Vinyl. Our way of life since 2004 (877) 929-8729

VPI Dealer Authorized & Certified
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
20% Off Vinyl  - LP20
Home > Products for: '

Duke Ellington

'
Results per page:
  • Jazz Party Jazz Party Quick View

    $34.99
    Buy Now
    x

    Jazz Party


    200-Gram LP


    Mastered By Bernie Grundman From The Original Analog Tape


    Housed In A Tip-On Gatefold Jacket (From Stoughton Printing) For The First Time!


    Plated And Pressed At Quality Record Pressings!


    Ellington Soars To Unmatched Artistic Heights Alongside Impressive Jazz Stars Including Dizzy Gillespie, Johnny Hodges And Jimmy Rushing!


    The tremendously detailed audio effect achieved by Columbia's engineers is brought back to life on this 200-gram LP from Analogue Productions. You want Duke and his men at their best, this is it!


    Duke Ellington called his music American Music rather than jazz, and liked to describe those who impressed him as beyond category. He remains one of the most influential figures in jazz, if not in all American music and is widely considered as one of the 20th century's best known African American personalites. He received 13 Grammy Awards and was honored with the French Legion of Honor in 1973. Posthumous recognition of his work include a special award citation from the Pulitzer Prize Board.


    Dizzy's spectacular trumpet blooms here amidst the Ellingtonian aggregate. The sometimes tender, sometimes shouting blues style of Jimmy Rushing provides nice contrast in one of the most varied and satisfying Ellington recordings ever. Originally released on Columbia Records in 1959, Jazz Party In Stereo contains a formidable gallery of jazz stars including Dizzy Gillespie, Jimmy Rushing, Johnny Hodges, Clark Terry, Paul Gonsalves, and more!


    So what have we done to perfect this brilliant reissue? Mastering by Bernie Grundman from the original analog tape, for starters. Naturally we turned to our own Quality Record Pressings for the finest 200-gram, dead-silent background pressing. Top it off with a Stoughton Printing gatefold tip-on jacket with beautiful full-size inner pictures and you've got an audiophile's dream. A can't miss for your collection!


    This most unusual Duke Ellington record includes two selections featuring nine symphonic percussionists on timpani, vibes, marimbas, and xylophones. Dizzy Gillespie makes a historic appearance with Ellington's orchestra on 'U.M.M.G.' (a meeting that should have been repeated often but sadly never was), Jimmy Rushing (Count Basie's former vocalist) sings 'Hello Little Girl,' and both Johnny Hodges ('All of Me') and Paul Gonsalves ('Ready Go!') have chances to blow. - AllMusic

    1. Malletoba Spank (Duke Ellington, Billy Strayhorn)
    2. Red Garter (Toot Suite, Pt. I)
    3. Red Shoes (Toot Suite, Pt. II)
    4. Red Carpet (Toot Suite, Pt. III)
    5. Ready, Go! (Toot Suite, Pt. IV)
    6. U.M.M.G. (Upper Manhattan Medical Group)
    7. All of Me
    8. Tymperturbably Blue
    9. Hello Little Girl
    Duke Ellington
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Masterpieces (45 RPM) Masterpieces (45 RPM) Quick View

    $54.99
    Buy Now
    x

    Masterpieces (45 RPM)


    A Historic Record - Recorded Just Four Years Removed From The Dawn Of The Analog Tape Era!


    Remastered By Ryan Smith At Sterling Sound From The Original Analog Tapes


    Recorded On An Ampex 200, Using 3M-111 Magnetic Tape Running At 15 Inches Per Second


    Gatefold Old-School Tip-on On Jacket By Stoughton Printing Plated And Pressed At Quality Record Pressings!


    Named A 2015 Record To Die For By Stereophile Magazine.


    Remastered by Ryan Smith at Sterling Sound from the original analog tapes, the record was plated and pressed at Quality Record Pressings. The depth and space when those rich chromatic harmonies create a wide and well-defined soundscape, the timbre of the orchestra as a whole as well as individual instruments, and the thick, wooden sound of Wendell Marshall's bass are among the aural pleasures provided when you drop a needle on this platter; expect goose bumps. - Music = 5/5; Sonics = 4.5/5 - Jeff Wilson, The Absolute Sound, May-June 2015.


    I chose the CD reissue of this album as one of my R2D4s for 2012, but now from Chad Kassem's Analogue Productions comes this QRP LP, and it's an occasion for popping corks. Released in 1950, this was Ellington's first LP, and he used the new medium to stretch out four of his biggest hits. The arrangements are jaw-droppingly gorgeous and the sound just slightly less so. Recorded by Fred Plaut, who later miked Kind of Blue and other Columbia classics, it has the dynamics, depth, and in-your-face tonal realism of a modern (mono) audiophile thumper. Among the best jazz albums ever. - Fred Kaplan, for Stereophile - Records To Die For - February 2015.


