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  • Big Band And Quartet In Concert (Speakers Corner) Big Band And Quartet In Concert (Speakers Corner) Quick View

    $34.99
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    Big Band And Quartet In Concert (Speakers Corner)

    Thelonious Monk could walk from his flat to New York's famous Philharmonic Hall on the corner of 64th Street and Broadway when he made his very first appearance there with his Big Band in December 1963. And the other musicians could get there on the underground: Phil Woods, Steve Lacy, Thad Jones - all of them were members of Monk's closest circle of collaborators. It is no wonder then that the well-known themes were highly agreeable and harmonious. I Mean You, Four In One and Epistrophy resounded through the auditorium, the audience was thrilled, Thelonious laughed and danced and a short while later fans could listen to parts of the concert on a recording released by Columbia Records. In a break for a smoke, Monk sat himself down at the piano and played Darkness On The Delta - nocturnal atmosphere pure.


    Does it bear the patina of times long past? Absolutely not! Thelonious Monk is as red-hot as he ever was.



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Steve Lacy (soprano saxophone)

    • Phil Woods (alto saxophone, clarinet)

    • Gene Allen (bassoon, clarinet)

    • Eddie Bert (trombone)

    • Thad Jones (cornet)

    • Nick Travis (trumpet)

    • Butch Warren (bass)

    • Frank Dunlop (drums)


    Recording: December 1963 at Lincoln Center, Philharmonic Hall, New York

    Production: Teo Macero



    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. I Mean You
    2. Evidence
    3. (When It's) Darkness On The Delta
    4. Oska T.
    5. Played Twice
    6. Four In One
    7. Epistrophy
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ice On The Dune Ice On The Dune Quick View

    $24.99
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    Ice On The Dune

    It's exactly what electronic pop should sound like in 2013. Fresh, euphoric, youthful...it more than delivers on the promise of 2008 s million-selling debut Walking On A Dream and the fantastical imagery that made them a festival highlight wherever Steele strapped on his head-dress, said Q, awarding the album four stars in a lead review. MOJO noted, you can t help but be charmed by their puckish, wide-eyed enthusiasm for the redemptive power of pop. Nearly every track is powered by a room-rattling disco groove, observed Uncut, scoring it 8/10. But what makes DNA , Alive , Concert Pitch and the title song so irresistible is the way their silky melodies resolve into super-saturated Technicolor chorus hooks.
    1. Lux
    2. DNA
    3. Alive
    4. Concert Pitch
    5. Ice On The Dune
    6. Awakening
    7. I'll Be Around
    8. Old Flavours
    9. Celebrate
    10. Surround Sound
    11. Disarm
    12. Keep A Watch
    Empire Of The Sun
    $24.99
    Vinyl LP - Sealed Buy Now
  • Live at Carnegie Hall - An Acoustic Evening Live at Carnegie Hall - An Acoustic Evening Quick View

    $34.99
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    Live at Carnegie Hall - An Acoustic Evening

    On January 21st and 22nd of 2016, world-renowned platinum-selling and Grammy nominated Blues-rock singer-songwriter and guitarist Joe Bonamassa performed two unique all-acoustic shows at the iconic Carnegie Hall in New York City. Both performances were filmed and made into Joe Bonamassa Live At Carnegie Hall An Acoustic Evening. An evening of extraordinary music with new arrangements of favorite songs as well as brand new, never-before-heard songs on rich vinyl. The 3-LP set is on 180g black vinyl housed in a deluxe, tri-fold package.


    The concert was part of a special all-acoustic tour and featured an all-star ensemble of world-class musicians. Acclaimed Chinese cellist and erhuist Tina Guo, whose repertoire stretches from classical to heavy metal; and Hossam Ramzy, the Egyptian percussionist and composer, who has performed on dozens of film soundtracks and records, including on Jimmy Page and Robert Plant's No Quarter: Unledded Tour. Reese Wynans (piano), Anton Fig (Drums) Eric Bazilian (mandolin, hurdy-gurdy, saxophone, acoustic guitar, vocals), and three Australian backing vocalists, Mahalia Barnes, Juanita Tippins, and Gary Pinto round out the band.


    Everyone knows the old saying about how to get to Carnegie Hall, but Bonamassa has truly lived that advice. His entire life and musical career had been practice for this moment, and a young blues-boy finally made good on a childhood dream of playing one of the most hallowed stages in the world. This stripped-down, all-acoustic show allowed his fans a glimpse into his soul and presented a thrilling and musically dangerous spectacle akin to walking a tightrope without a net.

    LP 1
    1. This Train
    2. Drive
    3. The Valley Runs Low
    4. Dust Bowl
    5. Driving Towards The Daylight
    6. Black Lung Heartache


    LP 2
    1. Blue And Evil
    2. Livin' Easy
    3. Get Back My Tomorrow
    4. Mountain Time
    5. How Can A Poor Man Stand Such Times And Live


    LP 3
    1. Song Of Yesterday
    2. Woke Up Dreaming
    3. Hummingbird
    4. The Rose

    Joe Bonamassa
    $34.99
    180 Gram Audiopbhile Virgin Vinyl LP - 3 LPs Sealed Buy Now
  • Best Live (Awaiting Repress) Best Live (Awaiting Repress) Quick View

    $44.99
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    Best Live (Awaiting Repress)

    The James Taylor/Friday Music 180 Gram Audiophile Vinyl Series Continues


    First Time On Vinyl.... 180 Gram 2 LP Audiophile Crystal Clear Vinyl


    Mastered Impeccably By Joe Reagoso & Manufactured At R.T.I.


    First Time Gatefold Cover Art


    James Taylor's Best Live is an extensive live overview of his greatest hits, popular album tracks, along with artist and fan favorites, performed live during his amazing 1992 concert tour.


