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  • Mister Guitar (Speakers Corner) Mister Guitar (Speakers Corner) Quick View

    $34.99
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    Mister Guitar (Speakers Corner)

    At a time when rock 'n' roll-crazy teenagers in the USA and elsewhere were dancing their feet off to the beat of Elvis Presley and Bill Haley, probably no one was interested as to where this music actually originated. The focal point of the folk movement was Tennessee: it was here that everyone came who had used their grandfathers' songs and fiddle tunes to create the pop-oriented Nashville Sound, a sound which became American music's trademark and export hit.



    Chet Atkins is one of the people who helped to create this special sound and who kept an Argus-eyed watch on its originality and development. In addition to the recordings he made in his own studio, he was also a producer and studio guitarist for RCA.



    This album features Chet Atkins as "Mister Guitar", who - as a soloist - only allowed a small and highly discreet rhythm group to accompany him. The result is a refreshingly pure and unadulterated steel-string sound without frills and padding and so has little in common with the commercial country music of the masses. With his relaxed, technically perfect and highly variable playing technique, Atkins shows us what the New World has to offer in the way of folk music: highly melodic numbers which delight the ear with the simplest of means.





    Musicians:



    • Chet Atkins (guitar) and band




    Recording: 1959 in Nashville, Tennessee, by Bob Farris and Bill Porter

    Production: Chet Atkins




    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. I Know That You Know
    2. Rainbow
    3. Hello Bluebird
    4. Siesta
    5. Country Style
    6. Show Me The Way Go Home
    7. Im Forever Blowing Bubbles
    8. Backwoods
    9. Country Gentleman
    10. Slinkey
    11. Jessie
    12. Concerto In C Minor
    Chet Atkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • And His Mother Called Him Bill (Speakers Corner) And His Mother Called Him Bill (Speakers Corner) Quick View

    $34.99
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    And His Mother Called Him Bill (Speakers Corner)

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



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



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






    Musicians:



    • Duke Ellington (piano)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Clark Terry (fluegel horn)

    • Lawrence Brown, Chuck Connors (trombone)

    • Johnny Hodges (alto saxophone)

    • Russell Procope (alto saxophone, clarinet)

    • Jimmy Hamilton (tenor saxophone, clarinet)

    • Paul Gonsalves (tenor saxophone)

    • Aaron Bell (bass)

    • Steve Little (drums)




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

    Production: Brad McCuen





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

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

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

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

    $34.99
    Buy Now
    x

    Round About Midnight (Speakers Corner)

    At long last these early recordings, which Miles Davis set down for the Columbia label in 1955 and 1956, are available on LP again. And what is more, they were made without any alternate takes or second attempts, as is the custom these days.



    You can sit back and enjoy the six numbers in the order which the producer, probably in conjunction with Davis, decided upon. To be sure, all of the titles are well known and have been played a thousand times over in many different versions. But what this Quintet (and here each and every individual musician is meant!) produces as regards inventiveness, thrilling improvisations and artistry is absolutely top notch. Davis's vibrato-less sound is taken over seamlessly by John Coltrane - wonderfully demonstrated in the middle of Bye, Bye Blackbird, while Paul Chambers' showpiece is Ack VÄrmeland du sköna (aka Dear Old Stockholm). In the years 1955/56, bebop was the talk of the day, born witness to by the classics Tadd's Delight by Tadd Dameron and Ah-Leu-Cha by Charlie Parker. Here, however, the improvised melodic strands are more moderate, pointing the way to the style that later became known as modal jazz.



    Although 'Round About Midnight as an album does not enjoy the reputation of Kind Of Blue, this Columbia recording contains many gems which are well worth hearing.



    Musicians:



    • Miles Davis

    • John Coltrane (tenor saxophone)

    • Red Garland (piano)

    • Paul Chambers (bass)

    • Philly Joe Jones (drums)




    Recording: October 1955, June and September 1956 at Columbia's 30th Street Studio, New York

    Production: George Avakian




    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. Round Midnight
    2. Ah-Leu-Cha
    3. All Of You
    4. Bye Bye Blackbird
    5. Tadds Delight

    6. Dear Old Stockholm
    Miles Davis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cool Cat Blues (Pure Pleasure) Cool Cat Blues (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Cool Cat Blues (Pure Pleasure)

    At last! ... British blues legend Georgie Fame finally has his Magnum Opus committed to the stuff we all love.