    This new re-issue slays my vintage copy in every way. Every dimension of the recording was much better...dynamics, harmonics, frequency response, detail, jump...all just leaped out at me! The recording sounded like it had been made that morning...absolutely fresh-sounding. No veiling. No roll-off. In fact, it's so good that it doesn't matter that this is a mono recording! Listen to it on a great turntable...you'll hear mono that fools you into thinking that it's not mono. Just wait until you hear Yvonne Lanauze sing, Mood Indigo amigos, after a long instrumental build-up...she'll take you there! ... The pressing itself was impeccable: flat, and free of noise, tics and pops...a genuine masterpiece of the pressing-plant arts. The Hyperion OCL, the finest cartridge that I've ever heard, revealed how superbly these grooves were carved! Commendable, reference-grade analog...very, very close to master tape sound. Very damned close! Kissing cousins close! Hell, maybe even closer than that. In fact, I now consider the Analogue Productions re-issue of Masterpieces by Ellington to be one of the very finest Jazz records ever released. (Sorry Miles! Move over, Kind of Blue!). - David W. Robinson, editor-in-chief, Positive Feedback Online.


    Most highly recommended (the record is now on the QRP presses). It's one of my 'Records to Die For' in the February 2015 Stereophile. A true classic both musically and sonically and a historical work of art you can now own. - Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com.

    LP 1
    1. Mood Indigo
    2. Sophisticated Lady


    LP 2
    1. The Tattooed Bride
    2. Solitude

    Duke Ellington
    $54.99
    200 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Indigos Indigos Quick View

    $32.99
    Buy Now
    x

    Indigos

    Impex Records makes your nights a little bit cooler with this Limited Edition, 180gram all-analog shot of pure Duke at his most soulfully nocturnal. From the cats who brought you Time Further Out and Friday and Saturday Nights At the Blackhawk. Mastered by Kevin Gray and limited to only 2500 pressings!


    Indigos features performances of jazz standards such as Mood Indigo, Autumn Leaves, Prelude To a Kiss and more!


    Recorded in 1957 with a line-up that included Johnny Hodges and Paul Gonsalves among the saxophones and a trumpet section of Clark Terry, Willie Cook, Cat Anderson and Harold Baker. An exceptional record with arrangements full of new twists, innovative voices and improvisations.

    1. Solitude
    2. Where or When
    3. Mood Indigo
    4. Autumn Leaves
    5. The Sky Fell Down
    6. Prelude To a Kiss
    7. Willow Weep For Me
    8. Tenderly
    9. Dancing In the Dark
    Duke Ellington
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Great Reunion The Great Reunion Quick View

    $34.99
    Buy Now
    x

    The Great Reunion

    Released as a second volume of recordings by Roulette Records from a 1961 summit between two jazz icons, after hearing this collaboration you'll wish they had recorded ten volumes. And wit the musical talent and knowledge between them, they could have! Using Armstrong's regulars plus Ellington at the piano (who performs exceptionally well, comping understatedly behind the vocals), the duo romps through seven of the Duke's most famous and popular compositions. And when Satchmo decides to blow, he leaves the Dixie clich? at home and shapes his solos perfectly into the tasteful arrangements. With Trummy Young on trombone and Barney Bigard on clarinet plus a rhythm section of Mort Herbert on bass and Danny Barcelona on drums, these recordings are a once-in-a-lifetime dream summit meeting that thank God producer Bob Thiele was brilliantly astute enough to arrange and capture on tape. Selections include It Don't Mean A Thing (If It Ain't Got That Swing), Solitude, Don't Get Around Much Anymore, I'm Beginning To See The Light, Just Squeeze Me, I Got It Bad (And That Ain't Good) and Azalea.
    It Don't Mean A Thing (If It Ain't Got That Swing)
    Solitude
    Don't Get Around Much Anymore
    I'm Beginning To See The Light
    Just Squeeze Me
    I Got It Bad (And That Ain't Good)
    Azalea
    Louis Armstrong/Duke Ellington
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Feeling Of Jazz The Feeling Of Jazz Quick View

    $29.99
    Buy Now
    x

    The Feeling Of Jazz

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


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


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


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


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


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


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


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

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

    $34.99
    Buy Now
    x

    And His Mother Called Him Bill (Speakers Corner)

    When Billy Strayhorn died of cancer in 1967, Duke Ellington was devastated. His closest friend and arranger had left his life full of music and memories. As a tribute, Ellington and his orchestra almost immediately began recording a tribute to Strayhorn, using the late arranger's own compositions.



    The album features well-known and previously unrecorded Strayhorn tunes that showcase his range, versatility, and, above all, the quality that Ellington admired him most for: his sensitivity to all of the timbral, tonal, and color possibilities an orchestra could bring to a piece of music.



    Full of informality and soulful verve, these recordings feel like they are an afterthought, an unwillingness to completely let go, a eulogy whose final words are questions, elegantly stated and met with only the echo of their last vibrations ringing in an empty room, full of wondering, longing, and helplessness, but above all the point of the questions themselves: "Is this enough?" or "Can there ever be enough to pay an adequate tribute to this man?"
    They are interesting questions, because only five years later we would all be saying the same thing about Ellington. For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.






    Musicians:



    • Duke Ellington (piano)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Clark Terry (fluegel horn)

    • Lawrence Brown, Chuck Connors (trombone)

    • Johnny Hodges (alto saxophone)

    • Russell Procope (alto saxophone, clarinet)

    • Jimmy Hamilton (tenor saxophone, clarinet)

    • Paul Gonsalves (tenor saxophone)

    • Aaron Bell (bass)

    • Steve Little (drums)




    Recording: August and September 1967 in RCA Victor's Studio A, New York City, by Ed Begley

    Production: Brad McCuen





    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. Boo-Dah
    2. U.M.M.G. (Upper Manhattan Medical Group)
    3. Blood Count 9

    4. Smada
    5. Rock Skippin' at the Blue Note

    6. Rain Check
    7. Midriff
    8. My Little Brown Book
    9. Lotus Blossom
    10. Snibor
    11. After All
    12. All Day Long
    13. Lotus Blossom
    14. Day Dream
    15. The Intimacy of the Blues
    16. Charpoy
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Masterpieces By Ellington Masterpieces By Ellington Quick View

    $34.99
    Buy Now
    x

    Masterpieces By Ellington

    A Historic Record - Recorded Just Four Years Removed From The Dawn Of The Analog Tape Era!


