C. Handy's songs were given a lastingly freshened interpretation. Along with the contemporary Louis Armstrong Plays W.C. Handy (also available here at Acoustic Sounds), this album is considered by many to be the best anthology of the music of W.C. Handy.


    Using the original first generation 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the rich beauty of these recordings in this double 45-RPM 180-gram album set. Included with this deluxe reissue is a striking six-panel booklet complete with rare photos, a 1,600-word essay by Jordan Taylor on the album and a 1,200-word essay by Michael Fremer about the remastering process. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.


    Originally released in 1958.


    This title is not eligible for discount.

    Where Did Everyone Go?

    Say It Isn't So

    If Love Ain't There

    (Ah, The Apple Trees) When The World Was Young

    Am I Blue?

    Someone To Tell It To

    The End Of A Love Affair

    I Keep Goin' Back To Joe's

    Laughing On The Outside (Crying On The Inside)

    No, I Don't Want Her

    Spring Is Here

    That's All There Is


    Bonus tracks:


    A Farewell To Arms

    Happy New Year

    Nat King Cole
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Feats Don't Fail Me Now Feats Don't Fail Me Now Quick View

    $21.99
    Buy Now
    x

    Feats Don't Fail Me Now

    One of those bands that perfectly epitomized so many things about the 1970s, Little Feat created a strangely smooth and sexy pastiche of Southern-spiced blues-rock. Main man Lowell George's undulant slide guitar marked the group's early recordings. His vocals, meanwhile, were distinctive in the manner in which he toyed with vowels as if they were yo-yos, tossing them up and down, this way and that.


    The albums recorded prior to George's 1979 death reflected a jazz influence (albeit one that would grow more pronounced as his influence in the band waned). Being based in Los Angeles also gave them a certain patina they may have lacked if they had been based in, say, Memphis. Feats Don't Fail Me Now features visiting guests Bonnie Raitt and Emmylou Harris and a collection of tight, wryly observant songs. Don't Fail Me's 1973 predecessor, Dixie Chicken, is generally seen as Little Feat's must-have outing, but this album, too, holds up a stunningly strong demonstration the appeal of the band's rock-blues-jazz hybrid. --Lorry Fleming

    1. Rock & Roll Doctor
    2. Oh Atlanta
    3. Skin it Back
    4. Down the Road
    5. Spanish Moon
    6. Feats Don't Fail Me Now
    7. The Fan
    8. Medley: Cold Cold Cold/Tripe Face Boogie
    Little Feat
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    God Bless The Child (Pure Pleasure) (Awaiting Repress)

    Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless The Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition Love Is the Answer and Do What You Gotta Do -- and stroke it smooth and mellow as on the title track, the truly sublime Be Yourself, and Thad Jones' A Child Is Born. This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



    Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Be Yourself
    2. Love Is The Answer
    3. Do What You Gotta Do
    4. A Child Is Born
    5. God Bless The Child
    Kenny Burrell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Coming Of Age Coming Of Age Quick View

    $21.99
    Buy Now
    x

    Coming Of Age

    Call it a generous fluency, an affable virtuosity. Call it a true band spirit. The best bands have all had something that can't be forced: A refined mastery of music and a willingness to converse through music. That's what you hear, above all, on bassist Ben Williams' sophomore recording, Coming of Age: The sound of a musician who's cultivated an authentic rapport with some of the best young players in New York City.


    We have these group texts that we send to each other all the time," Williams says of his band, Sound Effect. "We're just as entertaining to each other off stage as on. If there were ever a reality show about jazz, we'd be good candidates for it!"


    Coming of Age for the 30-year-old Williams means playing a lively role among his peers and a vital part in the music world at large. After winning the prestigious Monk Institute Competition in 2009, Williams got busy turning his youthful promise into real achievement. "My career as a bandleader and composer started from the moment I won," he says. "I had this opportunity to say something-and an obligation, too." In 2011 Williams delivered a debut album, State Of Art, to great critical acclaim and toured widely as a bandleader with Sound Effect. He became a sought after and beloved sideman, playing so many sets at one year's Winter Jazzfest that he rarely left the stage. Most impressively, he assumed a highly-coveted place in guitarist Pat Metheny's Unity Band. "Ben has a fearless and open-minded approach to what music can be," Metheny has said. "A wonderful combination of skills."


