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American Folk Blues Festival 1964 (Pure Pleasure)
German jazz publicist Joachim-Ernst Berendt first had the idea of bringing original African-American blues performers to Europe. Jazz had become very popular, and rock and roll was just gaining a foothold, and both genres drew influences directly back to the blues. Berendt thought that European audiences would flock to concert halls to see them in person.
Promoters Horst Lippmann and Fritz Rau brought this idea to reality. By contacting Willie Dixon, an influential blues composer and bassist from Chicago, they were given access to the blues culture of the southern United States. The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985.
The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters, Howlin' Wolf, Willie Dixon, John Lee Hooker and Sonny Boy Williamson along with blues legends from an earlier period such as Sleepy John Estes, John Henry Barbee & Lightnin' Hopkins.
Attendees at Manchester in 1962, the first ever venue for the festival in Britain, included Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. Subsequent attendees at the first London festivals are believed to have also included such influential musicians as Eric Burdon, Eric Clapton, and Steve Winwood. Collectively these were the primary movers in the blues explosion that would lead to the British Invasion.
- Sonny Boy Williamson (vocal, harpsichord)
- Hubert Sumlin (guitar)
- Willie Dixon (bass)
- Clifton James (drums)
- Sunnyland Slim (vocal, piano)
- Sam Lightnin' Hopkins, Howlin' Wolf (guitar, vocal)
- Hammie Nixon (harpsichord, jug)
Recording: October 1964 live at Musikhalle Hamburg, Germany, by Peter Kramper
Production: Siegfried E. Loch
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. I'm Trying To Make London My Home
3. Everytime I Get To Drinkin'
4. Ain't It A Pity
5. Baby Please Don't Go
6. I'm A Tearing Little Daddy
7. Cotton Pickin' Blues
8. No Title Boogie
9. Slip In Mules
10. Dust My Broom$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
You wouldn't think that transporting one of Chicago's reigning piano patriarchs to Englewood Cliffs, NJ would produce such a fine album, but this 1960 set cooks from beginning to end. Sunnyland Slim's swinging New York rhythm section has no trouble following his bedrock piano, and the estimable King Curtis peels off diamond-hard tenor sax solos in the great Texas tradition that also mesh seamlessly.
-All Music Guide1. I'm Prison Bound
2. Slim's Shout
3. The Devil Is a Busy Man
4. Brown Skin Woman
5. Shake It
6. Everytime I Get To Drinking*
7. Decoration Day
8. Baby How Long
9. Sunnyland Special
10. Harlem Can't Be Heaven
11. It's You Baby
12. Tired of You Clowning*
*Bonus Tracks$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now