    These shows were captured originally for CD, but never released on vinyl. While Friday Music being a home to several of James Taylor's Lp masterworks like Never Die Young and That's Why I'm Here, we are very honored to announce for the first time anywhere the 180 Gram Audiophile 2 LP Set of his classic Best Live.


    Featuring a dozen of his greatest hits on four sides of audiophile vinyl, the songs are simply some of his finest from the classic and singer songwriter/classi rock eras like Fire And Rain, Sweet Baby James, Steamroller Blues, Walking Man, Mexico, Your Smiling Face, Handy Man and many others.


    Mastered impeccably by Joe Reagoso, this limited edition release will be featured in a very first time gatefold cover featuring unique live performance shots and behind the scenes photos from this great concert tour.


    For a very limited time, each LP will be pressed by R.T.I. on Clear 180 Gram vinyl, making Best Live a highly collectable Jame Taylor title.


    James Taylor is one of the world's finest gifts to all forms of popular music. His voice, songs, musicianship and unparalleled artistry continue to enthrall fans, both new and old alike. Best Live proves that now and forever, and for the first time in the audiophile vinyl domain.

    LP 1
    1. Sweet Baby James
    2. Handy Man
    3. Your Smiling Face
    4. Shed A Little Light
    5. Steamroller Blues

    6. Mexico


    LP 2
    1. Walking Man
    2. Country Road

    3. Fire And Rain
    4. How Sweet It Is

    5. Don't Let Me Be Lonely Tonight
    6. Shower The People

    James Taylor
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs AWAITING REPRESS Buy Now
  • Getting Ready... Getting Ready... Quick View

    $29.99
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    Getting Ready...

    Freddie King is easily one of the most influential blues guitarists of his or any generation. Any blues enthusiast or guitar aficionado would have him ranked high on their list of all-time greats. He was a guitar hero before there was Guitar Hero.


    Getting Ready... was King's first of three releases for Shelter Records, Leon Russell's Tulsa-based label. In fact, when Russell first formed Shelter, he reportedly did so partly to play out his vision of recording one of his favorites, Freddie King.


    Recorded in October 1970 at the TER-MAR Chess Studios in Chicago and released in 1971, Getting Ready... is proof positive that King was the man and that Shelter Records was one cool label. The record includes a cover of Jimmy Rogers' classic Walking By Myself and King references Rogers also in the lyrics of another track on the record, Living On The Highway. Rogers was the first artist to record for Acoustic Sounds' own APO Records label and the first to appear in concert at Acoustic Sounds' Blue Heaven Studios.


    More APO and Blue Heaven tie-ins to Freddie King include Jimmie Lee Robinson, who while living was the veritable soul of APO and Blue Heaven. When King moved from Texas to Southside Chicago around 1950, he formed his first ever band, The Every Hour Blues Boys, with Robinson.


    The backing band for Getting Ready... includes the stud cast of Leon Russell on piano and guitars, Duck Dunn on bass, Don Preston on guitar, Jon Gallie on organ, Chuck Blackwell on drums and Charles Myers on drums.


    Getting Ready is among the first titles to be pressed at Acoustic Sounds' Quality Record Pressings.


    This title is not eligible for discount.

    1. Same Old Blues

    2. Dust My Broom
    3. Worried Life Blues

    4. Five Long Years
    5. Key to the Highway
    6. Going Down
    7. Living on the Highway

    8. Walking by Myself
    9. Tore Down
    10. Palace of the King

    Freddy King
    $29.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Merry Christmas (Awaiting Repress) Merry Christmas (Awaiting Repress) Quick View

    $29.99
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    Merry Christmas (Awaiting Repress)


    The Johnny Mathis/Friday Music 180 Gram Audiophile Vinyl Series Begins!


    The Classic Top Charting 1959 Christmas Album


    First Time Audiophile Red Vinyl & Gatefold Cover Presentation


    Mastered Impeccably By Joe Reagoso And Manufactured At R.T.I.


    Johnny Mathis is a musical phenomenon with a legendary musical career breaking
    wide open in the mid-fifties. Recording a plethora of hit recordings in pop, soul, adult,
    jazz and even country genres, he shared his vocal talents for millions of fans with his
    records, concerts and top rated television shows for over five decades.


    With 1959's Merry Christmas LP, Johnny created one of the most successful holiday
    top charting hit albums of all time, with this stunning masterpiece. The LP features his
    stellar interpretations of both popular and inspirational favorites like definitive hit versions of Winter Wonderland and Sleigh Ride, plus impressive readings of The First Noel,
    Silver Bells and O Holy Night.


    The 1959 holiday masterpiece finds the artist at the top of his game. Arranged
    and orchestrated by easy listening giant Percy Faith, Merry Christmas is filled with beautifully arranged classics like Johnny's hit versions of I'll Be Home for Christmas, Blue
    Christmas and the wonderful Silent Night, Holy Night.


    This fine album has been out of print for decades on vinyl, and it is our honor to
    announce the first time 180 Gram Audiophile Vinyl presentation of Merry Christmas by
    the legendary Johnny Mathis on Friday Music. This limited edition audiophile masterpiece is now impeccably mastered by Joe Reagoso and also for a very limited time is
    pressed by R.T.I. on translucent Red Vinyl for the holidays and features the original LP
    artwork not seen in years, in a first time gatefold presentation.


    Walking In A Winter Wonderland

    1. Winter Wonderland
    2. The Christmas Song
    3. Sleigh Ride
    4. Blue Christmas
    5. I'll Be Home for Christmas
    6. White Christmas
    7. O Holy Night
    8. What Child Is This? (Greensleeves)
    9. The First Noel
    10. Silver Bells
    11. It Came Upon the Midnight Clear
    12. Silent Night, Holy Night
    Johnny Mathis
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • With Loving And Open Arms With Loving And Open Arms Quick View

    $7.99
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    With Loving And Open Arms

    THE CAUSEY WAY IS NOT A CULT. They wish they were, but they are not. Sure, they are building a compound in a remote and undisclosed place, outside of Gainsville, Florida.(oops) Sure they offer Causey Blood (vegan) in communion cups before their services. And, of course, concert goers are encouraged to fill out membership nametags at their concerts. And it goes without saying that they're more than merely terrified about Y2K. But they are not a cult. They can't be because Alternative Tentacles Records can't sign cults; they're supposed to sign bands.