    For all his strides in bandleading and performing, on the track Coming of Age Williams shows his greatest growth as a composer. "Composing seems like a nebulous thing," he says. "But the ability to translate a feeling into actual music, takes a lot of doing it, a lot of practice. Which chord is going to invoke this feeling? What's the best key for this idea?" And Williams has some big ideas and feelings to convey, necessitating heavy skill in musical translation and storytelling. On "Toy Soldiers," for example, a martial rhythm and chantlike riff send a message about the sacrifices of war. He wrote the uplifting "Strength And Beauty" on the day of the 2012 Newtown school shooting.


    "The tragic news hit me hard, and this tune came to me as a way of feeling my way through the tragedy. The title was inspired later, when I saw how [jazz saxophonist] Jimmy Greene and his family responded to losing their daughter at Newtown. Their pain is something most of us can't even imagine, but the way Jimmy held it together and became a beacon of light and true strength was an inspiration to everyone."


    Williams takes a page from the Miles Davis school of bandleading by encouraging his band members to compose in the studio, too. For the R&B tribute anthem "Voice of Freedom (for Mandela)," Williams enlisted the smooth soulfulness of singer-songwriter Goapele-and then headed in to record the song with a characteristically open mind. In the studio, saxophonist Marcus Strickland contributed an on-the-spot horn arrangement with the sunny harmony of a South African choir.


    As much as Williams writes in response to politics and current events, his compositions are a respectful celebration of the musical past, too. The driving samba rhythms of "Forecast" are an homage to the jazz fusion group Weather Report, with the tune's melody inspired by Wayne Shorter's "Over Shadow Hill Way." Williams's fluid fretless grooves on "Half Steppin'" recall Jaco Pastorius's "Teen Town."


    Williams sees covers of pop tunes as a bestowal to the jazz canon. "I always like to contribute new repertoire to the jazz songbook," says Williams. "For me it's very important to shout out all the young, new songs coming out." His gift on this album is a moving instrumental version of Lianne La Havas' breakup ballad "Lost & Found." Guest trumpeter Christian Scott communicates the contained heartache of La Havas's song lyrics, with a lightly arranged string quartet adding the right amount of solace.


    Coming of Age concludes with the sweeping title tune, a showcase for Williams's broad stylistic range. "I wanted 'Coming of Age' to feel big," he says. "I was thinking of it in movements, as a kind of mini-symphony." In the final section of "Coming of Age," Williams picks up a bow for the only time on the record, filtering the sound to other worldly but soulful effect. "The vibe I was going for at the end was Prince," Williams says. "I wanted it to feel sonically transformed, tripped out." It's an auspicious end to an accomplished sophomore recording, with Williams' bowed strings sauntering off into the stars to explore for the next album.


    Whatever comes next for Ben Williams, it's sure to be as engaging as it is virtuosic. As an artist who's come of age, Williams' raw talent has evolved into musical grace, conviction, and power. He's a musician in meaningful dialogue with his band Sound Effect, with current events, with musical styles past and present, and finally, with his listeners.


    "My favorite thing is when someone comes up to me who's heard my music and they're singing one of my tunes," Williams enthuses. "Humming a melody! That's the best feeling in the world, when one of my tunes has stuck in someone's head."

    1. Black Villain Music
    2. Voice of Freedom (for Mandela) featuring Goapele
    3. Toy Soldiers
    4. Lost & Found
    5. Half Steppin'
    6. Smells Like Teen Spirit
    7. Toy Soldiers (Reprise)
    8. Coming of Age
    Ben Williams
    $21.99
    Vinyl LP - Sealed Buy Now
  • This Mother's Daughter (Pure Pleasure) This Mother's Daughter (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    This Mother's Daughter (Pure Pleasure)

    This Mother's Daughter remains the most soulful record cut by Nancy Wilson during her Capitol tenure -- producer Eugene McDaniels proves an inspired if surprising choice to helm the session, and his subtle but ingenious jazz-funk flourishes are essential to the project's immediacy and appeal. McDaniels couches Wilson in settings as smooth and rich as velvet, crafting a series of mellow, gently propulsive grooves that flirt with contemporary soul but pay heed to the singer's roots in jazz. Wilson responds with a performance that's sophisticated yet saucy, commanding the spotlight with an intensity that's missing from her lesser Capitol efforts.