    Remastered By Ryan Smith At Sterling Sound From The Original Analog Tapes


    Recorded On An Ampex 200, Using 3M-111 Magnetic Tape Running At 15 Inches Per Second


    Gatefold Old-School Tip-On On Jacket By Stoughton Printing


    Plated And Pressed At Quality Record Pressings


    Most highly recommended (the record is now on the QRP presses). It's one of my 'Records to Die For' in the February 2015 Stereophile. You won't have to die to get a copy. $30 will do and it's well worth the money. A true classic both musically and sonically and a historical work of art you can now own. - Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet.com


    Masterpieces By Ellington shines from an astonishingly brief period of history that gave the recording industry two of its greatest achievements - the introduction of magnetic tape recording and the 33 1/3 LP, or long-playing record.


    Four years. That's all it took to go from the discovery by Americans, of German advancements in the field of sound recording, to the marketing of tape decks in the U.S. by the Ampex company, to Columbia's unveiling of its 12" LP, and the first long-playing record to be sold to consumers.


    The four selections contained here catapulted the Maestro Ellington into the LP era, as the great composer/arranger/pianist and his matchless orchestra took full advantage of the possibilities afforded by magnetic tape recording and the still-new 33 1/3 RPM LP to, for the first time, capture uncut concert arrangements of their signature songs.


    This album wouldn't have been possible without a chain of events starting at the end of World War II. Recorded in December 1950, just five years after Germany fell to the Allies, revealing the Germans' advances in magnetic tape recording, Ellington's master work holds its wonder still today and the recording quality hands-down betters the sound of many modern-day albums.

    1. Mood Indigo
    2. Sophisticated Lady
    3. The Tattooed Bride
    4. Solitude
    Duke Ellington
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Such Sweet Thunder (Pure Pleasure) Such Sweet Thunder (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Such Sweet Thunder (Pure Pleasure)

    This music counts among Ellington's most well-realized 'concept projects', all inspired by Shakespeare's work and filled with memorable melodies and ample opportunities for solos by Cat Anderson, Johnny Hodges, Paul Gonsalves, and Quentin Jackson. The Ellington-Strayhorn compositions treat their soloists like actors doing scenes and, in effect, playing parts, even quoting lines after a fashion - Clark Terry 'plays' Puck in Up and Down, Up and Down (I Will Lead Them Up and Down), and Johnny Hodges turns in one of the most sensuous performances of his career for Half the Fun, from Antony and Cleopatra.



    Musicians:



    • Duke Ellington (piano)

    • Johnny Hodges

    • Russell Procope (saxophone)

    • John Sanders (trombone)

    • Britt Woodman (trombone)

    • Ray Nance (trumpet)

    • Clark Terry (trumpet)

    • Jimmy Wood (bass)

    • Sam Woodyard (drums)



    About Pure Pleasure



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



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



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



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



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



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



    Side 1:
    1. Such Sweet Thunder
    2. Sonnet For Caesar
    3. Sonnet To Hank Cinq
    4. Lady Mac
    5. Sonnet In Search of A Moor
    6. The Telecasters

    Side 2:
    1. Up And Down, Up And Down (I Will Lead Them Up And Down)
    2. Sonnet For Sister Kate
    3. The Star-Crossed Lovers
    4. Madness In Great Ones
    5. Half The Fun
    6. Circle of Fourths

    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ellington & Coltrane Ellington & Coltrane Quick View

    $24.99
    Buy Now
    x

    Ellington & Coltrane

    180 Gram Vinyl


    Includes Bonus Track


    Duke Ellington & John Coltrane is a jazz album by Duke Ellington and John Coltrane recorded on September 26, 1962 and released in February 1963 on Impulse! Records.


    For Ellington, it was one of many collaborations with fellow jazz-greats in the early 1960s, including Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach and Charles Mingus. More unusually, it placed him in a jazz quartet setting (in this case, saxophone, piano, bass and drums), rather than his usual one in a big band.


    For Coltrane, it was an opportunity to work with one of jazz's all-time greats. It was one of several albums he recorded in the early 1960s in a more conservative and accessible style, alongside John Coltrane and Johnny Hartman and Ballads. Despite their differences in background, style and age (Ellington was 63 and Coltrane 36 when the tracks were recorded), it has been said that the two interacted seamlessly and subtly, neither one outshining the other.


    The quartet was filled out by the bassist and drummer from either of their bands. The tracks they recorded featured Ellington standards (In a Sentimental Mood), new Ellington compositions and a new Coltrane composition (Big Nick).


    Coltrane felt very honoured to work with Ellington: I was really honoured to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven't caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn't have had the same spontaneity. And they mightn't have been any better!

