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  • Art Pepper + Eleven: Modern Jazz Classics Art Pepper + Eleven: Modern Jazz Classics Quick View

    $21.99
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    Art Pepper + Eleven: Modern Jazz Classics

    A true classic, Art Pepper + Eleven: Modern Jazz Classics finds altoist Art Pepper joined by an 11-piece band playing Marty Paich arrangements of a
    dozen jazz standards from the bop and cool jazz era. Trumpeter Jack Sheldon takes a few choice solos, but the focus is very much on Pepper who is in
    peak form, sounding quite inspired by Paich's charts- which feature the band as an active part of the music rather than just in the background. Highlights
    of this thoroughly enjoyable set include Move, Four Brothers, Shaw 'Nuff, Anthropology, and Donna Lee, but there is not a single clunker to be
    heard. This special vinyl reissue is essential music for all serious jazz collections.
    1. Move
    2. Groovin' High
    3. Opus De Funk
    4. 'Round Midnight
    5. Four Brothers
    6. Shaw 'Nuff
    7. Bernie's Tune
    8. Walkin' Shoes
    9. Anthropology
    10. Airegin
    11. Walkin' (Original Take)
    12. Donna Lee (Original Take)
    Art Pepper
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Jazz Messengers (Pure Pleasure) The Jazz Messengers (Pure Pleasure) Quick View

    $49.99
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    The Jazz Messengers (Pure Pleasure)

    The very first edition of Art Blakey's Jazz Messengers was unfortunately short-lived, and as excellent as they were collectively, it was the beginning of a trend for the members of this group to come and go. Unbeknown to Blakey at the time, he would become a champion for bringing talent from the high minor leagues to full-blown jazz-star status, starting with this band featuring Detroit trumpeter Donald Byrd, East coast tenor saxophonist Hank Mobley, and pianist Horace Silver, a jazz legend ever after. It's evident that although there is much cohesion in the group, Byrd's star was on the rise the fastest, and he would leave in a short period, replaced briefly by Clifford Brown, then Kenny Dorham. What is most remarkable in this first recording for the band is how several of these selections have become classic hard bop vehicles, revered and replayed by thousands of bands over time worldwide. Nica's Dream is the best known of them all, typical of the calypso beats Blakey favored at the time, with a singsong, hummable melody led by Byrd that is pure soul personified, and drenched in unrequited blues.


    Musicians:



    • Donald Byrd (trumpet)

    • Hank Mobley (tenor saxophone)

    • Horace Silver (piano)

    • Doug Watkins (bass)

    • Art Blakey (drums)




    Recording: April and May 1956 by Tony Janick at Columbia 30th Street Studio, New York City

    Production: George Avakiandeutsch




    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.

    Side A
    1. Infra-Rae

    2. Nica's Dream

    3. It's You or No One


    Side B
    4. Ecaroh

    5. Carol's Interlude

    6. The End of a Love Affair

    7. Hank's Symphony



    Side C
    8. Weird-O*
    9. Ill Wind*
    10. Late Show*


    Side D
    11. Deciphering The Message*
    12. Carol's Interlude


    *Bonus tracks not on original LP.

    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl LP -2 LPs Sealed Buy Now
  • The Bridge The Bridge Quick View

    $29.99
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    The Bridge

    180 Gram LP Mastered from the Original Master Tapes


    This 1962 Record Marks Rollins' Return After Taking a Voluntary Break to Refine His Playing


    How badly did Sonny Rollins want to refine his playing? The saxophonist shocked the world in 1959 and took a break, returning in 1962 with this splendiferous set, named after the Williamsburg Bridge, where he practiced by himself. He's paired here with guitarist Jim Hall, whose communicative lines, along with Rollins' esteemed solos and melancholy patterns, gives The Bridge lofty status. The quartet tackles both originals and standards such as Billie Holiday's God Bless the Child and Cole Porter's You Do Something to Me, turning up aces every time.


