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  • The Great American Songbook (Pure Pleasure) The Great American Songbook (Pure Pleasure) Quick View

    $49.99
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    The Great American Songbook (Pure Pleasure)

    This is a gem of an album and one of my favorites by McRae. It was recorded live for Atlantic Records at Donte's Club in Los Angeles on November 6, 1971, and released the following year.


    What I love is not only the choice of songs but the sound quality and the performance itself. The set not only contains established standards by Ellington, Cole Porter and the other greats, but some new (at the time) material. Including Burt Bacharach's They Long To Be Close To You in the set was a wise decision in my opinion. It deserves to be a standard. Of course, there is the obligatory Billie Holiday song that McRae would include in all of her performances. On this album it's I Cried For You, which was one of Billie's first recordings in 1936.


    The sound quality is superb. The engineer managed to capture not only the energy from the live performance, but the richness of the ensemble backing McRae. Indeed, the musicians backing her are perfect for the material: Jimmy Rowles on piano (who wrote the Ballad of Thelonious Monk), Joe Pass on guitar, Chuck Domanico on bass and Chuck Flores on drums.


    If you love hearing some of the best songs from the Great American Songbook performed by a master this album will delight you. There is a cohesiveness to the album that earns kudos from the production team as well as the performers. Interestingly McRae and her ensemble performed 32 songs the night that this was recorded. One can only speculate as to why a volume 2 wasn't released. Regardless, this is - in my opinion - some of McRae's best live material. - Mike Tarrani


    Musicians:



    • Carmen McRae (vocal, piano)

    • Joe Pass (guitar)

    • Jimmy Rowles (piano)

    • Chuck Domanico (bass)

    • Chuck Flores (drums)



    Recording: November 1971 live at Donte's, Los Angeles CA., by Ray Thompson

    Production: Jack Rael




    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.



    LP 1
    1. Satin Doll
    2. At Long Last Love
    3. If The Moon Turns Green
    4. Day By Day
    5. What Are You Doing The Rest Of Your Life
    6. I Only Have Eyes For You
    7. Medley: Easy Living / Days Of Wine & Roses / It's Impossible
    8. Sunday


    LP 2
    1. A Song For You
    2. I Cried For You Now It's Your Turn To Cry Over Me - Introduction
    3. Behind The Face - Introduction
    4. The Ballad Of Thelonious Monk
    5. There's No Such Thing As Love
    6.They Long To Be Close To You
    7. Three Little Words
    8. Mr. Ugly
    9. It's Like Reaching For The Moon
    10. I Thought About You

    Carmen McRae
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • All For You: A Dedication To The Nat King Cole Trio All For You: A Dedication To The Nat King Cole Trio Quick View

    $34.99
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    All For You: A Dedication To The Nat King Cole Trio

    All for You is a tribute to the Nat King Cole Trio of the 1940s, when Cole performed as both a singer and a pianist. Krall, like her heroes Lena Horne and Carmen McRae, is also a singer-pianist, and she plays both roles on most of the songs here. She's able to link her singing to her piano playing in sympathetic ways and projects tremendous feeling through both. Like Cole in the '40s, Krall plays with a drummerless trio--here with guitarist Russell Malone and bassist Paul Keller. Their sense of intimate rapport is especially valuable on ballads such as You Call It Madness and I'm Thru with Love, but also allows such uptempo tunes as Hit That Jive Jack to swing with surprising lightness. -Geoffrey Himes
    1. I'm An Errand Girl For Rhythm
    2. Gee Baby, Ain't I Good To You
    3. You Call It Madness
    4. Frim Fram Sauce
    5. Boulevard Of Broken Dreams
    6. Baby Baby All The Time
    7. Hit That Jive Jack
    8. You're Looking At Me
    9. I'm Thru With Love
    10. Deed I Do
    11. A Blossom Fell
    12. If I Had You
    Diana Krall
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Now It's My Turn (Pure Pleasure) Now It's My Turn (Pure Pleasure) Quick View

    $34.99
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    Now It's My Turn (Pure Pleasure)