    1. In A Sentimental Mood
    2. Take The Coltrane
    3. Big Nick
    4. Stevie
    5. My Little Brown Book
    6. Angelica
    7. The Feeling Of Jazz
    8. I Got It Bad and That Ain't Good*


    *Bonus Track

    Duke Ellington & John Coltrane
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Black, Brown And Beige (Speakers Corner) (Awaiting Repress) Black, Brown And Beige (Speakers Corner) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Black, Brown And Beige (Speakers Corner) (Awaiting Repress)

    Black, Brown, & Beige is Duke Ellington's musical representation of the African-American experience in the United States. It is arguably The Maestro's greatest work. The triumph of telling so important a story so well through music alone makes Duke Ellington's Black, Brown, & Beige a masterpiece. It also displays Duke's, and Jazz's, highest achievement in long form. Whether you perceive it as a three-movement symphony or accept Ellington's own personalized terminology Ā»Tone ParallelĀ«, Black, Brown, & Beige matches conceptually and in artistic content the musical continuity of Western Classical's greatest names in their lengthiest works.


    The history of Black, Brown, & Beige is in its own right momentous. Ellington premiered the work at Carnegie Hall on January 23, 1943, at Duke's first performance on that illustrious stage. The Maestro has created the Come Sunday Suite. Duke Ellington basically reduced his three movement work to its first, Black, elevating that movement's spiritual theme, Come Sunday, making it the melody of the edited work. Truncating the symphony Black, Brown, & Beige into the song Come Sunday works because Duke Ellington has expanded Come Sunday through numerous theme and variations unknown to the original. The piece de resistance: a sacred text, by Duke himself, a text sung by the best known African-American religious singer in history, Mahalia Jackson. There is no doubt that it is the presence and performance of Mahalia Jackson which secures a home in the pantheon for this recasting of Black, Brown, & Beige, a work that already resided there.


    And Duke Ellington pulled off this coup with one hand tied behind his back, or without the services of his right-hand man. Overlooked over the years since the album Black, Brown, & Beige was recorded in February 1958 is the absence of Johnny Hodges (Hodges did a gig with Strayhorn in Florida during this period), the Ellington band's premier soloist


    The sides C & D are released on vinyl for the first time with this issue.


    Recording in mono.


    Musicians:



    • Duke Ellington (piano)

    • Mahalia Jackson (vocal)

    • Clark Terry (trumpet)

    • Ray Nance (trumpet, vocal)

    • Quentin Jackson (trombone)

    • Harry Carney (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Jimmy Hamilton (clarinet)

    • Russell Procope (clarinet, alto saxophone)

    • Jimmy Woode (bass)

    • Sam Woody (drums)



    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.



    LP 1
    1. Part I
    2. Part II
    3. Part III (AKA Light)
    4. Part IV (AKA Come Sunday)
    5. Part V (AKA Come Sunday)
    6. Part VI (23rd Psalm)


    LP 2
    1. Track 360 (AKA Trains)(Alt. Take)
    2. Blues In Orbit (AKA Tender)(Alt. Take)
    3. Part I (Alt. Take)
    4. Part II (Alt. Take)
    5. Part III (AKA Light) (Alt. Take)
    6. Part IV (AKA Come Sunday)(Alt. Take)
    7. Part V (AKA Come Sunday)(Alt. Take)
    8. Part VI (23rd Psalm)(Alt. Take)
    9. Studio Conversation (Mahalia Swears)
    10. Come Sunday (A Capella)

    Duke Ellington & Mahalia Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - 2 LPs Sealed AWAITING REPRESS Buy Now
  • The Great Summit The Great Summit Quick View

    $19.99
    Buy Now
    x

    The Great Summit

    Louis Armstrong & Duke Ellington present The Great Summit. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. Duke's Place
    2. I'm Just A Lucky So And So
    3. Cottontail
    4. Mood Indigo
    5. Do Nothin' Till You Hear From Me
    6. The Beautiful American
    7. Black And Tan Fantasy
    8. Drop Me Off In Harlem
    9. The Mooche
    10. In A Mellow Tone
    11. Do Nothin' Till You Hear From Me (1957 Version)
    Louis Armstrong & Duke Ellington
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Festival Session Festival Session Quick View

    $19.99
    Buy Now
    x

    Festival Session

    Duke Ellington presents Festival Session. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. Perdido
    2. Copout Extension
    3. Duael Fuel - Part I [Vapor]
    4. Duael Fuel - Part II
    5. Duael Fuel - Part III
    6. Idiom 59 - Part I
    7. Idiom 59 - Part II
    8. Idiom 59 - Part III
    9. Things Ain't What They Used To Be
    10. Launching Pad
    Duke Ellington
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Great Paris Concert (Pure Pleasure) The Great Paris Concert (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    The Great Paris Concert (Pure Pleasure)

    This set came about, in part, as a result of Ellington's signing to Frank Sinatra's Reprise label in November 1962, with the ending of his exclusive contract to Columbia. Six numbers from the three Paris dates were initially edited and released by Reprise as part of the ten-song Duke Ellington's Greatest Hits, but the bulk of the performances from those shows didn't surface until many years later as The Great Paris Concert on two LPs. This album "The Great Paris Concert" is raw and largely unedited, and depicts the full Ellington band in extraordinary form, oozing excitement -- from the saxophone showcase on the opener, Rockin' In Rhythm, the various sections of the band take flight at different points throughout this set, which includes such contemporary numbers as Ellington's theme music for an all but forgotten television series, The Asphalt Jungle, and excerpts from Such Sweet Thunder. Johnny Hodges is showcased in several solos, most notably on Suite Thursday, a work whose original studio incarnation he missed appearing on; Cootie Williams (Tutti for Cootie), Paul Gonsalves (Cop Out), Ray Nance (Bula), and Cat Anderson (Jam with Sam) get their own moments in the spotlight.