    Mastered from the original master tapes, ORG Music's 180 gram LP presents this Bluebird/RCA classic in the finest analog sound it's ever known. Everything from each of Rollins' dip-and-dive patterns to the patter of Ben Riley's drums is heard with extreme detail and range.

    1. Without a Song
    2. Where Are You?
    3. John S.
    4. The Bridge
    5. God Bless the Child
    6. You Do Something to Me
    Sonny Rollins
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Johnny Hodges With Billy Strayhorn Johnny Hodges With Billy Strayhorn Quick View

    $54.99
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    Johnny Hodges With Billy Strayhorn

    Mastered by George Marino at Sterling Sound


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    Recorded during the last decade of his long tenure with the Duke Ellington Orchestra, this album finds the great alto saxophonist Johnny Hodges' musical gifts not only intact but stronger than ever. Featuring the Ellington band - with Jimmy Jones on piano and Billy Strayhorn as bandleader and arranger - it is a fascinating program of Ellington remakes, including tome of the orchestra's most familiar numbers, all of which have been given subtle new orchestrations by Strayhorn and melodious new interpretations by Hodges.


    Recorded in 1961.


    Johnny Hodges, alto saxophone

    Billy Strayhorn, arranger, conductor, performer

    Cat Anderson, trumpet

    Shorty Baker, trumpet

    Aaron Bell, bass

    Bill Berry, trumpet

    Lawrence Brown, trombone

    Harry Carney, bass clarinet, baritone saxophone, bass saxophone

    Chuck Conors, bass trombone

    Paul Gonsalves, tenor saxophone

    Jimmy Hamilton, clarinet, tenor saxophone

    Quentin Jackson, trombone

    Jimmy Jones, piano

    Howard McGhee, trumpet

    Ed Mullens, trumpet

    Russell Procope, clarinet, alto saxophone

    Sam Woodyard, drums


    This title is not eligible for discount.

    1. Don't Get Around Much Anymore
    2. I've Got It Bad and That Ain't Good
    3. Gal From Joe's
    4. Your Love Has Faded
    5. I'm Just a Lucky So and So
    6. Jeep's Blues
    7. Day Dream
    8. Juice a Plenty
    9. Azure
    10. Tailor Made
    11. Stardust
    Johnny Hodges
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - Sealed Buy Now
  • Jazz Samba Jazz Samba Quick View

    $54.99
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    Jazz Samba

    Mastered by George Marino at Sterling Sound


    The words bossa nova are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer Joao Gilberto and songwriter Antonio Carlos Jobim - an adaptation of infectious Brazilian samba rhythms with the harmonic structures and cool surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was Jazz Samba - the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America.


    ...these are all truly classic Verve titles that you simply don't want to miss...most importantly, the sound of these reissues is nothing short of astounding. Particularly the early Billie and Ella mono records are incredible treasures of sonic beauty. I'd definitely ask Santa for the whole set, or, if you want to cherry pick, the most classic titles. Whatever you decide, you owe yourself at least a half dozen! Winner of a 2012 Positive Feedback Online Writers' Choice Award - Danny Kaey, Positive Feedback Online, November/December 2011


    Originally released in 1962.


    Stan Getz, tenor saxophone

    Charlie Byrd, guitar

    Keter Betts, bass

    Gene Byrd, bass, guitar

    Buddy Deppenschmidt, drums

    Antonio Carlos Jobim, guitar

    Bill Reichenbach, drums


    This title is not eligible for discount.