    Causey formed the band in 1997. His requisites were stringent in recruiting his flock. The future parishoners were not allowed to have been in a band - not in their current life nor in prior lives. They made one exception though, they allowed Boy Causey to join the band. Boy, aka Brian, you see, is currently in a ROCK N ROLL band called Man Or Astroman? as well as serving in Servotron. Causey, believe it or not, used to be a professional skateboarder using the phony last name Stanton. He used to defy gravity with corporate sponsorship emblazoned upon his bosom (in interviews he would explain it was the closest feeling approximating that of walking on water) when one day he landed on his nose and finally saw the light. This revelation changed Causey. He wanted to start anew, he suddenly felt a greater purpose. He needed to remain true to his new self while at the same time start something new & exciting and not merely regurgitate putrid bile like some old Linda Blair movie. He dreamed that his followers would release doves in asking for an encore, rather than lighting lighters. He had a mission, and the mission was THE CAUSEY WAY.


    Shortly after this period Jello Causey received a care-package from THE CAUSEY WAY. It contained a digital testament of their musical sacrifices, and some thoughtful Y2K preparedness items such as generic bleach, generic toothpaste, and enough cotton swabs to clean out an entire chapel-full of ears. Shortly after receiving the package, he quickly filled out his membership nametag, and the rest is history. (Jello has adamantly denied journalists' claims that he was 'brainwashed'.) It was exactly the type of new 'testament' wave, and pulpit punk that was missing in his life. (Some heathen have made references to Devo due to the presence of keyboards.)


    Jello wasn't the only soul converted. Rain Phoenix (sister of late River Phoenix) quickly signed up and did penance by singing background vocals on With Open and Loving Arms. One openly famous musical celebrity superstar, Michael Stipe of the rock quartet REM, was so healed upon experiencing THE CAUSEY WAY service, that he invited the pulpit back to his house for a serving of grits to show his gratitude. The band declined.


    Prior to their debut full-length sermon With Open and Loving Arms, THE CAUSEY WAY released an ep by the name of WWCD (that rose to #30 on CMJ's charts) and released an ep called Testimony for the skankedly trendy label Fueled By Ramen.(Less Than Jake's label) before releasing their latest one Causey vs. Everything on Alternative Tentacles in January 2001.

    1. Message From The Pulpit
    2. Sweat
    3. Carousel Of Progress
    4. What Power Is
    5. The Electronic Church(You Sell God)
    6. Toys
    7. Fact Finding Mission
    8. Light Of The World
    9. Institutional Man
    10. Bed Is Where
    11. Love Me
    12. Word Problems
    Causey Way
    $7.99
    Vinyl LP - Sealed Buy Now
  • Signs Of Light Signs Of Light Quick View

    $20.99
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    Signs Of Light

    Recorded in Nashville with producer Jay Joyce (Eric Church, Cage The Elephant), Signs Of Light, crackles with the upbeat, sing-a-long energy of the Head And The Heart's finest work. Lead single All We Ever Knew, which was written during the Let's Be Still era but never captured to the band's satisfaction until now, is sure to be a crowd-pleaser, while Turn It Around seems primed to be a future concert staple, matching its inspirational message with a lush and multi-layered soundscape.


    On Signs Of Light, that gamut of emotions is felt most deeply on the Josiah Johnson-penned title track, which none of the other members had ever heard until they happened to walk in on him playing it over and over at the piano during pre-production in El Paso, Texas. It was one of those moments where no one talks, Russell remembers. No one needs the chords; no one is looking up. You simply pick up your instrument and play. The next thing you know, nearly 10 minutes have gone by and you have no idea how or why or what just happened.


    1. All We Ever Knew
    2. City of Angels
    3. Rhythm & Blues
    4. False Alarm
    5. Dreamer
    6. Library Magic
    7. Turn It Around
    8. Colors
    9. Take a Walk
    10. Oh My Dear
    11. I Don't Mind
    12. Your Mother's Eyes
    13. Signs of Light
    Head and the Heart
    $20.99
    Vinyl LP - Sealed Buy Now
  • Signs Of Light (Picture Disc) Signs Of Light (Picture Disc) Quick View

    $24.99
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    Signs Of Light (Picture Disc)

    Picture Disc Edition


    Recorded in Nashville with producer Jay Joyce (Eric Church, Cage The Elephant), Signs Of Light, crackles with the upbeat, sing-a-long energy of the Head And The Heart's finest work. Lead single All We Ever Knew, which was written during the Let's Be Still era but never captured to the band's satisfaction until now, is sure to be a crowd-pleaser, while Turn It Around seems primed to be a future concert staple, matching its inspirational message with a lush and multi-layered soundscape.


    On Signs Of Light, that gamut of emotions is felt most deeply on the Josiah Johnson-penned title track, which none of the other members had ever heard until they happened to walk in on him playing it over and over at the piano during pre-production in El Paso, Texas. It was one of those moments where no one talks, Russell remembers. No one needs the chords; no one is looking up. You simply pick up your instrument and play. The next thing you know, nearly 10 minutes have gone by and you have no idea how or why or what just happened.