    Arguably the most adventurous female jazz singer of all time, Betty Carter was an idiosyncratic stylist and a restless improviser who pushed the limits of melody and harmony as much as any bebop horn player. The husky-voiced Carter was capable of radical, off-the-cuff re-workings of whatever she sang, abruptly changing tempos and dynamics, or rearranging the lyrics into distinctive, off-the-beat rhythmic patterns. She could solo for 20 minutes, scat at lightning speed, or drive home an emotion with wordless, bluesy moans and sighs. She wasn't quite avant-garde, but she was definitely 'out'. Yet as much as Carter was fascinated by pure, abstract sound, she was also a sensitive lyric interpreter when she chose, a tender and sensual ballad singer sometimes given to suggestive asides. Her wild unpredictability kept her marginalized for much of her career, and she never achieved the renown of peers like Ella Fitzgerald, Sarah Vaughan, or Carmen McRae. What was more, her exacting musical standards and assertive independence limited her recorded output somewhat. But Carter stuck around long enough to receive her proper due; her unwillingness to compromise eventually earned her the respect of the wider jazz audience, and many critics regarded her as perhaps the purest jazz singer active in the '80s and '90s.



    Musicians:



    • Betty Carter (vocal)

    • John Hicks (piano)

    • Walter Booker (bass)

    • Unknown (drums)



    Recording: March and June 1976 at Sound Ideas Studio C by Joe Ferla

    Production: Fred Bailin




    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. Music Maestro, Please
    2. Swing Brother Swing
    3. I Was Telling Him About You
    4. Wagon Wheels
    5. New Blues (You Purr)
    6. Most Gentlemen Don't Like Love
    7. Making Dreams Come True

    8. Open the Door
    9. Just Friends
    10. Star Eyes
    11. No More Words
    Betty Carter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Little Girl Blue Remixed Little Girl Blue Remixed Quick View

    $37.99
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    Little Girl Blue Remixed

    Perhaps not as well known to the general public, Bethlehem Records earned its place in Jazz history with the release of debut albums from artists like Carmen McRae, Chris Connor, Herbie Mann and Johnny Hartman. Besides that, check those early covers - pure art!


    Bethlehem's most famous release is the 1958 debut album by Nina Simone, Little Girl Blue. So when DJ Maestro got the chance to remix this album, he was thrilled. Soon he got the idea to ask some of his favorite producers to collaborate, like Mop Mop, Renegades of Jazz, Gramophonedzie, Fab Samperi, The Reflex and Mees Dierdorp.


    One thing they all had in common: excitement to work with the original recordings from this iconic album. The result is 14 remixes, each with a unique approach to the original song, and all with a contemporary feel.

    1. Plain Gold Ring (mop Mop Rework)

    2. My Baby Just Cares For Me (the Reflex Edit)

    3. Mood Indigo (renegades Of Jazz Remix)

    4. Little Girl Blue (maestro Remix)

    5. Love Me Or Leave Me (suonho Relove)

    6. African Mailman (the Rebel Remix)

    7. I Loves You Porgy (mees Dierdorp Remix)

    8. My Baby Just Cares For Me (gabriel & Castellon And Maestro Remix)

    9. African Mailman (opolopo Remix)

    10. Plain Gold Ring (fab Samperi Remix)

    11. He Needs Me (gramophonedzie Remix)

    12. Love Me Or Leave Me (gabriel & Castellon And Maestro Remix)

    13. African Mailman (smoove Remix)

    14. Central Park Blues (monte's Midnight Mix)
    Nina Simone / Dj Maestro
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Studio Rio Presents: The Brazil Connection Studio Rio Presents: The Brazil Connection Quick View

    $19.99
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    x

    Studio Rio Presents: The Brazil Connection

    Legacy Recordings, the catalog division of Sony Music Entertainment, will release Studio Rio Presents: The Brazil Connection, an innovative new collection of 12 beloved vocal recordings re-experienced through new samba and bossa nova arrangements created by iconic Brazilian musicians and The Berman Brothers.