    1. Desafinado
    2. Samba Dees Days
    3. O Pato
    4. Samba Triste
    5. Samba de Uma Nota So
    6. E Luxo S6
    7. Behia (aka Baia)
    8. Desafinado
    Stan Getz
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Coltrane's Sound Coltrane's Sound Quick View

    $24.99
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    Coltrane's Sound

    Coltrane's Sound was produced during the same three-day 1960 sessions that yielded Plays The Blues and My Favorite Things and it was among the last releases to emerge from Coltrane's fabled Atlantic sessions. Each of the six recordings here bear the unmistakable stamp of Coltrane's early-'60s style and remain among the jazz legend's finest.
    1. The Night Has a Thousand Eyes
    2. Central Park West
    3. Liberia
    4. Body and Soul
    5. Equinox
    6. Satellite
    John Coltrane
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sex 'n' Jazz (Expanded) Sex 'n' Jazz (Expanded) Quick View

    $39.99
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    Sex 'n' Jazz (Expanded)

    Limited Edition Of 1,000 Numbered Copies On White Vinyl, Black Vinyl Thereafter

    180-Gram Audiophile Vinyl

    Gatefold Sleeve With Deluxe Spot Varnish

    Remastered Expanded Edition

    Featuring Marvin Gaye And Paul Carrack

    First Time On Vinyl!

    Originally released in March 2007, Sex 'n' Jazz, starring Marvin Gaye, Paul Carrack, and Erik Truffaz, immediately captured the public's attention and became an overnight success for Dutch groove jazz band Gare du Nord. Tracks like Marvin & Miles, You're My Medicine and Beautiful Day would become instant classics and kick-started a new jazz pop wave in The Netherlands.

    The appeal of the album was also recognized by jazz label Blue Note and in 2009 a remixed version of the album hit the shelves. With the key tracks, originally mixed in the chill mode, dramatically remixed in club soul style, the blue label parachuted Sex 'n' Jazz into platinum heaven.

    This 2017 expanded edition brings together both the Blue Note remix album master and the original vintage album master from early 2007 for the very first time. State of the art remastered, this landmark edition of Sex 'n' Jazz sounds as crispy as ever. This must be the ultimate fan experience to celebrate the 10th Anniversary of the trendsetting club soul masterwork and its prelude.

    Ten years after its original release, the album is now available on vinyl for the first time. The first limited, individually numbered edition is pressed on white vinyl. Only 1,000 copies available.

    Further decades may pass and public taste may change, but it will always be just the right time for Sex 'n' Jazz.

    LP 1
    1. Somethin' In My Mouth (Sex 'n' Jazz 1)
    2. Marvin & Miles
    3. Ride On (Featuring Paul Carrack)
    4. Cool Summer Breeze
    5. Beautiful Day
    6. You're My Medicine (feat. Marvin Gaye)
    7. More Medicine
    8. Chet's Chat
    9. Quiet Storm
    10. I Want Love
    11. Lobster For Love (Sex 'n' Jazz 2)
    12. Hey, Mr. Glider (feat. Erik Truffaz)
    13. Hot Glue


    LP 2
    1. Marvin & Miles
    2. Somethin' In My Mouth (Sex 'n' Jazz 1)
    3. Ride On
    4. You're My Medicine
    5. More Medicine
    6. Summer Breeze
    7. Beautiful Day
    8. Chet's Chat
    9. Lobster For Love (Sex 'n' Jazz 2)
    10. Hey, Mr. Glider
    11. Quiet Storm
    12. I Want Love
    13. Hot Glue

    Gare du Nord
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Shostakovich: The Jazz Album Shostakovich: The Jazz Album Quick View

    $24.99
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    Shostakovich: The Jazz Album

    Chailly's direction is good-humoured and affectionate, his Royal Concertgebouw players sound at home in every bar and the recording is both clean and ambient. -Gramophone, 2010


    Presented with original artwork and pressed on 180-gram heavyweight vinyl at Optimal.

    1. Jazz Suite No.1
    2. Piano Concerto No.1 For Piano, Trumpet & Strings, Op.35
    3. Jazz Suite No.2
    4. Tahiti Trot
    Riccardo Chailly
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Art Blakey!!!!! Jazz Messengers!!!!! Art Blakey!!!!! Jazz Messengers!!!!! Quick View

    $27.99
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    Art Blakey!!!!! Jazz Messengers!!!!!

