- Lowest Price
- Highest Price
$49.99 $44.99 Save $5.00 (10%)
Jerry Garcia And David Grisman (On Sale)
Numbered Limited Edition 180g 2LP from Mobile Fidelity
Contemporary Interest in Roots Music Kick-Started by Stellar Grammy-Nominated 1991 Collaboration
Recording Now As Realistic, Natural, Close-Up, Intimate, and Enveloping as Any Acoustic Record Released: 1st Time-Ever on LP
Garcia and Grisman Put on Virtuosic Performance, Make Way Through Pop Standards, Blues Classics, Folk Staples, Bluegrass Jaunts, and More
Jerry Garcia achieved monumental accomplishments over a prolific career, yet the guitarist never sounded better than on his first official collaboration with longtime friend and fellow instrumental maestro David Grisman. Indeed, contemporary interest in roots music can be directly traced to this stellar Grammy-nominated 1991 collaboration. Putting distinctive rustic spins on pop standards, blues classics, and folk staples, the kindred musical spirits' earnest authenticity and relaxed intimacy are matched only by virtuosic playing and superb production. As realistic, warm, close-up, and immersive as any acoustic album, Mobile Fidelity's reissue raises the bar on the meaning of reference-standard.
Mastered from the original master tapes, Mobile Fidelity's 180g 2LP of Garcia/Grisman takes a record forever renowned for breathtaking sonics to another level. Originally released on Grisman's fabled Acoustic Disc label and recorded at his plush studios, the album now sounds even more realistic-with distinctive tones, palpable air, smooth vocals, three-dimensional soundstaging, balanced imaging, and timbral extension that mirror the feeling and experience of hearing live music in a small space.
Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Mobile Fidelity's meticulous pressing also marks the first time this delightfully joyous affair has been issued in analog form. You will never hear a better-sounding Americana-styled recording.
Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.
Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia"-complete with a section based on a Cuban fold theme-is alone enough worth the price of admission to this sensational session. But there's so much more.
The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavors ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.
This title is not eligible for further discount.1. The Thrill Is Gone
2. Grateful Dawg
3. Two Soldiers
4. Friend of the Devil
5. Russian Lullaby
6. Dawg's Waltz
7. Walkin' Boss
8. Rockin' Chair
9. Arabia$49.99 $44.99 Save $5.00 (10%)180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The Bright MississippiThrough his work as producer, composer, arranger and consummate session man, New Orleans native Allen Toussaint has truly earned living-legend status. He has collaborated on landmark recordings for such artists as Ernie K. Doe, Lee Dorsey, Dr. John, the Meters, the Pointer Sisters and Labelle and released acclaimed albums of his own. The 70 year-old pianist, already a Rock and Roll Hall of Fame Inductee, was the recipient, on the recent Grammy Awards telecast, of the Recording Academy's prestigious Trustee Award, honoring a lifetime in the studio, both behind the scenes and in front of the mic.
On The Bright Mississippi, his Nonesuch debut, Toussaint continues to break new ground with his first jazz-oriented set, displaying the same effortless swing and relaxed charm he brought to his classic rock and roll sides. He salutes Big Easy stars of a previous generation, the jazz greats who, in the early 20th century, built the genre from the ground up and turned the ears of the world to New Orleans. Backed by an all-star combo that sounds like a group of old friends, Toussaint reinterprets classic jazz and blues tunes popularized or written by such New Orleans greats as Louis Armstrong, Sidney Bechet, Jelly Roll Morton and Joe King Oliver, as well as pieces composed by fellow travelers Django Reinhardt, Duke Ellington and Thelonious Monk. He accedes the producers chair to trusted friend Joe Henry, who sat behind the board for Toussaint's contributions to Our New Orleans, Nonesuch Records best-selling 2005 benefit release aiding hurricane victims on the Gulf Coast. Henry also produced The River In Reverse, Toussaint's 2006 post-Katrina collaboration with Elvis Costello.