    Musicians:



    • Duke Ellington (piano)

    • Cat Anderson, Cootie Williams (trumpet)

    • Lawrence Brown, Buster Cooper (trombone)

    • Paul Gonsalves, Johnny Hodges (saxophone)

    • Russell Procope (clarinet, saxophone)
    • Ernie Shephard (bass)

    • Sam Woodyard (drums)

    • Milt Grayson (vocal)



    Recording: February 1963 at The Olympia Theatre, Paris, France

    Production: Neshui Ertegun



    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.

    LP1
    1. Kinda Dukish/Rockin' In Rhythm
    2. On The Sunny Side Of The Street
    3. The Star-Crossed Lovers
    4. All Of Me
    5. Theme From Asphalt Jungle
    6. Concerto For Cootie
    7. Tutti For Cootie
    8. Suite Thursday In Four Movements:
    Misfit Blues
    Schwiphti
    Zweet Zurzday
    Lay-By


    LP2
    1. Perdido
    2. The Eighth Veil
    3. Rose Of The Rio Grande
    4. Cop Out
    5. Bula
    6. Jam With Sam
    7. Happy-Go-Lucky Local
    8. Tone Parallel To Harlem

    Duke Ellington
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Blues In Orbit Blues In Orbit Quick View

    $34.99
    Buy Now
    x

    Blues In Orbit

    Remastered By Bernie Grundman From The Original Analog Tapes


    Gatefold Old-school Tip-On On Jacket By Stoughton Printing


    Plated And Pressed At Quality Record Pressings


    It's tempting for Blues in Orbit to be overlooked when Duke Ellington's best albums are discussed, but truly it's an undisputed gem. There are 14 tracks, none of them is longer than 4:50 and it is all good stuff. There are some familiar favorites such as In a Mellotone and C Jam Blues as well as less often heard gems like Blues in Blueprint and Sweet and Pungent. It is also in stereo, and the arrangements are superb.


    The featured performers include Ellington stalwarts Johnnie Hodges, Ray Nance, Harry Carney and Jimmy Hamilton, as well as the less familiar Booty Wood and Matthew Gee. Johnnie, in particular is well showcased here, taking the lead not only in slow pieces like Brown Penny and Sentimental Lady, but also in the rousing, Smada.


    The full Analogue Productions reissue treatment is at work on this smashing LP - famed mastering engineer Bernie Grundman handled the remastering from the original analog tapes. The lacquers were plated and pressed at Quality Record Pressings, maker of the world's finest-sounding LPs. Lastly we've stashed each super-silent 200-gram disc in a premium Stoughton Printing gatefold jacket.


    All of the takes were recorded during after midnight sessions recorded over two nights starting on December 2, 1959 in New York at Columbia Record's studio on East 30th Street. Each night Duke's late dinner arrived at 2 a.m. - a sizzling steak, a pot of coffee with lemons in it, portions of American cheese, and grapefruits. After dinner, and a breather for the band, the sessions finished around dawn in a swinging fashion.


    If you're just getting into jazz, this album is highly recommended as a great way to initiate your collection. The sound is incredible, with packaging to match. Another audiophile home run.

    1. Three J's Blues
    2. Smada
    3. Pie Eye's Blues
    4. Sweet and Pungent
    5. C Jam Blues
    6. In A Mellow Tone
    7. Blues In Blueprint
    8. The Swinger's Get The Blues Too
    9. The Swinger's Jump
    10. Blues In Orbit
    11. Villes Ville Is The Place, Man
    Duke Ellington
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Keep On Keepin' On Keep On Keepin' On Quick View

    $34.99
    Buy Now
    x

    Keep On Keepin' On

    Keep On Keepin' On is the soundtrack to the acclaimed film of the same name from seven time Academy Award nominated producer Quincy Jones. The soundtrack is a virtual Best of Clark Terry collection, which features many of his most iconic recordings, including his performances with some of the all-time jazz greats: Duke Ellington, Oscar Peterson, Count Basie, and Quincy Jones. Also features select film dialogue and new compositions from Terry's protege, Justin Kauflin.
    1. Dialog by Clark Terry/Letter to Justin/Exodus (Justin Kauflin)
    2. Brotherhood Of Man (Oscar Peterson Trio + One: Clark Terry)
    3. Candy (Clark Terry)
    4. Mumbles (Oscar Peterson Trio + One: Clark Terry)
    5. Dialog by Clark Terry and Justin Kauflin/Mood Indigo (Duke Ellington)
    6. Harlem Air Shaft (Duke Ellington and His Famous Orchestra)
    7. Dialog by Justin Kauflin and Clark Terry/Breeze (Blow My Baby Back To Me) (Clark Terry and Justin Kauflin)
    8. Grammys Lifetime (Dave Grusin)
    9. Girl Talk (Clark Terry)
    10. If I Had You (Live) (Benny Carter)
    11. Dreams Change (Justin Kauflin)
    12. Jazz Conversations (Clark Terry)
    13. Michelle (Clark Terry)
    14. Dialog by Justin Kauflin/My Biggest Enemy (Dave Grusin)
    15. Jim (Oscar Peterson Trio + One: Clark Terry)
    16. Dialog by Clark Terry and Justin Kauflin/What The Hell Time Is It? (Dave Grusin)
    17. Darkest Hour (Justin Kauflin)
    18. Stardust (live in London) (Clark Terry Quintet)
    19. Blee Blop Blues (Normania) (The Count Basie Orchestra)
    20. Misty (Clark Terry)
    21. Dialog by/Farewell (Quincy Jones and Clark Terry)
    22. I Remember Clifford (Quincy Jones)
    23. Dialog by Quincy Jones and Clark Terry/Letter To Justin (Justin Kauflin)
    24. For Clark/Serenade to a Bus Seat (Live) (Justin Kauflin)
    Various Artists
    $34.99
    Vinyl LP - Sealed Buy Now
  • Duke Ellington Meets Coleman Hawkins Duke Ellington Meets Coleman Hawkins Quick View