    Import


    Art Blakey discovered and championed young talented musicians such as Clifford Brown, Lou Donaldson, Keith Jarrett and Wynton Marsalis to name but a few. But he also delivered the message of hard bop through thousands of performances at festivals right down to the smallest club. Lively, joyous performances, the very highest technical standards and somnambulistic music-making characterize this recording. Right from the very start it is clear that these jazz ambassadors have a new message for us. The hard-beat recordings win in lyricism thanks to the gentle sound of Curtis Fuller's trombone, something that was often missing in the powerful Blue Note sound. Four jazz evergreens give the musicians the time and opportunity to display their soloistic talents. The real climax, however, is to be found in the harmonic layering of the three winds which lend the themes new appeal. The message was broadcasted many times until the death of Art Blakey, but the history of jazz would have been a great deal poorer without these milestone recordings on the Impulse label. Art Blakey certainly knew how to delight his audience with fire, originality, a wealth of ideas and great humor. All these attributes are applicable to the six titles on this album.


    Musicians:

    Lee Morgan (trumpet)

    Curtis Fuller (trombone)

    Wayne Shorter (tenor saxophone)

    Robert H. "Bobby" Timmons (piano)

    Jymie Merritt (bass)

    Art Blakey (drums)


    Recording: June 1961 at Rudy van Gelder's Recording Studios, Englewood Cliffs, N.J., USA by Rudy van Gelder Production: Bob Thiele

    1. Alamode
    2. Invitation
    3. Circus
    4. You Don't Know What Love Is
    5. I Hear A Rhapsody
    6. Gee Baby, Ain't I Good To You
    Art Blakey
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • New Jazz Conceptions New Jazz Conceptions Quick View

    $21.99
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    New Jazz Conceptions

    A significant date in the history of legendary pianist Bill Evans' recording career, New Jazz Conceptions marks his maiden voyage as a leader and finds
    the then 27-year-old pianist already sounding much different than the usual Bud Powell-influenced keyboardists of the time. Recorded in 1956, more than
    a year before he joined the Miles Davis Sextet, this set finds Evans flashing his own unique chord voicings in a lyrical, swinging style. Three selections
    here are taken solo (including the original version of his classic Waltz for Debby), while the other eight are performed in a trio with bassist Teddy Kotick
    and drummer Paul Motian (including his future theme Five, Speak Low, and No Cover, No Minimum). A strong start to a significant career and a must
    -have for fans of classic piano trios.
    1. I Love You
    2. Five
    3. I Got It Bad and That Ain't Good
    4. Conception
    5. Easy Living
    6. Displacement
    7. Speak Low
    8. Waltz for Debby
    9. Our Delight
    10. My Romance
    11. No Cover, No Minimum
    Bill Evans
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Jazz Reunion (Pure Pleasure) Jazz Reunion (Pure Pleasure) Quick View

    $34.99
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    Jazz Reunion (Pure Pleasure)

    It is strange that two such individual musicians as Pee Wee Russell and Coleman Hawkins were kept apart for some 32 years but it is a fact that not since 1929 had they met in a recording studio. Pee Wee Russell's unique, and sometimes derided approach was praised as ahead of its time, and cited by some as an early example of free jazz. Coleman Hawkins, at the time of this 1961 Jazz Reunion record date dismissed any idea that Russell was now playing modern, claiming that he had always played that way. The greatly imaginative improvisations of Russell when at his best remain an inspiration to jazz clarinetists.



    On this album the whole group move with an elasticity which only comes when exactly the right mood is attained by all the musicians taking part. Pee Wee plays with deep passion throughout and Hawkins was never heard in better blowing form than this. His virile, robust solos are as forceful as anything he recorded in his long distinguished career. Emmett Berry's solos are models of tasteful improvisation. Brookmeyer displays a pretty turn of wit and builds his solos with ingenuity. With excellent arrangements by Nat Pierce and some lovely cymbal work from Jo Jones this really is a beauty.