    Contained within is a collection of Blues, Jazz and R&B standards mixed with some originals. This musicians' musician is backed by a world class band including Steve Gadd, Robben Ford, Richard Tee, Will Lee, Ralph MacDonald, Hugh McCracken and an uber horn section. Fame's classy, economic Hammond and great voice inspires superb duets with Bozz Scaggs and Richard Tee. Van Morrison, Fame's erstwhile boss, joins him on Moondance and one of his heroes, Jon Hendricks, aids him to fly through Little Pony. There is a slowed down, super sexy Yeah,Yeah and a blistering take on Willie Dixon's I Love The Life I Live. If you like Brother Ray, Mose Allison, Hoagy Carmichael, Van the Man, Peggy Lee and Lambert, Hendricks & Ross then you'll love this.



    On an audiophile note, this studio album from 1990 was recorded 'live' with most tracks done in one or two takes, no overdubs and entirely in the analogue domain. A great album, beautifully recorded, finally done justice on two slabs of 180g by Pure Pleasure.




    Musicians:



    • Georgie Fame (vocal, piano, organ)

    • Van Morrison (vocal)

    • Bob Malach (saxophone)

    • Richard Tee (piano, organ)

    • Michael Weiss (piano)

    • Ben Sidran (vocal, tambourine)

    • Robben Ford (guitar)

    • Dennis Irwin, Will Lee (bass)

    • Steve Gadd (drums)

    • Ralph MacDonald (percussion)




    Recording: 1990 at Skyline Studios, New York City, by James Farber

    Production: Ben Sidran




    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. Cool Cat Blues
    2. Every Knock Is a Boost
    3. Moondance
    4. It Should Have Been Me
    5. Yeah Yeah
    6. I Love the Life I Live, I Live the Life I Love
    7. Big Brother
    8. Georgia on My Mind
    9. Cat's Eyes
    10. You Came a Long Way from St. Louis
    11. Survival
    12. Little Pony
    13. Rocking Chair
    Georgie Fame
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Iberia, Danzas Fantasticas (Speakers Corner) Iberia, Danzas Fantasticas (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Iberia, Danzas Fantasticas (Speakers Corner)

    As in numerous other works by Spanish composers, Isaac AlbÉniz's aim in his Iberia Suite was to portray the landscape and express the zest for life which is so abundant in southern countries. Infused with folkmusic elements, the suite is introduced by the dancelike Evocación which vividly evokes a picture of Iberia. The lush, extravagant harmonies and the stark contrasts of the dynamics in particular - from the softest pianissimo to the extreme fortissimo - certainly whet one's appetite. Don't worry - Spain has a lot to offer! The next movement, El Corpus en Sevilla transports us to Andalusia where a solemn procession is taking place to celebrate the feast of Corpus Christi. This is followed by a sparkling Triana in which the various complex and brilliant rhythms of the national dances Almería, Rondeña and Fandango are ingeniously combined. And the two movements El puerto and El Albaicín are no less exciting: the first presents a rich potpourri of types of Spanish songs, while the second - held in the minor key - conjures up a picture of Granada's gypsy quarter.



    Turina's Danzas fantásticas are noted for their sumptuous orchestration and marked rhythms. A better choice to round off this first-class recording, dedicated to Spanish tradition, is almost impossible to imagine.





    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: Mai 1960 at Victoria Hall, Geneva by Roy Wallace

    Production: James Walker





    About Speakers Corner



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



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



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



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



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



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



    This title is not eligible for discount.

    1. Evocación (Iberia)
    2. El Corpus en Sevilla (Iberia)
    3. Triana (Iberia)
    4. El Puerto (Iberia)
    5. El Albaicín (Iberia)
    6. Exaltación (Fantásticas)
    7. Ensueño (Fantásticas)
    8. Orgia (Fantásticas)
    Issac Albeniz
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Date With Elvis (Mono) (Speakers Corner) A Date With Elvis (Mono) (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    A Date With Elvis (Mono) (Speakers Corner)