    Musicians:



    • Nancy Wilson (vocal)

    • Blue Mitchell (fluegel horn)

    • Hugh McCracken, Jeff Miranoy (guitar)

    • Dave Gruisin, George Duke (piano, organ)

    • Chuck Rainey (bass)

    • Steve Gadd (drums)

    • Oliver Brown (percussion)



    Recording: 1976 at The Record Plant, Los Angeles, by Phil Boogie Schier

    Production: Eugene Daniels



    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. From You To Me To You
    2. Love Has Smiled On Us
    3. I Don't Want A Sometimes Man
    4. Tree Of Life
    5. China
    6. Now
    7. This Mother's Daughter
    8. He Never Had It So Good
    9. When We Were One
    10. Stay Tuned
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sweetenings (Pure Pleasure) Sweetenings (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sweetenings (Pure Pleasure)

    Harry 'Sweets' Edison, a smooth and suave trumpeter, was a cohort of orchestra leader Count Basie, a favourite of bandleader Nelson Riddle, and a noted backup artist for the most prominent vocalists of his time. Edison, with his energetic yet reticent blowing style, bridged a genre gap between the early classic jazz sound of Louis Armstrong and modern bebop modes. Edison, who played equally well in both styles, had a special talent for sustaining his trumpet notes and injecting each single tone with expression and soul never heard before or after.


    The special quality of his trumpet playing earned him the nickname 'Sweets' because of the sweetness of the tones. Likewise his ability to control the tone of his trumpet brought him to the forefront as a session musician, playing accompaniments for the most respected vocalists of his time.


    Edison was a true pioneer of jazz. An old-time homespun boy, born in Columbus, Ohio, he never knew with certainty even the year of his birth. According to his best knowledge, he was born in 1919, although some sources list the date as early as 1915. Edison knew even less about his own father, a Native American of the Hopi (Apache) tribe and a drifter who stayed only a few weeks with Edison's mother before taking to the road and was rarely heard from afterward. Edison spent his early years with an uncle, who was a coal miner and a farmer, in Louisville, Kentucky. It was Edison's uncle who taught the boy to play the pump organ and to play scales on an old cornet. Edison, who also listened to his uncle's records, was especially inspired by the music of Louis Armstrong and Bessie Smith.


    Harry Sweets Edison added something special to any date in which he took part, but these 1958 sessions he led for Roulette are especially enjoyable. Joined by either Jimmy Jones or Kenny Drew on piano and Joe Benjamin or John Simmons on bass, along with tenor saxophonist Jimmy Forrest and drummer Charlie Persip, Edison's trumpet swings effortlessly through a batch of standards and originals.


    The loping blues Centerpiece became a classic jazz composition, recorded by numerous jazz artists, but this was its debut appearance on LP. Jive at Five dates from his years with Count Basie and finds the band sticking to an accompanying role in this swinging but brief arrangement. Edison utilizes a mute in the gently swinging Louisiana, while he showboats just a bit in a brief take of It Happened in Monterey. While this record might have offered a little more variety by giving solo space to some of the talented sidemen present, this long out of print LP is well worth acquiring.



    Musicians:



    • Harry Edison (trumpet)

    • Jimmy Forrest (tenor saxophone)

    • Jimmy Jones (piano)

    • Joe Benjamint (bass)

    • John Simmons (bass)

    • Charlie Persip (drums)



    Recording: November 1958 in New York
    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. Centerpiece
    2. Candy
    3. Jive At Five
    4. Imagination
    5. Louisana
    6. Harriet
    7. It Happened In Monterey
    8. If I Had You
    9. Paradise
    10. Indiana
    11. Pussy Willow
    12. Sweetenings
    Harry Sweets Edison
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nightfly Nightfly Quick View

    $26.99
    Buy Now
    x

    Nightfly

    Originally released in 1982, The Nightfly is the critically acclaimed debut solo album from Steely Dan co-founder Donald Fagen. Produced by Gary Katz and engineered by Roger Nichols, both of which had worked on every Steely Dan record up to this point, the lush and romanticized 8-song set remains in the signature smooth pop-jazz vein of his famous band and features blatantly autobiographical themes concerning Fagen's suburban adolescence growing up in the late '50s/early '60s. Nominated for several Grammy Awards including Album Of The Year, The Nightfly was certified Platinum in both the US and the UK thanks to the album's duo of hits in I.G.Y. and New Frontier. 180g vinyl in Stoughton single-pocket paper-wrapped jacket with lyric insert at Furnace/Record Industry.
    1. I.G.Y.
    2. Green Flower Street
    3. Ruby Baby
    4. Maxine
    5. New Frontier
    6. The Nightfly
    7. The Goodbye Look
    8. Walk Between Raindrops
    Donald Fagen
    $26.99
    140 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • 1
  • 2
Go to top