    1. All We Ever Knew
    2. City of Angels
    3. Rhythm & Blues
    4. False Alarm
    5. Dreamer
    6. Library Magic
    7. Turn It Around
    8. Colors
    9. Take a Walk
    10. Oh My Dear
    11. I Don't Mind
    12. Your Mother's Eyes
    13. Signs of Light
    The Head And The Heart
    $24.99
    Vinyl LP Picture Disc - Sealed Buy Now
  • Performance: Rockin' The Fillmore Performance: Rockin' The Fillmore Quick View

    $33.99
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    Performance: Rockin' The Fillmore

    Featuring Dead-Quiet Surfaces, This Wax Cathedral LP is Pressed at RTI, America's best record plant!


    At the turn of the 1970s, Humble Pie rivaled Led Zeppelin as the biggest blues-rock band in the world. Performance: Rockin' the Fillmore demonstrates why. Capturing the group at the height of its powers, the live set smokes with outlandish energy, virtuosic interplay, rhythmic might, and blistering grooves. Guitarist Peter Frampton and vocalist Steve Marriott use their individual star power to complement rather than compete with one another, while the remainder of the band follows suit with similar intensity.


    Soaring on the strength of Frampton's struck-by-lightning melodies and Marriott's soulful high-pitched deliveries, Humble Pie personifies classic 1970s hard rock throughout this set, defined by zealous reinventions of songs by Willie Dixon, Ray
    Charles, and Dr. John. The group appropriates the classics as its own, with twin guitars harmonizing and harmonicas blowing, the original arrangements extended and reshaped, the band members pushing each other at every turn. That Frampton departed shortly after this San Francisco concert makes this album all the more memorable.


    Remarkable, too, are the two epic workouts, one a 23-minute-plus jam on Dr. John's "I Walk on Gilded Splinters"-listen for the sound of the bottle dropping at the beginning-and the other an inventive perusal of Muddy Waters' "Rollin' Stone" that
    closes with a boogie-based rendition of "My Babe." Frampton, Marriott, and Co. were never as good as they are here.


    Music sounds better on vinyl. Especially when it's experienced on new pressings from RTI, America's finest record plant. Introducing Wax Cathedral, an imprint focused on reissuing great albums on LP, complete with dead-quiet surfaces and authentically replicated artwork. Wax Cathedral goes where few other labels dare, restoring titles from diverse genres, myriad eras, and recognizable artists beloved by generations of listeners. Wax Cathedral is all about bringing back quality vinyl titles that have been out-of-print on LP for decades, and having fun in the process. Get your turntables ready.

    1. Four Day Creep
    2. I'm Ready
    3. Stone Cold Fever
    4. I Walk on Gilded Splinters
    5. Rollin' Stone
    6. Hallelujah I Love Her So
    7. I Don't Need No Doctor
    Humble Pie
    $33.99
    Vinyl LP - Sealed Buy Now
  • Johnny Cash at San Quentin Johnny Cash at San Quentin Quick View

    $28.99
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    Johnny Cash at San Quentin

    Perhaps even more so than its predecessor, Johnny Cash at San Quentin captures Cash at his most raw and uninhibited. The artists raucous rapport with his captive audience is obvious on an inspired mix of Cash classics (I Walk the Line, Folsom Prison Blues), jailhouse ballads (Starkville City Jail, San Quentin), traditional tunes (Wreck of the Old 97, Therell Be Peace in the Valley) and well-chosen covers (Bob Dylans Wanted Man, the Lovin Spoonfuls Darling Companion). The albums most popular track, though, remains the Shel Silverstein-penned novelty number A Boy Named Sue, which became the biggest hit single of Cashs career.


    Johnny Cashs five-decade musical career was loaded with bigger-than-life landmark moments. None were more memorable than the Man in Blacks historic concerts at Folsom Prison and San Quentin State Prison, and the beloved albums that documented those shows. Cashs passion for prison reform and rehabilitation inspired him to perform a series of concerts for inmate audiences, and two of these unique events were documented on Johnny Cash at Folsom Prison and Johnny Cash at San Quentin. These albums, originally released in 1968 and 1969 respectively, remain among Cashs best-selling and best-loved recordings. At the time of their original release, they revitalized his career, and played a crucial role in his crossover from the country music world to the mainstream pop charts.

    1. Wanted Man

    2. Wreck of the Old 97

    3. I Walk the Line

    4. Darling Companion
    5. Starkville City Jail

    6. San Quentin
    7. San Quentin

    8. A Boy Named Sue

    9. Peace in the Valley

    10. Folsom Prison Blues
    Johnny Cash
    $28.99
    Vinyl LP - Sealed Buy Now
  • Pure Country Soundtrack Pure Country Soundtrack Quick View

    $19.99
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    Pure Country Soundtrack

    25th Anniversary First-Time Vinyl Pressing


    Country legend George Strait is releasing the Pure Country soundtrack on vinyl to celebrate the 25th anniversary of the album. This limited-edition pressing is the first time that the soundtrack is being released in the vinyl format.


    Pure Country, one of Strait's greatest successes, hit No. 1, eventually selling more than 6 million copies, in part due to its two No. 1 hit singles: "I Cross My Heart" and "Heartland." His song "When Did You Stop Loving Me" also reached No. 6 on charts.


    In terms of the film itself, Pure Country opened at No. 6 the week of its release, earning $2,739,680 in its opening week, taking in over $15 million in total. In the film, Strait plays Wyatt "Dusty" Chandler, one of the biggest stars in country music, who becomes disillusioned with his success. Strait's character simply walks away from it all, returning to his hometown to get back in touch with his roots by working at a ranch.


    Kelefa Sanneh writes in the New Yorker that Strait "was persuaded by the producer Jerry Weintraub, and by Colonel Tom Parker, the former manager of Elvis Presley After a concert in Las Vegas, Parker told Strait how important Hollywood had been to Presley. 'Elvis hated making those movies,' he said - but they transformed him from a pop star to an icon.'"