    Musicians:



    • Coleman Hawkins (tenor saxophone)

    • Pee Wee Russell (clarinet)

    • Emmett Berry (trumpet)

    • Bob Brookmeyer (trombone)

    • Nat Pierce (piano)

    • Milt Hinton (bass)

    • Jo Jones (drums)




    Recording: February 1961 at Nola Penthouse Studio, 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.




    This title is not eligible for discount.

    1. If I Could Be With You (One Hour Tonight)

    2. Tin Tin Deo
    3. Mariooch
    4. All Too Soon
    5. 28th And 8th
    6. What Am I Here For
    Pee Wee Russell & Coleman Hawkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Feeling Of Jazz The Feeling Of Jazz Quick View

    $29.99
    Buy Now
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    The Feeling Of Jazz

    1962 Set from Duke Ellington and His Orchestra Contains New Material and Fresh Interpretations of Classics


    Spectacular Audiophile Restoration Series Resurrects UK Label Black Lion: Mastered at Bernie Grundman Studios by Chris Bellman and Pressed at Pallas


    EQ Notes and Curation Performed by Iconic Engineer Steve Hoffman; LPs EQ'd and Set Up by Bernie Grundman


    Conceived, Designed, and Manufactured for Collectors and Enthusiasts: Vinyl Jacket Features Exclusive Art


    Age never slowed Duke Ellington. Recorded at four different sessions in 1962 at Bell Studio in 1962, The Feeling of Jazz is one of the rarest titles America's greatest composer ever released, and contains both never-before-heard originals as well as reinterpretations of Ellington classics. Performed by the Duke Ellington Orchestra, which included players such as Paul Gonsalves, Johnny Hodges, Harold Baker, and Jimmy Hamilton, the material contains a wealth of spot-on solos and stop-on-a-dime changes.


    Originally released by the UK label Black Lion, an imprint that specialized in resurrecting rare gems from US jazz and blues legends, The Feeling of Jazz represents a critical juncture in Ellington's career and a can't-miss opportunity for collectors and enthusiasts to get closer to the man and his music. Helmed by ORG, this historical reissue is afforded the ultimate in audiophile production standards, resulting in sonics and presentation befitting the museum-like worth of this record's existence.


    Mastered from the original master tapes at Bernie Grundman Studios by Chris Bellman and pressed at Pallas, the 180g LP was curated by legendary engineer Steve Hoffman and eq'd by Grundman himself. A better team you cannot find; every step involved serious quality-control measures to guarantee gorgeous sound. The superb vinyl jacket features exclusive artwork. This is what being a collector is all about. The title isn't widely known, but this reissue preserves historically significant music that will be enjoyed by generations to come.


    Jazz fans, audiophiles, and music fanatics, don't sleep on this extraordinary treasure.

    1. Taffy Twist
    2. Flirtibird
    3. Smada
    4. What Am I Here For
    5. Take the 'A' Train
    6. I'm Gonna Go Fishin'
    7. Boo-Dah
    8. Black and Tan Fantasy
    9. The Feeling of Jazz
    10. Jump for Joy
    11. I Let a Song Go Out of My Heart/Don't Get Around Much Anymore
    Duke Ellington
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sound Of Sonny The Sound Of Sonny Quick View

    $21.99
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    The Sound Of Sonny

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

    $24.99
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    The Sound Of Speed

    An orchestral tribute to wheels, wings, and whirly-birds, Bob Thompson's 1960 concept LP rhapsodizes about the technology of human transport, from Vespa scooters to Le Mans racers, from tricycles to rocket ships. Each vehicular vignette is book-ended by authentic sound effects, with vivid stereo motion. The Sound of Speed is an overlooked gem from a bygone era of orchestral elegance. It has been mastered in wide-angle stereo and pressed on 180g vinyl in the year composer/arranger Bob Thompson turns 85.
    1. Super Chief
    2. Midnight Sailing (Ocean Liner)
    3. La Vespa (Motor Scooter)
    4. Sub-Manhattan Blues (Subway)
    5. Three-Wheeler Waltz (Tricycle)
    6. Count Down
    7. Star Fire
    8. Surrey Serenade (Horse & Buggy)
    9. Le mans (Sports Car)
    10. Streetcar Named Irving (Streetcar)
    11. Sea-Spray (Speed Boat)
    12. Early-Bird Whirley-Bird (Helicopter)
    Bob Thompson
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Perlman Sound The Perlman Sound Quick View

