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Modes and Blues: 8th February 1964
Live At Ronnie Scott's
This is a previously unreleased mono recording of Modes and Blues from the Tubby Hayes Quintet's weekly Ronnie Scott's residency on 8th February 1964. Regarded as one of the masterworks of British modern jazz, Modes and Blues shows the Quintet at the very height of its powers, channelling the new musical flavours and inspiration that Tubby Hayes had absorbed from the cutting edge of jazz and the new directions of John Coltrane.
Recorded with Hayes' approval by Les Tomkins on his Ferrograph tape recorder, this is one of the most engrossing of all his stretch-out epics. Hayes digs in deep with marathon and breathtaking soloing, trumpeter Jimmy Deuchar delivers his characteristically lyrical improvisation, and there's dynamic interplay and drive from the great Terry Shannon, Freddy Logan and Allan Ganley rhythm section.
The Quintet had barely a few months left to run at the time of this performance, splitting in August 1964, fearing its music had atrophied into self-parody. Modes and Blues is among its many triumphs, a performance that shows how high the band had set the aspirational bar for British modernism, and, as such, is as much a cultural document as a musical souvenir.1. Modes and Blues (Part One)
2. Modes and Blues (Part Two)$23.99180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
Tubby's New Groove (Pure Pleasure)
Over the past decade there has been a small avalanche of previously unreleased live recordings by the late, great Tubby Hayes, arguably the UKs most accomplished post-war jazz instrumentalist and a figure already accorded - quite rightly - legendary status. Each has added much to our knowledge of Tubby's musical activities outside the recording studio, but this new release unearths a session which had lain forgotten since 1959 and which significantly is an addendum to what has long been seen as Tubby's first album masterpiece Tubby's Groove. Indeed the music contained on this LP is among the most significant pieces of British jazz history to have been discovered in a long, long time.
This new LP is every bit the equal of the original album and, as previously stated, in parts the music even outstrips its predecessor. Regardless of provenance these rediscovered recordings are, in this writer's opinion, some of the most important of Tubby Hayes career and will doubtless only add to our appreciation and admiration of a player who was truly deserving of the status of world-class. Over fifty years on, Tubby's immense musicianship, talent and creative charisma can still stun new listeners and this new album is the perfect introduction to a performer in whom we can still be proud.
- Tubby Hayes (tenor saxophone)
- Terry Shannon (piano)
- Jeff Clyne (bass)
- Phil Seaman (drums)
Recording: December 1959 at DECCA Studios, London
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. Tin Tin Deo
3. Supper At Phil's
5. Hook's Way
6. The Trolley Song$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now