    $49.99
    Buy Now
    x

    Duke Ellington Meets Coleman Hawkins

    Import


    For years Duke Ellington and tenor saxophonist Coleman Hawkins promised each other that they would one day find a way to collaborate on an album. Finally, in 1962, they recorded at the famed Rudy Van Gelder Studios in New Jersey, with a small personnel from the Ellington band. The event was marked by the combination of the guest tenor's distinctive and expansive tones, the rich ensemble sound, and of course, the extraordinary Ellington compositions. Duke Ellington covered the piano and brought with him Aaron Bell, brass; Lawrence Brown, trombone; Sam Woodyard, drums; and Ray Nance, cornet and violin. What became obvious almost immediately was the interplay of Hawkin's tenor and Harry Carney on alto saxophone and the alto voicing of Johnny Hodges. Highlights include the infectious calypso-like opening of Limbo Jazz that moves from solos by Hodges, Ray Nance and Lawrence Brown to a solo by Coleman Hawkins. Ellington's classic Mood Indigo is the perfect vehicle for Hawkins with his rich, resonant phrasing. Wanderlust, which was first recorded in 1938, is revived here with Lawrence Brown and Ray Nance contributing to the blues mood of the piece. Duke Ellington Meets Coleman Hawkins features two legendary masters of jazz in a meeting that remains as masterful and thrilling as it did when it first took place in 1962.

    1. Limbo Jazz
    2. Mood Indigo
    3. Ray Charles' Place
    4. Wanderlust
    5. You Dirty Dog
    6. Self Portrait (Of the Bean)
    7. The Jeep Is Jumpin'
    8. The Ricitic
    Duke Ellington & Coleman Hawkins
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Nostalgia Nostalgia Quick View

    $21.99
    Buy Now
    x

    Nostalgia

    Annie Lennox describes Nostalgia as the album she has been waiting her whole life to record. Produced by Lennox and frequent collaborator Mike
    Stevens, the collection features hauntingly beautiful takes on iconic American songs such as "Summertime," "Mood Indigo" and "Strange Fruit." While the
    album pays tribute to some of the greatest artists of the 20th century (Duke Ellington, George Gershwin, Billie Holiday), the songs were also chosen for
    their continuing ability to resonate in the 21st century. The Scottish artist has sold 80 million records and won four GRAMMYs, two MTV VMAs, an Oscar
    and a Golden Globe. VH1 named her "The Greatest White Soul Singer Alive" and Rolling Stone counted her as one of "The 100 Greatest Singers of All
    Time."
    1. Memphis In June
    2. Georgia On My Mind
    3. I Put A Spell On You
    4. Summertime
    5. I Cover The Waterfront
    6. Strange Fruit
    7. God Bless The Child
    8. You Belong To Me
    9. September In The Rain
    10. I Can Dream, Can't I?
    11. The Nearness Of You
    12. Mood Indigo
    Annie Lennox
    $21.99
    Vinyl LP - Sealed Buy Now
  • Duke Ellington's 70th Birthday Concert (Pure Pleasure) Duke Ellington's 70th Birthday Concert (Pure Pleasure) Quick View

    $44.99
    Buy Now
    x

    Duke Ellington's 70th Birthday Concert (Pure Pleasure)

    This double LP ranks as one of Duke Ellington's finest recordings of his final decade. The live performance gives listeners a good idea as to just how Duke's ensemble sounded in concert, and it serves as both a retrospective and a display of the strengths of Ellington's mighty band. Among the many highlights are definitive renditions of Rockin' in Rhythm and Take the 'A' Train (the latter has some wonderful Cootie Williams trumpet), a few features for altoist Johnny Hodges, a tenor battle on In Triplicate, a few guest spots for organist Wild Bill Davis, and a 16-and-a-half-minute, nine-song medley that really works well. The most memorable chorus of all is an incredible high-note display by Cat Anderson on Satin Doll that is arguably his most miraculous solo ever; each note he hits is virtually impossible to play on the trumpet, and is in tune, too. This gem is essential for all serious jazz collections.