    Good products are worth their weight in gold when times are a little harsh - and this album was certainly a genially placed stopgap. In 1959, at the time when RCA launched this record on the market, the label's shining rock star was out of the country doing his military service in good old Germany. In order to comfort all his fans during his forced absence, the record bosses produced an album with a smartly uniformed Elvis on the cover, smiling widely to let his faithful followers know that he'd be back soon. There was a special calendar too, so that his fans could count off the days until his return. This marketing ploy was extremely successful. The record became a highly desirable collector's item and even years later illegal dollars still flowed from pirate copies.
    The RCA producers kept mum about when and where the tracks were recorded. But who cares about that when listening to Elvis giving the 'blue grass' classic Blue Moon Of Kentucky his unmistakable, rockabilly sound? The other titles, all of them performed by a well-proven ensemble of rock-'n'-roll musicians, are filled with the honest, powerful language of the young - or from today's viewpoint, old - Elvis. Which takes us back full circle to the date. What better way is there to celebrate the 50th birthday of rock-'n'-roll than with this early album by its 'King'?





    Musicians:



    • Elvis Presley (guitar, vocal)

    • Scotty Moore (guitar)

    • Bill Black (bass)

    • D.J. Fontana (drums)

    • The Jordanaires (vocal)




    Recording: July 1954 at Memphis Recording Service, Memphis, Tennessee (USA), and other venues till 1957

    Production: Sam Phillips




    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Blue Moon of Kentucky Monroe 2:05
    2. Young and Beautiful Schroeder, Silver 2:07
    3. (You're So Square) Baby I Don't Care
    4. Milk Cow Blues Arnold 2:38
    5. Baby Let's Play House Gunter 2:18
    6. Good Rockin' Tonight Brown 2:12
    7. Is It So Strange Young 2:32
    8. We're Gonna Move Matson, Presley 2:31
    9. I Want to Be Free Leiber, Stoller 2:16
    10. I Forgot to Remember to Forget 2:27
    Elvis Presley
    $34.99
    180 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Concerto for Piano and Orchestra No. 1 (Speakers Corner)

    The performance history of Beethoven's Piano Concertos is, it appears, bound up with a paradoxical situation. On the one hand, every great pianist must almost feel destined to perform these works at least once in his lifetime. But on the other hand, so many heroes of the schellac era have left future generations their excellent recordings that these are filled with awe and respect, their otherwise nimble fingers become lame - and often only a mediocre recording is the result.



    The present recording, a milestone among the multitude of televised recordings made in they heyday of analogue recording technique, is highly impressive for its depth of musical focus, even without any visual support. Benedetti Michelangeli's performance is a far cry from sugar-sweet pedaling and showy virtuosity, rather he displays a highly individual understanding of the intricately constructed musical material. Each phrase blossoms out to become a unique event in time composed. The soloist and the excellent orchestra here give a performance which sums up all Beethoven's famous compositions and in which the pianist's amazing sensitivity penetrates even the smallest detail.



    Musicians:



    • Arturo Benedetti Michelangeli (piano)
    • The Vienna Symphonic Orchestra

    • Carlo Maria Giulini (conductor)



    Recording: September 1979 at Musikverein, Grosser Saal, Vienna by Klaus Hiemann

    Production: Cord Garben



    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Beethoven: Emperor; Concerto No. 5 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Beethoven: Emperor; Concerto No. 5 (Speakers Corner)

    The Concerto No. 5 in E flat major for Piano and Orchestra, composed in 1809 at the time of Napoleon's siege and occupation of Vienna, was Ludwig van Beethoven's last work in this form. The heroic optimism at the heart of the Concerto finds expression in the majesty of its design and the innovative virtuosity of the solo part. The dialect between piano and orchestra creates an electric atmosphere of brooding depth and sweeping grandeur. Beethoven's choice of key, the E-flat major, was not arbitrary but gave voice rather to the wild pathos in his own soul.



    Clifford Curzon's interpretation of the score is intelligent and refined, his execution characterized by introspective discipline.



    The exemplary interplay between Curzon and Hans Knappertsbusch evokes the chiaroscuro latent in each of the Emperor's three movements. The Vienna Symphony Orchestra displays its customary brilliance throughout.



    This DECCA recording, one of the very earliest in stereo, is convincing both musically and tonally. More than a document, it is a milestone in musical history.