Henry assembled a decidedly non-traditional band of backing players for The Bright Mississippi, assuring a fresh take on such venerable tunes as West End Blues, St. James Infirmary, and Dear Old Southland. Joining Toussaint for four days of sessions at Manhattans Avatar Studio were guitarist Marc Ribot (Costello, Tom Waits), bassist David Piltch (k.d. lang), clarinetist Don Byron, trumpeter Nicholas Payton and drummer Jay Bellerose (Robert Plant /Alison Krauss, Sam Phillips). Nonesuch label-mates Brad Mehldau (piano) and Joshua Redman (saxophone) stopped by for one tune each.It was wonderful, says Toussaint of these convivial sessions.
Everything is live, of course. This isn't the kind of assembly line music where somebody put the wheels on here and somebody put the top on there. Everything got done at the same time, so everybody fed on each other, their personality and tonality.LP 1
1. Egyptian Fantasy
2. A Dear Old Southland
3. St. James Infirmary
4. Singin the Blues
5. Winin Boy Blues
6. West End Blues
1. Blue Drag
2. Just a Closer Walk with Thee
3. Bright Mississippi
4. Day Dream
5. Long, Long Journey
6. Solitude$29.99140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
DjangoOriginally released on Prestige in 1955, but actually recorded during three disparate sessions that occurred sporadically from 1953-1955, Django features some of the earliest recorded output from the Modern Jazz Quartet which includes Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums).
The warm, sophisticated nature of the material here is readily apparent from the get go courtesy of opener and album namesake, Django, a fine dedication to the memory of guitar virtuoso Django Reinhardt. The set is rounded out by graceful takes on Gillespie's One Bass, the Gershwin's But Not For Me, Vernon Duke's Autumn In New York and a handful of accomplished Lewis originals.1. Django
2. One Bass Hit
3. La Ronde Suite/Piano
4. La Ronde Suite/Bass
5. La Ronde Suite/Vibes
6. La Ronde Suite/Drums
7. The Queen's Fancy
8. Delaunay's Dilemma
9. Autumn In New York
10. But Not For Me
11. Milano$21.99Vinyl LP - Sealed Buy Now
DjangologyA very special deluxe 2LP vinyl compilation of historic recordings by one of the greatest
jazz guitarists of all time - Django Reinhardt - packaged in a gatefold jacket with extensive
liner notes and rare photos!LP1
1. Honeysuckle Rose
3. La Mer (Beyond The Sea)
4. Minor Swing
5. Night And Day
6. Sweet Georgia Brown
8. Blue Drag
10. I'll See You In My Dreams
3. St. Louis Blues
5. All Of Me
6. It Had To Be You
7. I Wonder Where My Baby Is Tonight
8. It Don't Mean A Thing If It Ain't Got That Swing
9. The Sheik Of Araby
10. Django's Tiger$34.99Vinyl LP + CD - 2 LPs Sealed Buy Now
First Pressing Of 750 Numbered Copies On 180 Gram Chocolate Brown Vinyl, Black Vinyl Thereafter
First Time On Vinyl
Chocolat is the 2000 British-American romantic comedy-drama film directed by Lasse Hallström (The Cider House Rules) starring Juliette Binoche, Judi Dench and Johnny Depp. The movie was adapted from the novel written by Joan Harris, and is about a woman and her daughter opening a chocolate shop - with Sunday hours - across the street from the local church in a small French village.
The music is composed by Rachel Portman and the soundtrack also includes Minor Swing from Django Reinhardt/StÉphane Grappelli and the 1936 jazz standard Caravan from Duke Ellington and Juan Tizol.