    $23.99
    Buy Now
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    The Perlman Sound

    No one could deny that Itzhak Perlman holds a special place in the world of music - and no one could define it more eloquently than his old friend and colleague, the pianist and conductor Daniel Barenboim: It is quite impossible to imagine today's violin heritage without the absolute musical genius of Perlman. The most obvious manifestation of that genius is the famous Perlman Sound - lustrous, warm and generous, its impact compounded by often astounding virtuosity; and yet Perlman makes it all look so easy. In fact, he communicates a positive joy in his playing.


    Perlman Sound is released as a primer for the deluxe 59-album boxed set Itzhak Perlman: the Complete Warner Recordings, and may be a good option for fans who don't have enough shelf space for this expansive edition. This collection explores his artistry from the finest concerto highlights (Mendelssohn, Brahms, Beethoven, Tchaikovsky, Korngold, Sibelius, The Four Seasons), to virtuoso solo and chamber repertoire (Paganini Caprice No.24, Bach Partita No.3, the MÉditation from Thaïs, Flight of the Bumblebee, Zapateado) and klezmer and jazz selections. The duo partners and conductors are some of the 20th century's biggest classical stars, many of whom count among Perlman's dearest friends and collaborators.

    1. Thais: Meditation
    2. Vocalise, Op. 34, No. 14
    3. Zigeunerweisen, Op. 20
    4. Meditation, Op. 32
    5. Russian Fantasy (arr. Kreisler)
    6. Souvenir d'un lieu cher, Op. 42: No. 2 Scherzo in C Minor (Arr. Glazunov)
    7. Legende, Op 17
    8. The Old Refrain (arr. Kreisler)
    9. Schon Rosmarin
    Itzhak Perlman
    $23.99
    Vinyl LP - Sealed Buy Now
  • Jazz Waltz (Pure Pleasure) (Pre-Order) Jazz Waltz (Pure Pleasure) (Pre-Order) Quick View

    $34.99
    Buy Now
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    Jazz Waltz (Pure Pleasure) (Pre-Order)

    Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number (I'm Gonna Go Fishin') written by Duke Ellington for the soundtrack to the film Anatomy Of A Murder and featuring the leader's rich flÜgelhorn. The lyrical take of the centuries-old folk melody Greensleeves alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful Be As Children almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's Echoes of Harlem, featuring Paul Horn on flute, is refreshing. Only Bobby Scott's A Taste of Honey is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades. -Ken Dryden/AMG


    Musicians:


    • Bud Shank (alto saxophone)
    • Bill Perkins, Bob Cooper (tenor saxophone)
    • Paul Horn (alto saxophone, flute)
    • Shorty Rogers (flugelhorn)
    • Bill Hood (bassoon)
    • Al Porcino (trumpet)
    • Joe Burnett (trumpet, flugelhorn)
    • Harry Betts (trombone)
    • Lou Levy (piano)
    • Larry Bunker (vibraphone)
    • Joe Mondragon (bass)
    • Mel Lewis (drums)



    About Pure Pleasure



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



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



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



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



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



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


    This title is not eligible for discount.

    1. I'm Gonna Go Fishin'
    2. Greensleeves
    3. Walk On The Wild Side
    4. Witchcraft
    5. Be As Children
    6. Jazz Waltz
    7. Echoes Of Harlem
    8. A Taste Of Honey
    9. Terence's Farewell
    10. The Streets Of Laredo
    Shorty Rogers & His Giants
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Great Jazz Standards (Pure Pleasure)

    Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
    Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
    Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
    A magnificent but neglected album, and still coming up fresh as daisies.




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    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.