    Musicians:



    • Duke Ellington (piano)

    • Johnny Hodges, Russell Procope (saxophone)

    • Cat Anderson, Mercer Ellington (trumpet)

    • Lawrence Brown (trombone)

    • Wild Bill Davis (organ)

    • Victor Gaskin (bass)

    • Rufus "Speedy" Jones (drums)




    Recording: November 1969 live by Bob Auger

    Production: Noel Walker



    Format: 2LPs 33rpm / gatefold sleeve



    About Pure Pleasure



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



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



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



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



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



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



    Side one:


    Rockin In Rhythm
    B.P.
    Take The A Train

    Tootie For Cootie


    Side Two:


    4:30 Blues
    El Gato
    Black Butterfly

    Things Aint What They Used To Be

    Laying On Mellow


    Side Three:


    Satin Doll
    Azure
    In Triplicate

    Perdido
    Fifi



    Side Four:


    Medley:
    Prelude To A Kiss

    Im Just A Lucky So And So

    I Let A Song Go Out Of My Heart
    Do Nothin Til You Hear From Me
    Just Squeeze Me
    Dont Get Around Much Anymore

    Mood Indigo
    Sophisticated Lady

    Caravan
    Black Swan
    Final Ellington Speech

    Duke Ellington
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Party In Stereo Jazz Party In Stereo Quick View

    $54.99
    Buy Now
    x

    Jazz Party In Stereo

    Mastered by Bernie Grundman from the Original Analog Master Tapes!


    Numbered Deluxe Laminated Gatefold Jackets! Only 2500 Numbered Limited Edition Copies Worldwide!


    Originally released on Columbia Records in 1959, Jazz Party In Stereo contains a formidable gallery of jazz stars including Dizzy Gillespie, Jimmy Rushing, Johnny Hodges, Clark Terry, Paul Gonsalves, and more!


    The sometimes tender, sometimes shouting blues style of Jimmy Rushing provides nice contrast in one of the most varied and satisfying Ellington recordings ever.


    Features:

    Numbered Deluxe Laminated Double Gatefold Jackets

    Only 2500 Numbered Limited Edition Copies Worldwide!

    Audiophile 180 gram, 45rpm Vinyl

    Double LP

    Pressed at RTI


    Musicians:

    Dizzy Gillespie, trumpet

    Ray Nance, trumpet

    Clark Terry, trumpet

    Cat Anderson, trumpet

    Shorty Baker, trumpet

    Andres Ford, trumpet

    Johnny Hodges, saxophone

    Paul Gonzalves, saxophone

    Harry Carney, saxophone

    Jimmy Hamilton, saxophone

    Russell Procope, saxophone

    Britt Woodman, trombone

    Quentin Jackson, trombone

    John Sanders, trombone

    Duke Ellington, piano

    Jimmy Jones, piano

    Jimmy Woode, bass

    Sam Woodyard, drums

    Jimmy Rushing, vocalist

    Morris Goldenberg, percussionist

    George Gaber, percussionist

    Elden C. Bailey, percussionist

    Chauncey Morehouse, percussionist

    Harry Breuer, percussionist

    Robert M. Rosengarden, percussionist

    Walter E. Rosenberger, percussionist

    Bradley Spinney, percussionist

    Milton Schlesinger, percussionist


    This title is not eligible for discount.

    1. Malletoba Spank
    2. Toot Suite:
    Red Garter - Red Shoes - Red Carpet (Part 1)
    Red Carpet (Part 2)
    Red Carpet (Part 3)
    3. Satin Doll
    4. U.M.M.G. (Upper Manhattan Medical Group)
    5. All Of Me
    6. Tymperturbably Blue
    7. Fillie Trillie
    8. Hello Little Girl
    Duke Ellington
    $54.99
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - 2 LPs Sealed Buy Now
  • Side By Side Side By Side Quick View

    $49.99
    Buy Now
    x

    Side By Side

    Mastered by George Marino at Sterling Sound


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


    When Norman Granz signed Johnny Hodges to a recording contract in 1951, it was a prelude to Hodges' leaving the Duke Ellington orchestra to lead his own small band. Four years later Hodges was back in the Ellington fold, but he continued to record for Granz under his own name. Side By Side, recorded in 1958 and 1959, is a throwback to the small-group sessions Ellington recorded with Hodges and other members of his orchestra in the Thirties, but with a couple of important differences: the absence of Ellington himself on several cuts (with Billy Strayhorn taking over on piano), and the presence of such notable non-Ellingtonians as drummer Jo Jones and trumpeters Roy Eldridge and Harry Sweets Edison.


    Originally released in 1959.


    Duke Ellington, piano

    Johnny Hodges, alto saxophone

    Lawrence Brown, trombone

    Harry Sweets Edison, trumpet

    Roy Eldridge, trumpet

    Al Hall, bass

    Johnny Hodges, alto saxophone

    Jo Jones, drums

    Wendell Marshall, bass

    Les Spann, flute, guitar

    Billy Strayhorn, piano

    Ben Webster, tenor saxophone

    1. Stompy Jones
    2. Just Squeeze Me
    3. Big Shoe
    4. Going Up
    5. Just a Memory
    6. Let's Fall in Love
    7. Ruint
    8. Bend One
    9. You Need to Rock
    Duke Ellington & Johnny Hodges
    $49.99
    200 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • The Cosmic Scene (Pure Pleasure) The Cosmic Scene (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Cosmic Scene (Pure Pleasure)

    Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed the Spacemen, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them to even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin 'Butter' Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features Avalon and Early Autumn, the slinky stripper pole blues version of St. Louis Blues with Ellington's piano taking the lead, and a version of Body & Soul, with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the tune. There's a modified Perdido, an animated and perky Midnight Sun that deviates from any other slow and lugubrious version of the ballad, and Jones a real good swinger. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing Bass-Ment, and one of the more delightful of all of Ellington's book, the poppin' and boppin' Spacemen, a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. It comes highly recommended.