    - Courtney Carr (theboot.com)

    1. Heartland
    2. Baby Your Baby
    3. I Cross My Heart
    4. When Did You Stop Loving Me
    5. She Lays It All on the Line
    6. Overnight Male
    7. Last in Love
    8. Thoughts of a Fool
    9. The King of Broken Hearts
    10. Where the Sidewalk Ends
    11. Heartland (Main Title Sequence)
    George Strait
    $19.99
    Vinyl LP - Sealed Buy Now
  • Trying To Live My Life Without You Trying To Live My Life Without You Quick View

    $16.99
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    Trying To Live My Life Without You

    Otis Clay is one of the premier deep soul and gospel singers working today. His raw, fiery vocals drive an energetic and danceable blend of soul, r&b and blues in the tradition of such deep soul singers as Otis Redding, Wilson Pickett and Solomon Burke.


    A master showman, Otis Clay stays in demand for festival and concert appearances in the U.S., Europe and Japan. Noteworthy recent appearances include headlining The 2006 Japan Blues and Soul Festival Tour, headlining the opening night and being Honorary President of The 2006 Blues Passions Festival in Cognac, France a special guest appearance at The Chicago Emmy Awards in Nov., 2006 and the 2007 Chicago Gospel Music Festival.


    Born in Waxhaw, Mississippi, Clay began his career in gospel singing with groups such as The Pilgrim Harmonizers, The Gospel Songbirds and the legendary Sensational Nightingales. His recording of When The Gates Swing Open was a hit in the mid-80's and is included on The Gospel Truth cd released on Blind Pig Records. Both When The Gates Swing Open and The Gospel Truth remain staples on gospel radio today. As a singer and producer, Otis Clay remains very active in gospel. Walk A Mile In My Shoes, a new cd featuring Otis' version of this classic song has been released on his own Echo Records label.


    Clay launched and established his career as a deep soul singer with his first recordings made in the mid-60s for George Leaner's One-derful label in Chicago. A series of hit singles including Trying To Live My Life Without You produced by Willie Mitchell in Memphis for Hi Records followed in the '70's. Otis has also recorded for the Cotillion, Kayvette, Elka and Rounder labels as well as his own Echo Records. The intensity and passion of his live shows are captured on Soul Man: Live in Japan (Rounder) and Respect Yourself (Blind Pig) recorded live at The Lucerne Blues Festival in Switzerland.


    A long time resident of Chicago's West Side, Otis Clay is actively involved as a board member of People For New Direction, a community-based non-profit creating economic initiatives to address a number of issues on the West Side. People For New Direction consists of West Side businessmen and women, doctors, ministers and others who believe strongly in giving something back to the community where they live and work.


    As Chairman of The Board of the non-profit Tobacco Road, Inc. (TRI, Inc.), Otis was heavily involved in the extensive planning, fundraising and development of The Harold Washington Cultural Center at 47th and King Drive which has served as the cornerstone for the revitalization and redevelopment of the historic Bronzeville neighborhood. The Cultural Center, which includes the state-of-the-art 1,000 seat Com-Ed Performing Arts Theatre, is built on the former site of The Regal Theatre, the legendary venue for national and Chicago-based r&b/soul, blues, jazz and comedy stars.


    Whether bringing audiences around the globe to their feet with his fiery brand of soul and gospel or working tirelessly with community and church leaders to provide better economic and cultural opportunities for West and South Side Chicago residents, Otis Clay has proven himself to be a national treasure.

    1. Trying To Live My Life Without You
    2. I Die A Little Each Day
    3. Holding On To A Dying Love
    4. I Can't Make It Alone
    5. That's How It Is
    6. I Love You I Need You
    7. You Can't Keep Running From My Love
    8. Precious Precious
    9. Home Is Where The Heart Is
    10. Too Many Hands
    Otis Clay
    $16.99
    Vinyl LP - Sealed Buy Now
  • At Carnegie Hall (Pure Pleasure) At Carnegie Hall (Pure Pleasure) Quick View

    $34.99
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    At Carnegie Hall (Pure Pleasure)

    When Paul Robeson took the stage at Carnegie Hall in May of 1958, it had been 11 years since he had previously concertized freely in the United States. Blacklisted from the entertainment industry at home, and with the State Department unwilling to issue him a passport, he had fallen into eclipse as a singer and actor over the previous eight years. The concert recorded here, one of two at Carnegie Hall in May of 1958, marked his return. The performances on this record would also be his only stereo recordings -- all were, naturally enough, the work of Vanguard Records, the New York-based record company that was also the home to fellow blacklistees The Weavers.


    The singing legend is in excellent voice throughout, his rich bass-baritone reveling in performances of a repertory that encompassed Bach, Mussorgsky, Schubert, Dvorák, Beethoven, traditional gospel, Russian and Chinese folk songs, Old Man River from Show Boat, and monologues from Shakespeare and the opera Boris Godunov. With a piano accompaniment by Alan Booth, Robeson ranged across a huge part of his own performing history. The 60-year-old singer, despite the decade of artificially imposed inactivity, still had much of his vocal power intact and all his dramatic instincts, and makes every moment count in his performance, investing immense power in every note and nuance.


    Sadly, his Vanguard performances were to be his only work captured on modern recording equipment -- because of the blacklist, everything else predated the arrival of recording tape and the long-playing record. But the performance captured here, and those represented on Vanguard's The Essential Paul Robeson, show a man still capable of moving huge numbers of people with his voice -- and equally important, even at this late date, who had not lost the ability to walk a crowd through a vast and difficult range of repertory; his performances, even after ten years of professional exile, were also learning experiences, and consciousness-raising, which is why reactionaries in the United States were so afraid of him in the first place. And none of it has lost any of its power in the five decades since the actual event.