    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    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.

    1. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • The Shape Of Jazz To Come The Shape Of Jazz To Come Quick View

    $49.99
    Buy Now
    x

    The Shape Of Jazz To Come

    Ranked #246 on Rolling Stone's List of the 500 Greatest Albums of All Time


    Quartet Includes Don Cherry and Charlie Haden


    Mastered from the Original Master Tapes on 180 Gram Vinyl


    1959's landscape-shifting The Shape of Jazz to Come is true to its title. Switching from tenor to alto sax, Ornette Coleman creates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. The Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.


    ORG Music brings the breakthrough arrangements and magnificent colors to life in a way no one's experienced since the LP was recorded. Mastered from the original master tapes, this life-changing music has never sounded so alive and dynamic. This is a must.

    1. Lonely Woman
    2. Eventually
    3. Peace
    4. Focus on Sanity
    5. Congeniality
    6. Chronology
    Ornette Coleman
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • The Hottest New Group In Jazz (Pure Pleasure) The Hottest New Group In Jazz (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Hottest New Group In Jazz (Pure Pleasure)

    The premier jazz vocal act of all time, Lambert, Hendricks & Ross revolutionized vocal music during the late '50s and early '60s by turning away from the increasingly crossover slant of the pop world to embrace the sheer musicianship inherent in vocal jazz. Applying the concepts of bop harmonies to swinging vocal music, the trio transformed dozens of instrumental jazz classics into their own songs, taking scat solos and trading off licks and riffs in precisely the same fashion as their favorite improvising musicians. Vocal arranger Dave Lambert wrote dense clusters of vocal lines for each voice that, while only distantly related, came together splendidly. Jon Hendricks wrote clever, witty lyrics to jazz standards like Summertime, Moanin', and Twisted, and Annie Ross proved to be one of the strongest, most dexterous female voices in the history of jazz vocals. Together Lambert, Hendricks & Ross paved the way for vocal groups like Manhattan Transfer while earning respect from vocalists and jazz musicians alike.



    Musicians:



    • Dave Lambert (vocals)

    • Joe Hendricks (vocals)

    • Annie Ross (vocals)

    • Harry Edison (trumpet)

    • Gildo Mahones (piano)

    • Ike Isaacs (bass)

    • Jimmy Wormworth (drums)



    Recording: 1959



    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. Charleston Alley
    2. Moanin'
    3. Twisted
    4. Bijou
    5. Cloudburst
    6. Centerpiece
    7. Gimme That Wine
    8. Sermonette
    9. Summertime
    10. Everybody's Boppin'
    Lambert, Hendricks & Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Winds From A New Direction (Speakers Corner) Jazz Winds From A New Direction (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Jazz Winds From A New Direction (Speakers Corner)


    Hank Garland wasn't the first Country and Western guitarist to discover jazz as a new way of playing. Mundell Lowe (who knows him these days?) and Tal Farlow (whose Verve recordings have long become classics) are just two such musicians who are better known to jazz fans.


    Garland's shining example Charlie Christian was his inspiration when he was invited to participate in a super session, and the LP Jazz Winds From A New Direction became a smash hit. With Joe Morello, the drummer responsible for the tricky, odd meter and Joe Benjamin, who had been instructed by Gerry Mulligan and performs harmonic magic even without a piano, and then Gary Burton, a newcomer (only 17 years old and completely unknown at the time!) on the vibraphone, these six numbers are a real phenomenon with regard to musicality, style and recording technique.


    Unfortunately it was to remain a unique jazz session, for Hank Garland could never aspire to such heights again after his tragic car accident. That's why jazz fans should snap at the chance to grab this newly mastered LP: it enriched the musical horizon of the musicians during the recording, and is guaranteed to bewitch the listener of today.