    Musicians:



    • Sir Clifford Curzon

    • Vienna Philharmonic Orchestra

    • Hans Knappertsbusch (conductor)




    Recording: June 1957, Sofiensaal, Vienna by Gordon Parry

    Production: Erik Smith




    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. First Movement - Allegro
    2. Second Movement: Adagio Un Poco Mosso
    3. Third Movement: Rondo (Allegro)
    Ludwig Van Beethoven
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Beethoven: Symphony No. 9 (Speakers Corner) Beethoven: Symphony No. 9 (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Beethoven: Symphony No. 9 (Speakers Corner)

    It was clear from the start that Beethoven's Ninth Symphony, with its air of solemnity in the final chorus, which calls for brotherly love just as the New Year comes in, would become a musical part of our world's cultural legacy. Hundreds of minds, Beethoven researcher Karl Nef prophesied, have been set in motion by this music in the most varied ways, and it will continue not only to bestow pleasure upon countless thousands, but also to stimulate mental life right at the most fundamental level.



    There are certainly only a very few truly cerebral interpretations which stand out from the fathomless mass of recordings. One of those upon which "The Absolute Sound" journal has stamped its coveted seal of approval is the recording with Georg Solti and his perfectly honed symphony musicians from Chicago. Here, this usually somewhat daring baton-wielder plumbs the very depths of the score and allows Beethoven's rich abundance of ideas to ferment into a great whole.



    The four soloists prove their worth as first choice for the richly detailed and balanced synopsis of this fissured work. They captivate us as much in the solo as in the group singing with their natural and expressive intonation. The dry, very present sound highlights the fact that this is an artistic performance at the highest level.




    Musicians:



    • Pilar Lorengar, Stuart Burrows, and other soloists

    • The Chicago Symphony Chorus & Orchestra

    • Sir Georg Solti (conductor)




    Recording: May 1972 in the Krannert Centre of the University of Illinois, Chicago, by Kenneth Wilkinson and Gordon Parry

    Production: David Harvey



    Format: 2LPs 33rpm / gatefold sleeve



    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Ludwig Van Beethoven
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Berlioz: Symphonie Fantastique - Argenta (Speakers Corner) Berlioz: Symphonie Fantastique - Argenta (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Berlioz: Symphonie Fantastique - Argenta (Speakers Corner)

    Behind the mysterious title Symphonie fantastique is to be found what was undoubtedly one of the most powerful musical compositions of its day. The highly controversial discussions which this autobiographical, extraordinary work provoked are quite understandable when one considers that Beethoven and Schubert had just put down their quills for the last time and that Wagner had only just left his childhood behind him. In commenting upon the daring cyclical structure of the work, one French music critic said, "In Berlioz's Symphony we believe that we have seen the prelude to a revolution in instrumental music".



    In spite of being acknowledged and praised as a composer, Berlioz was never given the professorship he coveted at the Paris Conservatoire, and it might appear as if the renowned Conservatoire Orchestra was making its apologies for this in the present excellent recording. The various scenes of the intoxicating programme music are approached with daring; dreadful, macabre ideas are presented in a low, gloomy and dark timbre until finally a heroic attitude comes to the fore, accompanied by thundering drum rolls, when the death sentence is pronounced. Fantastique!





    Musicians:



    • Paris Conservatoire Orchestra

    • Ataúlfo Argenta (conductor)




    Recording: November 1957 at Maison de la MutualitÉ, Paris by Ken Cress

    Production: James Walker




    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. First Movement: Reveries, Passions

    2. Second Movement: Un Bal
    3. Third Movement: (Sceneaux Champs)
    4. Third Movement: (Sceneaux Champs)
    5. Fourth Movement: Marche Au Supplice
    6. Fifth Movement Song D'Une Nuit De Sabbat
    Ataulfo Argenta
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bizet - Carmen Fantasy (Speakers Corner) Bizet - Carmen Fantasy (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bizet - Carmen Fantasy (Speakers Corner)

    Some violinists enrapture their audience with their purity of tone, others with their warm timbre, or their amazing technical virtuosity. Pablo de Sarasate y NavascuÉz was one of the very few violinists who combined all these merits, and in addition was a composer in his own right. The most famous of his 50 works are Zigeunerweisen, based on traditional gypsy folklore and the fiendishly difficult Carmen Fantasy.