Rachel Portman has written over 100 music scores for film, television and theatre. She was also the first female composer to win an Academy Award in the category of Best Musical or Comedy Score for Emma in 1996 and in 2015 she received the Primetime Emmy Award for Outstanding Music Composition for the HBO TV series Bessie.1. Minor Swing (Django Reinhardt/StÉphane Grappelli)
2. Chocolat: Main Titles
3. The Story Of Grandmere
4. Vianne Sets Up Shop
5. Three Women
6. Vianne Confronts The Comte
7. Other Possibilities
8. Guillaume's Confession
9. Passage Of Time
10. Boycott Immorality
11. Party Preparations
12. Chocolate Sauce
14. Vianne Gazes At The River
15. Mayan Bowl Breaks
16. Taste Of Chocolate
17. Ashes To The Wind / Roux Returns
18. Caravan (Duke Ellington/Juan Tizol)$42.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Essential ElectricDjango Reinhardt is one of the most legendary players in the entire history of jazz. Most noted for his Gypsy influenced acoustic guitar playing, this collection instead focuses on his less well known electric guitar recordings. This single LP gathers fourteen of his best electric recordings..Essential!Brazil
Blues For Ike
Night And Day
Confessin' That I Love You
Manoir De Mes Reves
New York City$18.99Vinyl LP - Sealed Buy Now
NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli EnsembleMono
On the 17th of May 1957 StÉphane Grappelli came to Hamburg for a recording session with a quartet in Studio 1 of the Norddeutscher Rundfunk radio broadcaster. From today's perspective the trip was a rare event for the then 49-year-old jazz musician, because from the end of the 1940s until the mid-1960s he was rarely to be found in a recording studio anywhere, even though he was already one of the world's best jazz violinists. His studio absence is particularly puzzling given that up to his death on the 1st of December 1997 he was probably one of the most recorded violinists in the history of music of the 20th century. But from this roughly 15-year period there is actually just a handful of released recordings by and with StÉphane Grappelli.
For the jazz violinist the years before making his trip to Hamburg in 1957 were a time of upheaval and change which left a "gap" in Grappelli's CV and discography. There are several reasons for this. One of them lies in the technical developments of the time. Music became louder. Electric guitars, improved microphones and the voluminous sound, in particular of the brass section, also led to a broadening of the dynamic spectrum in jazz. With its delicate acoustics it was difficult for a violin to assert itself against the other instruments without amplification. Before coming to Hamburg, Grappelli had already started experimenting with various pick-up systems. But he was generally dissatisfied with the results because the electrification of his instrument had an excessively alienating effect on the unique timbre of the violin and the ambience was lost. This is why he often preferred a chamber music setting in the recording studio, as this gave him the best acoustic results with just a simple microphone.
Another reason was of a personal nature. On the 16th of May 1953 the Manouche guitarist "Django" Reinhardt died. The death of his long-time friend and musical companion had deeply wounded StÉphane Grappelli. He rarely spoke about this loss. When he did, then he spoke about the years between 1934 and 1939, when they both fronted the now legendary Quintette du Hot Club de France. It was the countless recordings with this band that earned Grappelli and Reinhardt their reputation as "legends" of early European jazz. Here and in the USA: with the then so popular Hot Jazz which the pair mixed from the very beginning of their percussionless band with the Musette waltzes typical of French dance music and the music of the Manouches, the French Gypsies.
When the Second World War broke out on the 1st of September 1939, the Quintette du Hot Club de France was on tour in England. While one, Reinhardt, returned to his homeland of France, the other, Grappelli, remained in London. In his English exile the violinist became acquainted with George Shearing. An encounter with consequences. Because Grappelli - who had taught himself to play the violin as a youth before going to study classical violin at the venerable Conservatoire de Paris, after which, like many musicians of the time, he earned his livelihood playing with dance orchestras in the French capital - was always interested in being part of new musical developments. With the blind pianist who was more than ten years younger and his concept of block chords, Grappelli was given the opportunity to learn what was for him an unknown harmonic language in jazz.
But above all, up to the late 1950s Grappelli was still working on perfecting his instrumental skills. While his solo choruses on the violin with the Quintette du Hot Club de France mainly involved intensifying ornamentations, tension-escalating vibrati, glissandi and tremoli, short fill-ups and improvised melodic phrases, in the years after the end of the war he expanded the range of forms of expression on his instrument. He was inspired, for example, by the "Bel Canto" playing of the classical violin virtuosos, taught himself different type of bow strokes, and learned an unusual grip technique for the violin in order to be able to fly over the strings with the minimum of pressure. But above all he emotionalised his sound using a technique with which he preceded the played notes with a glissando from below.