    Musicians:



    • Paul Robeson (vocals)

    • Alan Booth (piano)




    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. Every Time I Feel the Spirit
    2. Balm In Gilead
    3. Volga Boat Song
    4. Monologue From Othello (Shakespeare)
    5. O Thou Silent Night (Alexadnrov)
    6. Chinese Children's Song
    7. My Curly Headed Baby (G.H. Clutsam)
    8. Old Man River
    9. Going Home (Dvorak, arr. Fisher)
    10. Monologue from Boris Godunov (Mussorgsky)
    11. The Orphan (Mussorgsky)
    12. Christ lag in Todesbanden (J.S. Bach)
    13. Didn't My Lord Deliver Daniel
    14. Lullaby (Franz Schubert)
    15. O No John
    16. Joe Hill
    17. Jacob's Ladder
    Paul Robeson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Womanchild Womanchild Quick View

    $35.99
    Buy Now
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    Womanchild

    When CÉcile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.


    "She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."


    Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz-starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.
    There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant's contemporaries.


    In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."


    On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to- date arrangement, to McLorin Salvant's own 21st century waltz "Le Front CachÉ Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.


    The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.


    McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.


    However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also currently continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.


    In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.


    "I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching I try to get close to it, and share that with the audience."


    On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.

    1. St. Louis Gal
    2. I Didn't Know What Time It Was
    3. Nobody
    4. WomanChild
    5. Prelude/There's A Lull In My Life
    6. You Bring Out The Savage In Me
    7. Baby Have Pity On Me
    8. John Henry
    9. Jitterbug Waltz
    10. What A Little Moonlight Can Do
    11. Deep Dark Blue
    Cecile McLorin Salvant
    $35.99
    Vinyl LP - Sealed Buy Now
  • MTV Unplugged - Summer Solstice MTV Unplugged - Summer Solstice Quick View

    $45.99
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    MTV Unplugged - Summer Solstice

    In the land of the midnight sun, the clocks tick slightly different than they do elsewhere. This is especially true during the summer solstice, when the sun hardly sets at all, bathing the small Norwegian island of Giske - where a-ha played their first ever two acoustic concerts - in an eerie twilight.


    Giske is a tiny island in close proximity to the city of Ålesund on the shore of the North Atlantic Ocean - a popular city much frequented by day trippers arriving on huge cruise ships during Norway's short yet intense summer season. But a-ha's audience didn't get to Giske on such boats. Coming from destinations all over the world, for them getting to Giske meant embarking on a plane to Oslo and from there to Ålesund. And from there you finally have to drive through a series of seemingly endless and frighteningly deep undersea tunnels to reach Giske, an island so beautiful and, well, remote, that one immediately wonders why a-ha handpicked this specific location to play their long awaited first MTV Unplugged shows on the night of the 2017 summer solstice, right where the world seems to end.


    Pål Waaktaar-Savoy: "Choosing Giske is like most of the things we do: It's been 50% chance and 50% planned. We were discussing many different places to play these special shows - among them Manaus in the Amazon jungle, Berlin, London and New York. At the end of the day it was the Ocean Sound Recordings studio in Giske that made the difference. We knew that we could rehearse undisturbed in an extremely good sounding facility."


    a-ha booked the Ocean Sound Recordings studio, which looks out onto the ocean, to revisit their own back catalogue for two weeks together with producer Lars Horntveth, who had already been working on the acoustic arrangements for more than half a year. The nearby Øygardshallen (Giske Harbour Hall) turned out to be the perfect venue to stage their two first ever acoustic shows: They simply had to lay cables from A to B and then were able to use the studio at Ocean Sound Recordings to capture the shows perfectly. a-ha performed in front of an audience of just 250 people - the Øygardshallen's glass front allowed the audience to gaze out into the pale night and onto a number of LED video steles that had been set up behind the band, serving as a minimalist backdrop to the concert. Suffice to say, the concerts were sold-out within minutes, as a-ha were to play "concerts so close to our audience like never before". As Magne Furuholmen puts it: "These were by far the most intimate concerts we've ever given."


    Yet the beauty of the North Atlantic Ocean, the light of the midnight sun and the exclusivity of the concerts are only one half of the story. The other half is that the idea of a-ha playing their vast catalogue of world hits stripped down to their very essence is indeed a promising endeavor.


    Pål: "We've talked about this idea for so many years. And in many of our concerts we've also played some acoustic songs. But if you consider that we don't use much technology at all when we write the songs, the idea an entirely acoustic show makes total sense. Playing all these songs now in their acoustic versions is like returning to their origins."


    Magne expands the thought in a more universal direction: "Most of our songs draw inspiration from a childhood directly exposed to Norwegian culture, even the folk music tradition, perhaps more so than we thought. We were constantly faced with questions from journalists implying how our 'Norwgian-ness' was a unique part of our sound, even though we lived and worked in London.


    As a creative person it is almost easier to tap into this nordic mindest from a distance. History is full of good examples of how iconic Norwegians in the past did their best work away from home; The writer Henrik Ibsen wrote on universal topics with a strong Norwegian tone while living in Italy, Edvard Munch's melancholic force defined expressionism while living in Berlin - yet he simply couldn't be from anywhere but this country. And of course there is Edvard Grieg, who took a lot of inspiration directly from folk music. His music always felt particularly resonant in our ears growing up. With such strong figures and influences defining what it is to be a Norwegian, it becomes part of what you are. Our darker, melancholic streak definitely harks back to these early influences. We feel connected to all that, which is why we thought returning home for this project was a very natural step.


    Morten Harket stresses the fact how crucial it was to have arranger/producer Lars Horntveth on board as a catalyst and fearlessly driving force behind the scenes: "He confronted our music by presenting completely new arrangements, also taking out 'untouchable' parts, which easily came across as being disrespectful. I say this as a compliment, by the way... And of course we hated it! But we also needed it! This was exactly what we had asked of him. We needed someone who would boldly question everything that we stood for as a band - someone who could stand up to us. Of course it led to shouting matches. It's part of the creative process. Lars deserves the credit for bringing the band closer together than we have been for a very long time."