    Musicians:



    • Hank Garland (guitar)

    • Gary Burton (vibraphone)

    • Joe Benjamin (bass)

    • Joe Morello (drums)




    Recording: 1961



    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. All The Things You Are
    2. Three-Four, The Blues
    3. Move
    4. Always
    5. Riot-vhous
    6. Relaxing
    Hank Garland
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Newport Jazz Festival: Live At Carnegie Hall (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

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

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



    Musicians:



    • Ella Fitzgerald (vocal)

    • Chick Webb Orchestra




    Recording: July 1973 at Carnegie Hall, New York



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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




    This title is not eligible for discount.

    1. I've Gotta Be Me
    2. Good Morning Heartache
    3. Miss Otis Regrets
    4. Medley: Don't Worry 'Bout Me/These Foolish Things
    5. Any Old Blues
    6. A-Tisket A-Tasket
    7. Indian Summer
    8. Smooth Sailing
    9. You Turned The Tables On Me
    10. Nice Work If You Can Get It
    11. I've Got A Crush On You
    12. Medley: I Can't Get Started/The Young Man With The Horn/'Round Midnight
    13. Star Dust
    14. C Jam Blues
    15. Medley: Taking A Chance On Love/I'm In The Mood For Love
    16. Lemon Drop
    17. Some Of These Days
    18. People
    Ella Fitzgerald
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Original Sound Of New Orleans Soul 1960-76 The Original Sound Of New Orleans Soul 1960-76 Quick View

    $29.99
    Buy Now
    x

    The Original Sound Of New Orleans Soul 1960-76

    For more than ten years Soul Jazz Records have been exploring and documenting the sound of New Orleans Funk. Now they turn their attention to the flipside of this musical coin - New Orleans Soul.The main force behind New Orleans Soul is Allen Toussaint, a virtual one-man hit-making machine in the 1960s, writing, arranging and producing hit after hit for an unending list of unbelievably talented local singers such as Eldridge Holmes, Maurice Williams, Betty Harris, Ernie K Doe and Diamond Joe all of whom are featured. New Orleans is also a city of great musical families. Vocalist Aaron Neville was the brother of Art Neville (who formed The Meters) and later in the 1970s joined with brother Cyril to form The Neville Brothers. Soul vocalist supreme Willie Tee is also known as Wilson Turbinton, who alongside brother Earl, formed the super-heavy funk band The Gaturs and backed the Mardi Gras Indian group The Wild Magnolias. Also included here are rare, lost and killer soulful tracks from New Orleans artists Eddie Bo (and protÉgÉe vocalist Inell Young), Jean Knight, Jimmy Hicks, Francine King and more!
    1. Caught You in a Lie - Robert Parker
    2. First Taste of Hurt - Willie Tee
    3. Don't Pity Me - Curley Moore
    4. Steppin' Out - Lionel Robinson
    5. What's So Wrong With You Loving Me - Irma Thomas
    6. You Can Give But You Can't Take - Aaron Neville
    7. What One Man Won't Do Another Man Will - Jean Knight
    8. Worried Over You - Eldridge Holmes
    9. Congratulations Baby - Barbara West
    10. Back Street Lover - Ernie K. Doe
    11. I Don't Wanna Hear It - Betty Harris
    12. She's On My Mind - Aaron Neville
    13. She'll Never Be Your Wife - Irma Thomas
    14. Lovely Woman - Eldridge Holmes
    15. Tell Her That I Love You - Jimmy Hicks
    16. The ABC Song - Diamond Joe
    17. Gone, Gone, Gone - Eldridge Holmes
    18. Two Fools - Francine King
    19. Don't Turn Me Loose - Eddie Bo
    20. A Hard Nut to Crack - Aaron Neville
    21. I've Never Considered - Inell Young
    Various Artists
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Eastern Sounds Eastern Sounds Quick View

    $21.99
    Buy Now
    x

    Eastern Sounds

    The Plum Blossom
    Blues For The Orient
    Chinq Miau
    Don't Blame Me
    Love Theme from 'Spartacus'
    Snafu
    Purple Flower
    Love Theme From 'The Robe'
    The Three Faces of Balal
    Yusef Lateef
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
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