StÉphane Grappelli's visit to Studio 1 at the Norddeutscher Rundfunk in Hamburg in 1957 was then indeed a stroke of luck. Because on this day he had for the first time the complete repertoire of forms of expression on the violin which made him the style-forming jazz musician who earned the admiration even of instrumentalists in other genres such as the great classical violinist Yehudi Menuhin. At the same time, his tone and phrasing still had the vitality and virility of his younger years with the Quintette du Hot de France in the 1930s. And even more: In 1957 he was able to build a bridge with his violin between the swinging grandezza of the US jazz musicians and the great tradition of European music.
A major factor in making the recording session in Studio 1 of the NDR a field of experimentation for Grappelli was his rhythm group. This included his twenty-years-younger compatriot, the pianist Maurice Vander, and the two Germans Hans Last on the contra bass (yes, you've read it correctly: years later "Hans" was to become "James" Last) and Rolf Ahrens on percussion. With delicate harmony and colourful melody the three musicians cleared the ground for their leader to experiment with his violin: with his soft and broad legato bowing technique, for example, which allowed him to achieve such naturally swinging phrasing, particularly in the ballads and mid-tempo numbers, as the great US saxophonists at the time, with his sharp pizzicato which gave his solo choruses a dynamically differentiated energy level, or with his sensational flageolet tones in preparation for the climaxes of his improvisations.
Even though at first glance the repertoire recorded in Hamburg with its mixture of songs from the "Great American Songbook" ("St. Louis Blues" for example, or "Lady Be Good" and "The Lady Is A Tramp") and pieces, for example, by Django Reinhardt (in particular "Manoir De Mes Rêves" and "Nuages") appeared to offer little spectacular, in its natural and self-evident way this studio session was an illustration of what was to be Grappelli's life-long guiding principle: "Jazz is all about feeling: It is a matter of the heart", as he once summarised it in simple words "It is only when you have the feeling that the music happens as if by itself."LP1
1. Autumn In New York
2. Jeepers Creepers
3. These Foolish Things
4. She's Funny That Way
6. It Might As Well Be Spring
7. Hambourg Souvenir
8. Vours qui passez sans me voir
9. Lady Be Good
10. A Flower Is A Love-Some Thing
1. I Can't Believe That You're In Love With Me
2. Manoir de mes reves
3. How About You?
4. The Lady Is A Tramp
5. St. Louis Blues
6. A Girl In Calico
7. I'll Remember April
8. Blue Moon
9. How High The Moon
10. Pennies From Heaven$37.99Vinyl LP Mono - 2 LPs Sealed Buy Now
Django And JimmieDjango & Jimmie, the new studio album collaboration from Willie Nelson and Merle Haggard, two of the founding fathers of American outlaw country music. The legendary singer-songwriters join forces and reignite the musical chemistry that made Pancho & Lefty a honky-tonk blockbuster and America's #1 Country Album following its release in January 1983. The success of Pancho & Lefty opened the doors for a number of successful follow-up projects including 1987's Seashores Of Old Mexico album, 2007's Last Of The Breed, with Ray Price.