    Musicians:



    • Paul Gonsalves (tenor saxophone)

    • Clark Terry (fluegel horn)

    • Britt Woodman, John Sanders, Quentin Jackson (trombone)

    • Jimmy Hamilton (clarinet)

    • Duke Ellington (piano)

    • Jimmy Wood (bass)

    • Sam Woodyard (drums)



    Recording: April 1958 at Columbia 30th Street Studio, New York




    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. Avalon
    2. Body And Soul
    3. Bass-ment
    4. Early Autumn
    5. Jones
    6. Perdido
    7. St. Louis Blues
    8. Spacemen
    9. Midnight Sun
    10. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ellington Uptown (Pure Pleasure) Ellington Uptown (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Ellington Uptown (Pure Pleasure)

    Even back in the early '50s, Columbia Records took Duke Ellington seriously enough to place this album on its prestigious Masterworks label, heretofore reserved mostly for highbrow classical music and Broadway shows. Also, this LP explodes the critical line that the early '50s was a relatively fallow period for the Duke; any of these smoking, concert-length tracks will torpedo that notion. The young Louis Bellson was powering the Ellington band at that time, and his revolutionary double-bass drum technique and rare ability to build coherent drum solos are put to astounding use on his self-penned leadoff track, Skin Deep, which was quite a demonstration piece for audiophiles at the time. Old favorites from the Ellington hit parade are given extended treatments, with singer Betty Roche taking the A-Train for a bebop-flavored ride, The Mooche spotlighting clarinetists Jimmy Hamilton and Russell Procope, and Ellington's boogie-woogie piano kicking off a super-charged Perdido for trumpeter Clark Terry. The centerpiece of the disc is a sharply drawn, idiomatically swinging, probably unbeatable performance of A Tone Parallel To Harlem that lays waste to any of the 'symphonic' versions that turn up frequently at pop concerts. Another feature of this record is the great sound quality, a benefit of being entrusted to Columbia's best engineers.



    Musicians:



    • Paul Gonsalves, Harry Carney, Russell Procope (saxophone)

    • William Anderson, Clark Terry (trumpet)

    • Quentin Jackson, Britt Woodman (trombone)

    • Billy Strayhorn, Duke Ellington (piano)

    • Betty Roche (vocal)
    • Wendell Marshall (bass)

    • Louis Bellson (drums)





    About Pure Pleasure



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



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



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



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



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



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



    1. Skin Deep
    2. The Mooche
    3. Take the A Train
    4. A Tone Parallel
    5. Perdido
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Nina Simone Sings Ellington Nina Simone Sings Ellington Quick View

    $29.99
    Buy Now
    x

    Nina Simone Sings Ellington

    Originally released in 1962, here Nina pays homage to the man most responsible for bringing jazz music out of the shadows and into every home in America. Duke Ellington changed our country's very cultural fabric, while giving us a hugely improved soundtrack to go along with it. Simone, a classically trained pianist herself, aligns herself with this great American tradition, adding new layers of meaning to standards like "I Got It Bad (And That Ain't Good)" and "Satin Doll", in a way that always left fans clamouring for more.
    1. Do Nothin' Till You Hear From Me
    2. I Got It Bad
    3. Hey, Buddy Bolden
    4. Merry Mending
    5. Something To Live For
    6. You Better Know It
    7. I Like The Sunrise
    8. Solitude
    9. The Gal From Joe's
    10. Satin Doll
    11. It Don't Mean A Thing
    Nina Simone
    $29.99
    180 Gram Audiophile Virgin Vinyl LP + CD - Sealed Buy Now
  • Ellington At Newport Ellington At Newport Quick View

    $24.99
    Buy Now
    x

    Ellington At Newport

    Numbered, Limited Edition Mono LP


    Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance


    Ellington's Legendary Comeback Punctuated by Paul Gonsalves' 27-Chorus Saxophone Solo


    Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI


    One of the Most Riveting and Important Jazz Recordings Ever Made


    It spurred Duke Ellington's comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue. It is jazz of the highest order, played at an almost rock n' roll pace, and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd's reaction as the collective lit into each new stanza. It is Ellington's best-selling album. It is Ellington at Newport.


    Like few records before or since, the 1956 set owes as much to context and circumstance as it does instrumental execution. Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted tradition big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards.


    The iconic arranger/composer's foresight comes into fruition throughout the white-hot set, never more so than on "Diminuendo and Crescendo In Blue," on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe-and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.


    The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through "Festival Junction" with a requisite balance of poise and panache, and kicking heels on Newport Up via Ellington's spry piano riffs, Jimmy Hamilton's spicy clarinet feeds, and Clark Terry's trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.


    And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), this numbered limited edition Silver Series LP of Ellington's triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke's 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It's that simple.


    This title is not eligible for discount.

    1. Festival Junction
    2. Blues to Be There
    3. Newport Up
    4. Jeep's Blues
    5. Diminuendo and Crescendo In Blue
    Duke Ellington
    $24.99
    Vinyl LP Mono - Sealed Buy Now
Go to top