    Embracing the All In One Rhythm™ Theme of the 2014 FIFA World Cup, Studio Rio Presents: The Brazil Connection blends 12 iconic performances--from Bill Withers, Aretha Franklin, Marvin Gaye, Billie Holiday, Sly & The Family Stone, The Isley Brothers, Mel TormÉ, Nina Simone, Johnny Nash, Dave Brubeck with Carmen McRae, Andy Williams and Sarah Vaughan--with new, samba and bossa nova arrangements and production inspired by the spirit of Brazilian music.


    Working on Studio Rio Presents: The Brazil Connection project, the Berman Brothers sought out the original multi-track masters and utilized an all-new, state-of-the-art separation technology from Science of Sounds to extract exquisitely pristine and detailed vocals. The newly isolated vocals were then melded with brand-new, authentic backing arrangements played by Studio Rio, an all-star cast of Brazilian musical pioneers from the bossa nova and samba genres, including Latin Grammy Lifetime Achievement Award winner Roberto Menescal and Brazilian musical legend Marcos Valle.


    Studio Rio Presents: The Brazil Connection is the latest innovative musical project from the Berman Brothers (Frank and Christian), a production team whose previous work includes Rhythms Del Mundo (2006), a cross-cultural album summit which which fused an all-star cast of Cuban musicians including Ibrahim Ferrer and Omara Portuondo of the Buena Vista Social Club with US and UK artists and superstars such as U2, Coldplay, Sting, Jack Johnson, Maroon5, Arctic Monkeys, Franz Ferdinand, Kaiser Chiefs and others. Rhythms del Mundo was released in more than 61 countries and received multiple sales awards worldwide.


    During the past 20 years, the Berman Brothers have received more than 90 gold and platinum awards, two BMI Awards, a Golden Globe nomination, a Grammy nomination (for Love One Another, recorded by Cher) and a place in history for their production and remix of the Baha Men's colossal hit, Who Let the Dogs Out. As producers, writers and publishers, the Bermans have worked with an array of international superstars including Coldplay, Sting, Cher, Real McCoy, Dido, Maroon5, Sophie B Hawkins, Reamonn and members of the legendary Buena Vista Social Club.


    Music is the heart and soul of Brazil, celebrating with syncopated beats and beautifully expressive melodies. It's the life force of the entire culture, wrote the Berman Brothers in their notes for Studio Rio Presents: The Brazil Connection. We have always had a huge appreciation of Brazilian music. Between us, we have a massive collection of bossa nova and samba recordings, new and old, a lot which we found in flea markets in Amsterdam, Paris, and London.... Once you get into this music, there really is no way to stop. It was this joyful and timeless music that inspired the idea for this collection. Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known American artists like Billie Holiday, Aretha Franklin, Marvin Gaye, The Isley Brothers, and many others. What would these classic songs sound like had they been recorded in the studios of Rio De Janeiro in the first place, with the best Brazilian musicians and arrangers?"


    "It was an amazing journey-bringing together these American classics and the vibrancy of Brazilian music with the help of so many talented musicians, arrangers and a dedicated production team. We learned many things putting together this music including what was the most important, and least surprising lesson of all: Brazil is the most musical place we have ever been in our lives.

    1. Lovely Day (Studio Rio Version) - Bill Withers with Studio Rio
    2. Walk on By (Studio Rio Version) - Aretha Franklin with Studio Rio
    3. Sexual Healing (Studio Rio Version) - Marvin Gaye with Studio Rio
    4. You've Changed (Rio Music Collective Version) - Billie Holiday with Studio Rio
    5. Family Affair (Rio Music Collective Version) - Sly & The Family Stone with Studio Rio
    6. It's Your Thing (Rio Music Collective Version) - The Isley Brothers with Studio Rio
    7. I've Got You Under My Skin (Studio Rio Version) - Mel TormÉ witb Studio Rio
    8. I Can See Clearly Now (Studio Rio Version) - Johnny Nash with Studio Rio
    9. Take Five (Studio Rio Version) - Dave Brubeck & Carmen McRae with Studio Rio
    10. Music to Watch Girls By (Studio Rio Version) - Andy Williams with Studio Rio
    11. Summertime (Studio Rio Version) - Sarah Vaughan with Studio Rio
    Studio Rio
    $19.99
    Vinyl LP - Sealed Buy Now
  • Womanchild Womanchild Quick View

    $35.99
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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
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