Django & Jimmie premieres 14 brand-new studio recordings including: "Django & Jimmie," a duel tribute to jazz guitarist Django Reinhardt and Jimmie Rodgers, country music's mythic "Singing Brakeman"; "It's All Going To Pot," a rollicking anthem for the emerging 21st century cannabis culture; the reflective and meditative "Live This Long"; "Missing Ol' Johnny Cash," a homage to country music's original Man in Black featuring guest vocals from Bobby Bare; a sublime interpretation of Bob Dylan's "Don't Think Twice, It's Alright"; and the future country classic "Unfair Weather Friend,"
Among the 14 essential recordings on Django & Jimmie, Nelson and Haggard each pay musical tribute to the other through heartfelt solo performances: Willie singing Merle's "Somewhere Between" and Merle covering Willie's "Family Bible."LP1
1. Django and Jimmie
2. It's All Going to Pot
3. Unfair Weather Friend
4. Missing Ol' Johnny Cash
5. Live This Long
6. Alice In Hulaland
7. Don't Think Twice, It's Alright
1. Family Bible
2. It's Only Money
3. Swinging Doors
4. Where Dreams Come to Die
5. Somewhere Between
6. Driving the Herd
7. The Only Man Wilder Than Me$36.99Vinyl LP - 2 LPs Sealed Buy Now
Yerba Buena BounceExceptional 200-gram deluxe vinyl pressing. Deluxe gatefold jackets crafted by Stoughton Printing. With Yerba Buena Bounce, its 10th album, The Hot Club of San Francisco confirms its reputation as America's longest-running and finest Gypsy Jazz ensemble. Inspired explorations of Django Reinhardt's tunes, originals and more, are captured in shimmering sound. The Hot Club of San Francisco is a quintet of accomplished and versatile musicians who celebrate Django Reinhardt's and Stephane Grappelli's renowned Hot Club de France. The ensemble borrows the all-string instrumentation of three guitars, violin and bass from the original Hot Club but breathes new life into the music with innovative arrangements of classic tunes and original compositions from the group's superb lead guitarist, Paul Mehling. Hearing the ensemble takes the listener back to the 1930s and to the small, smoky jazz clubs of Paris. Mandolinist David Grisman, father of Dawg music and good friend of The Hot Club, makes a special guest appearance on two tracks. The set is further enhanced by bandoneon virtuoso Seth Asarno. Two bonus tracks feature the quintet augmented by three Dixieland horns.
Recorded by multi-Grammy-nominated Prof. Keith Johnson at Fantasy Studios in Berkeley, California, the Yerba Buena Bounce sessions benefited from the historic ambience, scene of hundreds of classic jazz and rock recordings. Using his own custom-built microphones and electronics (as always), Johnson was able to utilize some of Fantasy's unique facilities, such as a legendary echo chamber, to add luster to his always life-like soundscapes.1. Mystery Pacific
2. Hot Lips
3. I'm Happy Just To Dance With You
5. Number Two
6. Souvenir de Villingen
7. Tickle Toe
8. Black and White
9. Rythme Futur
11. Yerba Buena Bounce
14. Georgia Cabin
15. Improvisation #2
16. JAM: Some Of These Days$49.99200 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
Miss E...So Addictive (Pre-Order)After a long winter of discontent, So Addictive finds Missy Elliott hoping to initiate hip-hop's summer of love. Miss E's third album is dosed with feel-good flavor and has more guests than the VIP section of the hippest hip-hop hot spot. Buddies Method Man and Redman bark across the bridge of Dog in Heat's canine funk. Jay-Z and Ludacris feature on two different versions of One Minute Man's scathing soul. Synths tweak and creak in rhythm as Missy unleashes a dreamy diss of those hopeless suitors who unload their cargo before they've sparked her ignition. Take Away features Pony man Ginuwine on a hypnotic slow-burner heavily reminiscent of Art of Noise's Moments in Love.
When left to her own devices, as she is on Lick Shots (which jangles like Django Reinhardt on downers), Missy comes on like Schooly D, a fearless, female gangsta licking shots against anyone who dares cross her. On Scream a.k.a. Itchin' she breaks into a soprano. A 4/4 stomp is stamped indelibly across the ecstasy-holler song 4 My People (featuring Eve). Overall, it feels as if producer Timbaland has muted his experimental leanings on this outing with his favorite muse in favor of submersible club tracks. Musically, the bhangra beat bop of Get Ur Freak On is the standout. The spiral timing of Whatcha Gon' Do, the fret-skipping Slap! Slap Slap! (featuring Da Brat), and the sunken, drunken funk of the not-so-subtle X-hex X-Tasy are tied at a close second. -Chris Campion1. ...So Addictive (Intro)