    And what better proof is there than Saint-Saëns's Rondo capriccioso that it is perfectly possible to unite high-spirited joyfulness with a minor key. As the name suggests, his Havanaise is filled with the melodies and colourful rhythms of Spain: no wonder this piece is known as "the violinists' warhorse".



    It goes without saying that these 19th-century bravura pieces are an absolute "must" for all those who wish to join the annals of great virtuoso violinists. And today, 40 years after the making of this recording, general consensus has it that Ruggiero Ricci has taken his rightful place among the great virtuosos.





    Musicians:



    • Ruggiero Ricci (violin)

    • London Symphony Orchestra

    • Pierino Gamba (conductor)




    Recording: September 1959 at Kingsway Hall, London by Alan Reeve

    Production: James Walker





    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Ruggiero Ricci
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Child Is The Father To The Man (Speakers Corner) Child Is The Father To The Man (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Child Is The Father To The Man (Speakers Corner)

    Ranked 264/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Import

    There'll be disappointment in store for those who expect to hear the voice of David Clayton-Thomas when listening to the present Blood, Sweat & Tears LP, Child Is Father To The Man. Experts will know however that on the group's very first album they will get to hear the excellent Al Kooper. The man is far more than a singer, for he not only plays the piano and various other keyboards but has also composed almost all the numbers and made the arrangements for the string ensemble. Bluesy pieces such as I Love You More and I Can't Quit Her and the vocals from Kooper are the real gems here. The amalgamation of pop, classic and jazz, which was made so popular in the Sixties by such groups as Chicago Transit Authority, Colosseum and Soft Machine, is here combined by Blood, Sweat & Tears with the acid-folk-rock mix emanating from San Francisco.
    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Overture
    2. I Love You More Than You'll Ever Know
    3. Morning Glory
    4. My Days Are Numbered
    5. Without Her
    6. Just One Smile
    7. I Can't Quit Her
    8. Meagan's Gypsy Eyes
    9. Somethin' Goin' On
    10. House in the Country
    11. The Modern Adventures Of Plato, Diogenes And Freud
    12. So Much Love/ Underture
    Blood, Sweat & Tears
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Borodin - String Quartet No. 2 / Shostakovich - Quartet No. 8 (Speakers Corner) Borodin - String Quartet No. 2 / Shostakovich - Quartet No. 8 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Borodin - String Quartet No. 2 / Shostakovich - Quartet No. 8 (Speakers Corner)

    Unlike his fellow countryman Tchaikovsky, it wasn't easy for Alexander Borodin to achieve the recognition due to him. As a professor of chemistry, Borodin found very little time for composing, but in spite of this he is considered one of the most important Russian symphonic composers of the 19th century. Borodin also created works for small ensembles; thanks to its beautiful, slow notturno, his String Quartet No. 2 is among the most important compositions in chamber music.



    Dmitri Shostakovich has often been honoured as one of the outstanding composers of this century. Shostakovich was devastated by the destruction of Dresden and the composition of the moving String Quartet No. 8 was his means of overcoming his war experiences. The intensity of this piece is augmented by the relaxed climax in the largo which brings his composition to a serene ending.
    The international career of the Moscow Philharmonic Quartet began in 1955 when it took on the honourable title "The Borodin Quartet". These 1962 recordings are masterly performances, full of great expressivity. Even the highest demands are met by the warm and full sonority.






    Recording: September 1962 at DECCA Studios, London by J. Clegg

    Production: E. Smith





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    The Borodin Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Borodin - Symphonies 2 & 3 (London) (Speakers Corner) Borodin - Symphonies 2 & 3 (London) (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Borodin - Symphonies 2 & 3 (London) (Speakers Corner)

    Anyone believing in the old adage that science and the fine arts do not mix must rethink his ideas when he becomes acquainted with Alexandr Borodin's biography and his music. The Russian professor of chemistry constantly stole time from his lectures in order to compose; it was musical elements and formulas rather than chemical ones that occupied him.



    Without a doubt, the Second Symphony in B minor best reflects Russian feeling and temperament. Its rather harsh and mechanical theme is contrasted first by a lively little song and later by a conciliatory second subject. Cheerful and soothing melodies are heard in ever new combinations until the main theme returns once again and the movement is brought to a powerful close. The Scherzo, with its throbbing horns, march rhythms and thrilling woodwinds, is equally electrifying. The contemplative Andante is followed by a highly explosive Finale based on two Russian dance melodies which are widely varied during the course of the music.