    For the MTV Unplugged shows, a-ha played 17 songs in completely new arrangements as well as two new songs and two cover versions on vintage acoustic instruments, accompanied by a backing band featuring Karl Oluf Wennerberg on drums, Even Ormestad on acoustic bass, Morten Qvenild on piano and various acoustic keyboards, Lars Horntveth on multiple instruments and Madeleine Ossum on violin and vocals, Tove Margrethe Erikstad on cello and Emilie Heldal Lidsheim on viola and backing vocals. Furthermore, a total of four guest stars served as duet partners for Morten Harket. Most notably, Echo & The Bunnymen's Ian McCulloch had been invited by Magne Furuholmen to sing "Scoundrel Days" and Ian's very own "The Killing Moon" on the first of the two shows. On the second night, a-ha were joined by Alison Moyet of Yazoo fame to duet with Morten on "Summer Moved On". Highasakite's Ingrid Helene Håvik guested on "The Sun Always Shines on TV" on both nights, while, last but not least, American singer Lissie did the same on "I've Been Losing You".


    "In the cacophonic world of popular music, with its high-impact effects and productions, the music is often somewhat lost as it ends up being premeditated." Morten Harket addresses the subject of subtlety: "The world of pop is a world where everything always has to be more than anything else."


    Attending the concerts and the last full day of the rehearsals, you could tell that the whole group and especially Morten did indeed try to reveal the soul of each and every song performed. During the last run-through on the day before the first night the band took things extremely seriously. Songs were started, stopped and deconstructed. Discussions between Morten and the group as well as with the recording engineers dealt with the tiniest details of sound, cohesiveness and attitude. As a result, the two shows benefited profoundly, both in terms of microstructure (the new arrangements reveal so much of the songs' essences), as well as in that the overall dramaturgic arc of the concerts, which steadily built towards a climax that would astound even the most dedicated follower of the group. During the encore, a-ha would play - "as usual" - their first and biggest hit to date, "Take On Me". But an unexpected chord change in the chorus and the skeletal arrangement not only allowed a new perspective on the song's lyrics, it also left the audience with tears in their eyes.


    Magne: "When you rearrange songs for an acoustic rendition it is also an opportunity to do more than to just simplify them. I especially like what happened when we took a fresh look at Take on me, which went from being an uptempo syntheziser-driven popsong to a much more melancholic, yearning ballad in this slowed down arrangement, it shows with much more clarity how the song at its core is not some standalone upbeat track, but belongs squarely inside our catalogue alongside more thoughtful, darker songs like scoundrel days etc.


    There are only a few bands in the world who can look back on similarly close ties with the music channel MTV as a-ha. Alongside the likes of Duran Duran and Yello, in 1985 a-ha were worldwide pioneers who immediately understood the power of the music video as both a narrative and commercial tool. Steve Barron's classic "Take On Me" clip is still a milestone of music video and in 2003 was voted by the MTV audience as one of the top ten best videos ever made. There have long been efforts by a-ha and MTV to organize an Unplugged concert.


    The fact that the two MTV Unplugged concerts in June 2017 actually took place on Giske also left a deep impression on a-ha themselves. Like every other band that has been successful on a worldwide scale for over three decades, a-ha have had their share of problems, split-ups and re-unifications. A thoughtful Magne reflects: "After such a long time, a-ha have now become a band that simply continues from project to project. This turned out to be a very healthy approach for the three of us, because going acoustic also had the taste of a new project."


    Pål: "When we recorded our last few albums, we were sometimes working pretty isolated from each other. We should do this again - sitting and recording in the same room together for a couple of weeks or months and see what comes out as a result. We may argue about a lot of things, but we are also a band that has very close ties."


    After the closing applause that seemed would never end, the band left the stage and walked out of Øygardshallen into the living daylights. Having performed two triumphant concerts together, the three band mates climbed into three separate vehicles and headed off into the sunlit night. But everybody in the audience had a feeling that a-ha had now just opened a brand new chapter in their unparalleled career. To quote a line from one of the highlights of these unplugged shows: "Cause I've been told / Stay on these roads / We shall meet, I know."


    -Max Dax

    LP 1
    1. This Is Our Home (Live from MTV Unplugged, Giske / 2017)
    2. Lifelines (Live from MTV Unplugged, Giske / 2017)
    3. I've Been Losing You (Live from MTV Unplugged, Giske / 2017)
    4. Analogue (All I Want) (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    5. The Sun Always Shines on TV (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    6. A Break in the Clouds (Live from MTV Unplugged, Giske / 2017)
    7. Foot of the Mountain (Live from MTV Unplugged, Giske / 2017 / LP Edit)


    LP 2
    1. Stay on These Roads (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    2. This Alone Is Love (Live from MTV Unplugged, Giske / 2017)
    3. Over the Treetops (Live from MTV Unplugged, Giske / 2017)
    4. Forever Not Yours (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    5. Sox of the Fox (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    6. Scoundrel Days (Live from MTV Unplugged, Giske / 2017)
    7. The Killing Moon (Live from MTV Unplugged, Giske / 2017 / LP Edit)


    LP 3
    1. Summer Moved on (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    2. Memorial Beach (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    3. Living a Boy's Adventure Tale (Live from MTV Unplugged, Giske / 2017)
    4. Manhattan Skyline (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    5. The Living Daylights (Live from MTV Unplugged, Giske / 2017 / LP Edit)
    6. Hunting High and Low (Live from MTV Unplugged, Giske / 2017)
    7. Ake on Me (Live from MTV Unplugged, Giske / 2017)

    A-ha
    $45.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • J.J. Inc. (Speakers Corner) J.J. Inc. (Speakers Corner) Quick View

    $34.99
    Buy Now
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    J.J. Inc. (Speakers Corner)

    He was a shining example for many European modern-jazz trombonists: J. J. Johnson, the man from Indianapolis, and the swinging half of the pair Jay and Kai. (Kai Winding was the white guy with the "cool" sound.) On this Columbia LP, recorded in August 1960, we can experience J. J. in three ways - as a soloist, composer, and arranger. To this is added a superbly well-rehearsed combo consisting of Freddie Hubbard, Clifford Jordan and one of the very best rhythm groups of late hard bop: Cedar Walton, Arthur Harper, and Albert Heath on the drums.