2. Dog In Heat
3. One Minute Man
4. Lick Shots
5. Get Ur Freak On
6. Scream A.K.A Itchin'
7. Old School Joint
8. Take Away
9. 4 My People
10. Bus-a-bus Interlude
11. Whatcha Gon' Do
12. Step Off
14. Slap! Slap! Slap!
15. I've Changed-Interlude
16. One Minute Man (Remix)
17. Higher Ground - Prelude
18. Higher Ground$24.99Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
Ascension Heights (Pure Pleasure)At the pimply age of 15, Surrey-born Anthony 'Top' Topham stepped onto stage in May 1963 at the Eel Pie Island Club in Twickenham with his new blues-wailing band - The Yardbirds. A few months later he was replaced with Eric Clapton and after that a certain Jeff Beck and Jimmy Page also joined that volatile crew. When you consider what a staggering influence Cream, Beck and Led Zeppelin have had on everything in rock then and now - it's a damn shame that Top Topham got musically lost in the mix somehow and has never been given the catalyst credit he so deserves.
The album Ascension Heights has always been a £100+ vinyl rarity, so its reissue here is to be welcomed. But it has also divided Blues purists for years because - for a blues label release - it's a slightly strange record! Firstly it's entirely instrumental - and not in a blues way either. It doesn't seem to quite know what it is. One minute it has the playfulness of Django Reinhardt jazz noodlings on Spider Drag, the next minute it's Sixties Chet Atkins on Globetrottin', the next second its funky Blood, Sweat and Tears without the vocals on the brass filled Mini-Minor-Mo. It also features Pete Wingfield on Piano. There are even times on Hot Ginger where it sounds like a soulful version of Fleetwood Mac's debut album! A heady mix to say the least! It's a varied album, daring in its choices and remember - most are original songs by Topham. Ascension Heights is a grower that bears repeated listening.
Attention: Both sides of this LP were cut at 45rpm.
- Top Topham (guitar, percussion)
- Greg Bowen (trumpet)
- Chris Pyne (trombone)
- Alan Skidmore (saxophone)
- Rick Hayward (guitar)
- Pete Wingfield (piano, organ)
- Herbie Flowers (bass)
- Duster Bennett (harmonica)
- Mike Vernon (percussion)
- John Marshall (drums)
Recording: Autumn 1969 at CBS Studios, London.
Production: Mike Vernon
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.Side One
3. Hop House
4. Ridin' The Blinds
5. Hot Ginger
6. Funks Elegy
1. Ascension Heights
2. Tuxedo Junction
4. Spider Drag
5. Mean Old Pullman
6. How Sweet It Is (To Be Loved By You)$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
American TunesNonesuch releases American Tunes, a new studio album by legendary New Orleans musician Allen Toussaint. Toussaint had just completed the album when he passed away in November of last year during a European tour. Recording took place at two sets of sessions with producer Joe Henry: solo piano at Toussaint's New Orleans home studio in 2013, and with the rhythm section of Jay Bellerose and David Piltch-joined by guests Bill Frisell, Charles Lloyd, Greg Leisz, Rhiannon Giddens, and Van Dyke Parks-in Los Angeles in October 2015. The album comprises solo performances of Professor Longhair tunes and band arrangements of songs by Toussaint, Duke Ellington, Fats Waller, Paul Simon, and others.
Allen Toussaint's work as composer, producer, arranger, and performer, especially in the 1960s and '70s, helped shape the sound of R&B, soul, and funk as we know it today. He collaborated memorably with artists ranging from Lee Dorsey and Ernie K. Doe to the Pointer Sisters and Labelle, from the Meters and Dr. John to the Band and Paul McCartney. The New York Times recently said, In Mr. Toussaint's long career as songwriter, arranger and producer he has honed a piano style that's supportive and allusive; a little trill or tremolo sums up all the splashy joys of New Orleans patriarchs like Professor Longhair and James Booker, and a syncopated chord under right-hand octaves summons gospel. Mr. Toussaint has the two-fisted, rippling vocabulary of the city's piano legacy, but he uses it in dapper ways.