    Both old and new friends of Russian symphonic music are highly recommended to experiment in their own "sitting-room laboratories" with this musically and chemically pure vinyl pressing.



    Musicians:



    • Orchestre de la Suisse Romande

    • Ernest Ansermet (conductor)




    Recording: October / November 1954 at Victoria Hall, Geneva by Roy Wallace
    Production: James Walker





    About Speakers Corner



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms - Hungarian Dances (Speakers Corner) Brahms - Hungarian Dances (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms - Hungarian Dances (Speakers Corner)

    Fritz Reiner dedicated himself to the interpretation of works by modern composers such as Richard Wagner, Richard Strauss and BÉla Bartók, and it suited him well to tackle works such as Brahms's Hungarian Dances and Dvorák's Slavonic Dances. These lively compositions require a conductor whose interaction with the orchestra is vivacious and animated. Reiner always demanded utmost concentration and perfection from his ensemble. Under his baton, the Vienna Philharmonic Orchestra plays with enthusiasm and without restaint; no trace of a sterile concert atmosphere is found in this recording.



    Reiner's penchant for effects is not irritating, but rather adds highlights which support his highly musical interpretation, indeed one even forgets this trait when listening to the brilliant music.



    From a tonal point of view, the sound is beautifully balanced and reaches the highest standards despite its recording date of 1960 - or maybe just for that reason? The recording is characterized by its brilliance, warmth and vivacity with the result that listening becomes a true musical pleasure.





    Musicians:



    • Vienna Philharmonic Orchestra

    • Fritz Reiner (conductor)




    Recording: June 1960 at Sofiensaal, Vienna by James Brown

    Production: Erik Smith





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Brahms - Piano Concerto 1 (Speakers Corner) Brahms - Piano Concerto 1 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Brahms - Piano Concerto 1 (Speakers Corner)

    Brahms originally intended his Piano Concerto No. 1 as a symphony and he extensively reworked his ideas before setting down the work in the form as we know it today. The composer's original intentions still shimmer through however, for the work goes far beyond mere concertante playing and a display of virtuoso brilliance by the soloist. The first movement in particular, with its relentless, threatening main theme, embodies Brahms's dramatic symphonic writing and even a conciliatory secondary theme offers no relief for it too must give way to the heavy, fateful initial theme.



    The passionate and grandiose opening movement is followed by an Adagio full of tranquillity and quiet devotion; the solemn atmosphere is taken to exalted heights by the soloist and orchestra only to fade out pianissimo.
    Although the forceful, belligerent Finale occasionally conjures up the dark powers of the first movement, the work ends in a confident and cheerful vein.
    It is amazing how the sheer presence of the emotions in this composition have been captured on the present DECCA recording from 1962. This is not only true of the gripping interpretation but also of the recording itself which remains transparent and brilliant throughout.



    Musicians:



    • Sir Clifford Curzon (piano)

    • London Symphony Orchestra

    • George Szell (conductor)




    Recording: May/ June 1962 at Kingsway Hall, London by Kenneth E. Wilkinson
    Production: John Culshaw





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Brahms: Piano Concerto No. 1 in D minor Op. 15

    2. Maestoso

    3. Adagio

    4. Rondo: Allegro non troppo

    Johannes Brahms
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

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

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



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



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



    Musicians:



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

    • Jascha Horenstein and Paul Hindemith (conductor)




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

    Production: Erik Smith





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Jascha Horenstein conducts the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Straight Ahead (Pure Pleasure) Straight Ahead (Pure Pleasure) Quick View

    $34.99
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    Straight Ahead (Pure Pleasure)

    This is one of Abbey Lincoln's greatest recordings. It is a testament to the credibility of her very honest music (and her talents) that Lincoln's sidemen on this date include the immortal tenor saxophonist Coleman Hawkins who takes a memorable solo on Blue Monk), Eric Dolphy on flute and alto, trumpeter Booker Little (whose melancholy tone is very important in the ensembles), pianist Mal Waldron , and drummer Max Roach. Highpoints include When Malindy Sings, Blue Monk, Billie Holiday's Left Alone, and African Lady.