    Thanks to having performed the works over the previous eight months in concerts before the recording, all the works sound wonderfully homogeneous, and the improvisations never once become stereotyped. The theme tune of In Walked Horace well illustrates Jay Jay's musical background, which lies somewhere between Thelonious Monk, Bud Powell and Horace Silver.
    On the reverse side of the LP cover, J. J. Johnson describes his feelings during the recording session: »Wow! What a pleasure!« And the listener will certainly go along with that for the whole length of the LP!



    Musicians:



    • J.J. Johnson (trombone)

    • Clifford Jordan (tenor saxophone)

    • Freddy Hubbard (trumpet)

    • Cedar Walton (piano)

    • Arthur Harper (bass)

    • Albert Heath (drums)




    Recording: August 1960 in New York

    Production: Teo Macero




    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. Mohawk
    2. Minor Mist
    3. In Walked Horace
    4. Fatback
    5. Aquarius
    6. Shutter-Bug
    The J.J. Johnson Sextet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tutu (Awaiting Repress) Tutu (Awaiting Repress) Quick View

    $39.99
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    Tutu (Awaiting Repress)


    2-LP Set On 180-gram Vinyl Includes Remastered Original Studio Album, Plus Unreleased Live Performances


    Extra 180-Gram Vinyl LP Of Live Performances By The Miles Davis Octet Of The Nice Jazz Festival Of 1986, Available For The First Time On Vinyl


    Packaging Is A Replica Of The Original Vinyl Album, Including Stickers, LP Labels, Irving Penn's Beautiful And Iconic Photographs


    30 Years ago, Miles Davis made waves in the music world when he left Columbia Records to sign recording and publishing contracts with Warner Bros. and Warner Chappell in 1985. With a new label to call home, Davis immediately started working on the album, which originally had the working title, Perfect Way, named after a song by new wave pop band Scritti Politti that he was covering on the album. The album was later renamed Tutu by producer Tommy LiPuma, taken from news headlines of the day referencing the well-known South African archbishop and anti-apartheid leader, Desmond Tutu.


    Rhino celebrates one of jazz music's most revered and innovative talents with a 2-LP deluxe edition set on 180-gram vinyl of Miles Davis' TUTU, released to coincide with the 30th Anniversary of Davis signing with Warner. The deluxe edition includes a remastered LP of the original album and a bonus LP of live performances at the Nice Festival held in 1986, packaged with the original artwork featuring photographs by the legendary Irving Penn.


    TUTU pushed Davis back into center stage, winning him two Grammy® awards, when even the most reverent seemed to admit that his best music lay in the past. Tutu stands as an important part of the Davis legacy, and a testament to a prolific artist whose boundless creativity continuously redefined a genre throughout his legendary career.


    As Davis recalled, Tutu "started with some music that George Duke, the piano player sent to me." Davis' affection for the initial track - eventually titled "Backyard Ritual" and filled with synthesizer sounds and electronic beats - revealed the trumpeter's willingness to consider music written by others, and the use of cutting-edge electronics.


    Producer Tommy LiPuma recruited composer and studio musician Marcus Miller to collaborate on the project, who at 27, had already made a name for himself in jazz, R&B and popular music, playing funk, rock, bebop and hip hop. Davis later praised him as being "so hip and into the music that he even walks in tempo . . . in the studio we make a great team."


    "Technology was kind of exploding and I thought it would be interesting to hear Davis making his way through this new world," said Miller. Performing on the album were George Duke, Adam Holzman and Bernard Wright, percussionists Paulinho Da Costa and Steve Reid, drummer Omar Hakim and violinist Michael Urbaniak all contributed tracks; keyboardist Jason Miles played a significant role as well, programming the synthesizers and helping push the tracks to a level of sonic detail that could compete with contemporary recordings.


    Tutu would feature a variety of tunes that offered a mix of flavors and mood. Besides the title track, four were composed by Miller - "Splatch," "Portia," "Don't Lose Your Mind" and "Full Nelson" (the last a tribute to another South African leader, Nelson Mandela). "Tomaas" - named by Davis for LiPuma - was co-written by Davis and Miller, based on ideas Davis had previously recorded. The selections were rounded out by one cover - "Perfect Way," which Davis had initially chosen to be the album's title track.


    By that summer, Davis' group was touring Europe. With a four-night run approaching at the Grande Parade du Jazz festival in Nice, France, the decision was made to record the group at its prime. It was a wise choice. Warner Bros. hired a mobile recording truck and all four concerts were taped. "Everybody in the band knew we were being recorded so we were on our game," remembers his nephew, drummer Vince Wilburn. "Miles had an uncanny knack for knowing not only what to record but when and where. Every night was more beautiful than the one before: wonderful weather, captive audiences and the band was on fire."


    "At the time, there wasn't anything that jumped out at me," LiPuma admits. "Believe me, if I thought there had been, I would've put an album out. But having spent some time with the music, it's brilliant - and I think it's an important recording." Like the best live recordings, these tracks are both historic and timeless - filled with a spirit and snap that can still be felt today, yet cannot be repeated.

    LP 1
    1. Tutu
    2. Tomaas
    3. Porttia
    4. Splatch
    5. Backyard Ritual
    6. Perfect Way
    7. Don't Lose Your Mind
    8. Full Nelson


    LP 2 - Live from Nice Festival, France, July 1986
    1. Portia
    2. Human Nature
    3. Carnival Time
    4. Splatch
    5. New Blues

    Miles Davis
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
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