Toussaint's children, Alison Toussaint-LeBeaux and Clarence Reginald Toussaint, who have long served as their father's managers, said of the American Tunes album, Our father approached this project with great care and understanding of the songs selected and paid true homage to Professor Longhair, his musical hero. He wanted to bring as much of the Toussaint touch as he could to these wonderful classics.
Nonesuch previously released The Bright Mississippi in 2009. Also produced by Henry, the record includes songs by jazz greats such as Sidney Bechet, Jelly Roll Morton, Django Reinhardt, Thelonious Monk, Duke Ellington, and Billy Strayhorn. The album received tremendous critical praise, with the Boston Globe saying it couldn't sound more like New Orleans. (Toussaint) revisits jazz classics and takes them for a stroll through Preservation Hall, imbuing his own funky brand of pop-song charisma. The results are coolly sophisticated, an unfussy, mostly instrumental set of slink-and-slide joints shot through with a harmonic imagination that turns even a traditional hymn into an after-hours swing Toussaint's musical soul guides all, making the classics sound like his own.
That project indirectly grew from Toussaint's contributions to Our New Orleans, the benefit album that Nonesuch released in fall 2005 to aid hurricane victims in the wake of the Katrina disaster. That collection opens with a version of Yes We Can Can, the Toussaint song the Pointer Sisters made famous, newly recorded with producer Joe Henry, and it included a solo piano piece, Tipitina and Me, co-written by Toussaint in tribute to Professor Longhair.
Joe Henry had first worked with Toussaint when he invited the pianist to join the sessions for I Believe to My Soul, a studio convocation of mature R&B stars. Henry subsequently acted as producer on Toussaint's post-Katrina collaboration with Elvis Costello, The River in Reverse. He describes the most recent sessions: I have been working with Allen Toussaint-under his spell and subject to his influence-for a full decade now. He was a quiet radical, musically-speaking, and a prince of great humility.LP 1
1. Delores' Boyfriend
2. Viper's Drag
3. Confessin' (That I Love You)
4. Mardi Gras In New Orleans
5. Lotus Blossom
6. Waltz For Debby
7. Big Chief
8. Rocks In My Bed
9. Danza, Op. 33
10. Hey Little Girl
2. Come Sunday
3. Southern Nights
4. American Tune
5. Her Mind Is Gone
6. Moon River
7. Bald Head$26.99Vinyl LP - 2 LPs Sealed Buy Now
AutomatonGossamer is Evan Reiner-the producer, guitarist, synthesizer scientist and
urban-spelunking field recorder whose full-length debut Automaton dissolves
the genre-breaking electronica of Autechre and Boards of Canada into a
bottomless sea of found sound and ambient atmosphere. It's less an album than
an environment all its own, or a journey into the unexplored. And whether it's
inspiring a trip deep into the discography of Steve Reich or into California's
beautifully desolate Ansel Adams Wilderness, it's that fearless spirit of
exploration that brought Automaton to life.
Reiner grew up in the L.A. neighborhood of Eagle Rock with a father telling war
stories about seeing Black Flag and the Germs play and with a set of cousins
who'd get him started listening to hip-hop. (Especially instrumentals by
iconoclastic producers like Premier, RZA and New York's crushing DITC crew,
Reiner remembers.) As he turned 16, he was playing guitar "religiously," he says,
as well as listening intently to Slayer and Cannibal Corpse on the way to
ferocious hardcore shows on the fringes of Los Angeles.
By the time he graduated high school, he was a hardcore kid with a heavy
grounding in hip-hop who'd developed so tremendously as a guitarist that he
was practicing notoriously formidable Django Reinhardt songs for fun. The
connection might not seem obvious, but it was there nonetheless-these were
three distinct musical forms equally dedicated to passion, individual technique
and total commitment to expression.
He won admission to the prestigious Berklee School of Music in Boston, where
his first semesters in the fall of 2009 were everything he'd hoped. But the more
he studied, the clearer it became that he'd need to strike out on his own: "So
many professors would tell their students what the right thing to do was in a
creative setting," he says now. "There is no right way."