    Abbey Lincoln and Max Roach were married in 1962, an association that lasted until 1970. They worked together for a while but Lincoln (who found it harder to get work in jazz due to the political nature of some of her music) became involved in acting and did not record as a leader during 1962-1972. She finally recorded for Inner City in 1973 and gradually became more active in jazz. Her two Billie Holiday tribute albums for Enja (1987) showed listeners that the singer was still in her prime and she has recorded several excellent sets for Verve in the 1990s. Because she puts so much thought into each of her recordings, it is not an understatement to say that every Abbey Lincoln set is well worth owning.




    Musicians:



    • Abbey Lincoln (vocal)

    • Eric Dolphy (piccolo-flute, bass clarinet, alto saxophone)

    • Walter Benton, Coleman Hawkins (tenor saxophone)

    • Booker Little (trumpet)

    • Julian Priester (trombone)

    • Mal Waldron (piano)

    • Art Davis (bass)

    • Max Roach (drums)

    • Roger Sanders, Robert Whiteley (conga)




    Recording: February 1961 at Nola Penthouse Studios, New York City




    About Pure Pleasure



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Straight Ahead
    2. When Malinda Sings
    3. In the Red
    4. Blue Monk
    5. Left Alone
    6. African Lady
    7. Retribution
    Abbey Lincoln
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Felix Beloy: Baila Mi Son (Pure Pleasure) Felix Beloy: Baila Mi Son (Pure Pleasure) Quick View

    $34.99
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    x

    Felix Beloy: Baila Mi Son (Pure Pleasure)

    Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest soneros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.



    Felix Baloy has been singing for more than 40 years which means he has waited a long time to make his first solo album. One of Cuba's outstanding soneros with a unique timbre, the opportunity came about after he met Tumi Music founder Mo Fini in Havana in 1995 when Baloy sang on the label's splendid four CD set Las Leyendas de la Musica Cubana as part of the Cuban All Stars with Orquesta Amèrica.



    There's an absolute joy about this record, and Baloy proves himself worthy of all the praise that's been heaped on him in Cuba, as capable of gliding through the cha cha of Van a Bailar el Cha Cha Cha, with its prim strings, as the rawer bolero of El Mal de la Hipocresia. The arrangements frame his voice wonderfully, too, as on the rich bolero cha of Los Es Todo Tu Amor, with its glistening flute solo. Baloy does himself proud, and Gonzalez gives him a band to remember behind him, some crystal clear production, and songs any singer would love to sing. Nigh on perfect.



    Musicians:



    • Juan de Marcos Gonzalez (director)

    • Felix Baloy (vocal)

    • Teresa Garcia Caturla (vocal)

    • Javier Zalba (bassoon)

    • Yanko Pizaco (trumpet)

    • Daniel "El Gordo" Ramos (trumpet)

    • Alberto "Molote" Munoz (trombone)

    • Antonio Sesma (trombone)

    • David Alfaro (piano)

    • Ricardo Munoz (bass)

    • Rolando "El Nino" Salgado (percussion)



    Recording: 2000 in ICAIC Studios and DM Ahora Studios, Havana, Cuba, by Alain Martinez de la Torre

    Production: Juan de Marcos Gonzalez




    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Baila mi son
    2. Mami te Gusto
    3. Yo Soy el del sentimiento
    4. DespuÉs de esta noche
    5. El mal de la hipocresía
    6. Ven a bailer cha cha cha
    7. Cada vez que te veo
    8. Lo es todo to amor
    9. El son de Baloy
    10. Misericordia, no aguanto
    Afro-Cuban All Stars
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dvorak - Symphony 5 - New World (Speakers Corner) Dvorak - Symphony 5 - New World (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Dvorak - Symphony 5 - New World (Speakers Corner)

    Dvorák's long experience with classical forms finds its culmination in his final symphony, whose first performance took place in New York in 1893. The work still enjoys an unwaning popularity thanks to its finely contoured orchestration and its original themes, all of which are based on American folksongs and negro spirituals.



    To capture Dvorák's score in sound has always proved a challenge for both orchestra and recording team. This aim has been more than fulfilled in the present recording with the Vienna Philharmonic Orchestra led by István KertÉsz: the primeval power of the weighty brass, the glorious revelling of the strings, and the lyrical solo passages are all captured here. Musicianship of the highest degree combined with audio-technical perfection lend this recording, made in the early days of stereophony, the status of an historical sound document which, despite numerous other recordings, has no reason to fear competition.





    Musicians:



    • Vienna Philharmonic Orchestra

    • Istvan KertÉsz (conductor)




    Recording: March 1961 at Sofiensaal, Vienna by James Brown

    Production: Ray Minshull





    About Speakers Corner



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    Istvan Kertesz with Vienna Philharmonic
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mr. Bechet (Pure Pleasure) Mr. Bechet (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Mr. Bechet (Pure Pleasure)

    Budd Johnson didn't do much recording as a leader, so this French studio date is particularly valuable. He's reunited with Earl Hines, with whom he played during three stints between 1932-1942; they're joined by drummer Panama Francis and bassist Jimmy Leary. The title track is an original tribute to the king of soprano saxophonists, Sidney Bechet. Though it was his second instrument, Johnson delivers a powerful solo with his own unique tone. He's back to tenor sax for the bluesy Am I Wasting My Time? and clearly enjoys himself on Hines' romping Linger Awhile. Like all of Budd Johnson's releases, this LP is strongly recommended.



    Musicians:



    • Budd Johnson (tenor saxophone, soprano saxophone)

    • Earl Hines (piano)

    • Jimmy Leary (bass)

    • Panama Francis (drums)



    Recording: July 1974 at the Seed Studio in Vallauris, France, by Gerhard Lehner




    About Pure Pleasure



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Blues For Sale
    2. Gone With The Wind
    3. If You were Mine
    4. Am I Waisting My Time
    5. The Dirty Old Man
    6. Linger Awhile
    7. Mr Bechet
    Budd Johnson & Earl Hines
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Going Back To Acoustic (Pure Pleasure) Going Back To Acoustic (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Going Back To Acoustic (Pure Pleasure)

    Originally issued in France on Isabel Records 900.510 under the title "Going Back" this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set. The results stand in stark contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string guitars, and lays down rootsy acoustic rhythms for Wells's tasteful harmonica lines. The two share vocal duties on the performances as they pay homage to the rural, country blues roots these modern bluesmen share.



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Junior Wells (harmonica, vocal)



    Recording: May 1981 at Sysmo Studio, Paris
    Production: Didier Tricard




    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Boogie Chillen
    2. Im In The Mood
    3. Dont Leave Me
    4. Give Me My Coat And Shoes

    5. Medley:Baby What You Want Me To Do/Thats Allright
    6. Big Boat(Buddy and Juniors Thing)
    7. High Heel Sneakers
    8. My Home Is In The Delta
    9. Wrong Doing Woman
    10. Diggin My Potatoes
    Buddy Guy & Junior Wells
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Charles Mingus Presents Charles Mingus (Pure Pleasure) Charles Mingus Presents Charles Mingus (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Charles Mingus Presents Charles Mingus (Pure Pleasure)

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




    Musicians:



    • Eric Dolphy (alto saxophone, bass clarinet)

    • Ted Curson (trumpet)

    • Charles Mingus (bass)

    • Dannie Richmond (drums)




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

    Production: Nat Hentoff




    About Pure Pleasure



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



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



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



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



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



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


    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Folk Forms, No. 1

    2. Original Faubus Fables

    3. What Love

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

    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Picture of Heath (Pure Pleasure) Picture of Heath (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Picture of Heath (Pure Pleasure)

    First released under the title "Playboys" in 1956 it was then re-released under the title "Picture Of Heath" in 1961 perhaps owing to the fact it carried the same name as a popular men's magazine.



    This was the third session together of the dynamic duo of Chet Baker and Art Pepper the previous two having been unequivocal successes. Baker and Pepper have an instinctual rapport that yields outstanding interplay.



    These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.



    Musicians:



    • Chet Baker (trumpet)

    • Art Pepper (alto saxophone)

    • Phil Urso (tenor saxophone)

    • Carl Perkins (piano)

    • Curtis Counce (bass)

    • Lawrence Marable (drums)



    Recording: October 1956




    About Pure Pleasure



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



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



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



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



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



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



    and that the lacquer discs are newly cut.



    This title is not eligible for discount.

    1. Picture Of Heath
    2. For Miles And Miles

    3. C.T.A.
    4. For Minors Only
    5. Minor Yours
    6. Resonant Emotions

    7. Tynan Time
    Chet Baker & Art Pepper
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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