He'd once used his computer just to help with his composition homework, but
now he was restless. So he began to focus on the potential of electronic music:
"I realized it was like having every component of a band at your fingertips," he
says. "It felt free and genuine with no distractions." He'd begun to make his own
field recordings, too, capturing the sounds of Boston at sunrise and stirring
them into his beat experiments. Intense study of movie sound and foley artistry,
like pouring sand across drum cymbals or using spent shells from a gun range
for percussion, gave him a whole new vocabulary, and he found further
inspiration in artists from Ai Weiwei to Maya Duren to Stanley Kubrick to Delia
Derbyshire-people who blew open the boundaries of their own disciplines.
Then in July 2013, he began to make what would become his first full-length
album as Gossamer. He'd rent an armful of microphones and hike to the tunnels
under Pasadena's eerie Devil's Gate Dam, site of suicides and barely-thwarted
summonings in the tradition of Aleister Crowley. ("The echo is crazy," he says.)
During a month in Japan, he recorded "terrifying trains" and cicadas and the
squeals of a rusting bicycle. He'd record himself smashing trash under a bridge
in downtown L.A., or knocking rebar against rotting wood 8,000 feet above sea
level in California's Ansel Adams Wilderness Area. Then he'd come
home-whether "home" at that particular moment was his own studio, a capsule
hotel in Japan, a friend's place in Boston or a temporary space in New York-and
"make accidents happen," he says, with recorders and samplers and guitar and
(this time) a stable of analog synthesizers.
The result was Gossamer's Automaton, a precise and gentle dreamscape of
experimental electronica, where the ambient atmosphere of Gas drifts across
the fractured beats of Autechre or Boards of Canada. It starts with its own
sunrise on "Thoughtform," where birdsong melts into ghostly vocals and waves
of synthesizer, and then shifts into the haunting "Print," which transplants the
sci-fi sensibilities of Vangelis to some desolate and wild new world. His "Okuma"
is like a Tortoise song that never touches solid ground, while tracks like  and
 recall the Brian Eno of Fourth World, somehow ancient and futuristic at
once. When the crickets start chirping on closer "-;- ", it's a signal that the
day-and the journey-are both coming to an end. It's might be his first album,
but it's also a first step towards something new.
"Automaton is me," Reiner explains. "It's my process. It's a symbol of having
accepted that there is a difference between being alone and being lonely. It's a
coping mechanism for the struggle to realize and balance what I am and am not
in control of in my life. It reminds me of playing Bioshock and watching Blade
Runner at the same time while naked in the jungle on another planet. It makes
me think of watching an old home video of myself and seeing Neptune right
outside my window. The list goes on and on-I could go forever."1. Thoughtform
3. 3d Relief
5. J - Cruise
6. Off World
8. For Sleep$17.99Vinyl LP - Sealed Buy Now
Three Fingered Lightning (Out Of Stock)Gypsy guitar virtuoso Django Reinhardt, was in many ways the founding father of European jazz and his band, the Quintette du Hot Club de France, was the most innovative of its day. The tracks found here are taken from six sessions, spanning 1936-1949, and while most of the tracks -- like 'Djangology' or 'Nuages' -- have become jazz standards in their own right, the songs recorded in 1940 and 1941 (in Nazi occupied Paris) are perhaps the most historically significant. Despite jazz music being officially banned by the Nazi party (and most gypsies being sent to concentration camps), many Nazi officers secretly loved jazz and protected their favorite musicians. Songs like 'Sweet Sue' and 'Swing 41' take on new meaning when one considers that Django, the most popular jazz musician in Paris during this period, was only able to keep his life in exchange for entertaining the very people responsible for sending his friends and family to their deaths.1. Mabel
2. Swing 41
4. Sweet Sue, Just You
5. Dark Eyes
6. Swing 42
7. Limehouse Blues
10. Place de Brouckere
11. Body And Soul
12. Lover Come Back To Me
13. I Got Rhythm
14. My Melancholy Baby$32.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock