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Earl Hines

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  • Piano Man Piano Man Quick View

    $6.99
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    Piano Man

    Side A


    1. Angry
    2. Grand Terrace4 Shuffle
    3. Piano Man
    4. Stomp
    5. Child Of A Disordered Brain
    6. Rosetta
    7. Deep Forest
    8. Number 19
    9. Body And Soul


    Side B


    1. Father Steps In
    2. Tantalizing A Cuban
    3. Blues In Thirds
    4. Up Jumped The Devil
    5. On The Sunny Side Of The Street
    6. Melancholie Baby
    7. Windy City Jive
    8. The Earl
    9. Second Balcony Jump

    Earl Fatha Hines
    $6.99
    Vinyl LP - Sealed Buy Now
  • Paradise & Lunch (Speakers Corner) Paradise & Lunch (Speakers Corner) Quick View

    $34.99
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    Paradise & Lunch (Speakers Corner)

    A good 20 years have passed since a band with ancient musicians from Cuba - the Buena Vista Social Club - took the world by storm. Behind the project, in the wings yet right in the midst of this unheard-of music, was Ry Cooder, who regarded this encounter as the greatest musical event of his entire life. The bottleneck guitar hero had always been very interested in the music from the other Americas ever since the solo albums he made in his early years, in which he told the story of the American folk and blues in a multitude of styles. The LP Paradise And Lunch is no exception and begins with gospel-like grooves that smell of native soil. The faint smell of a wooden church from pioneering days wafts out of the processional antiphonal song Jesus On The Mainline and a healthy 12-bar blues paints a picture of what silent witnesses could tell if they could (If Walls Could Talk). Cooder and his sidemen felt themselves perfectly at home when adventuring further afield and this is testified to in the laid-back calypso rhythm of It's All Over Now and the clip-clop of Mexican Divorce.


    This wonderful album is highly recommended for each and every number, but if you want a tip for a very special track, then just listen to the ragtime piano rolls in Bo Diddley's Ditty Wah Ditty.


    Musicians:



    • Ry Cooder (guitar, mandolin, bass, vocal)

    • Ronnie Barron (piano, organ)

    • Earl Hines (piano)

    • Plas Johnson (alto saxophone)

    • Oscar Brashear (cornet)

    • Red Callender (bass)

    • John Duke (bass)

    • Russ Titelman (electric bass)

    • Chris Ethridge (electric bass)

    • Milt Holland (drums, percussion)

    • Jim Keltner (drums)




    Recording: 1974 at the Warner Brothers Studios in North Hollywood and Burbank (USA), by Lee Herschberg

    Production: Lenny Waronker & Russ Titelman




    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. Tamp 'Em Up Solid
    2. Tattler
    3. Married Man's a Fool
    4. Jesus on the Mainline
    5. It's All Over Now
    6. Fool for a Cigarette/Feelin' Good
    7. If Walls Could Talk
    8. Mexican Divorce
    9. Ditty Wah Ditty
    Ry Cooder
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Earl Meets Harry (Pure Pleasure) Earl Meets Harry (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Earl Meets Harry (Pure Pleasure)

    Leave it to European labels like Black & Blue to come up with inspired pairings of musicians who American labels never seem to get around to considering. This 1978 meeting between pianist Earl Hines and trumpeter Harry 'Sweets' Edison is a match of masters, covering tunes they had likely performed hundreds of times in their respective careers. Everything seems to gel in the opening track, a strident take of I Cover the Waterfront, with plenty of trills by Hines in support of Edison's brilliant open horn. Edison adds a mute for an exquisite, deliberate take of Just Squeeze Me and a sauntering But Not for Me. Hines' dancing tenths come to the forefront in their romp through Just You, Just Me".
    There is nothing like two veterans at the top of their game joining forces for a record date.



    Musicians:



    • Harry "Sweets" Edison (trumpet)

    • Earl Hines (piano)



    Recording: April 1978 at Studio Sinus , Berne (Switzerland), by Peter J. Mac Taggart

    Production: Johnnie's/Alberto Tognetti




    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. I Cover the waterfront

    2. Just squeeze me
    3. But not for me
    4. Just you just me
    5. Mean to me
    6. I surrender dear
    7. The one I love belongs to somebody else
    Harry Sweets Edison & Earl Hines
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Tour de Force (Pre-Order) Tour de Force (Pre-Order) Quick View

    $26.99
    Buy Now
    x

    Tour de Force (Pre-Order)

    Pressed On Audiophile-Grade 180 Gram Vinyl At Pallas Group In Germany


    Mastered From Original Analog Tapes By Bernie Grundman


    Influential jazz pianist Earl Hines is in top form on this brilliant solo set, recorded in November of 1972 in New York City. The recording fines Hines near the peak of his creativity, taking wild chances with time and coming up with fresh new variations on these veteran standards. Now it's sounding better than ever on this audiophile-grade reissue, which was mastered from original analog tapes by Bernie Grundman and pressed on 180-gram vinyl at Pallas in Germany.

    1. When Your Lover Has Gone
    2. Indian Summer
    3. Mack The Knife
    4. I Never Knew
    5. Say It Isn't So
    6. Lonesome Road
    Earl Hines
    $26.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Mr. Bechet (Pure Pleasure) Mr. Bechet (Pure Pleasure) Quick View

    $34.99
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    Mr. Bechet (Pure Pleasure)

    Budd Johnson didn't do much recording as a leader, so this French studio date is particularly valuable. He's reunited with Earl Hines, with whom he played during three stints between 1932-1942; they're joined by drummer Panama Francis and bassist Jimmy Leary. The title track is an original tribute to the king of soprano saxophonists, Sidney Bechet. Though it was his second instrument, Johnson delivers a powerful solo with his own unique tone. He's back to tenor sax for the bluesy Am I Wasting My Time? and clearly enjoys himself on Hines' romping Linger Awhile. Like all of Budd Johnson's releases, this LP is strongly recommended.



    Musicians:



    • Budd Johnson (tenor saxophone, soprano saxophone)

    • Earl Hines (piano)

    • Jimmy Leary (bass)

    • Panama Francis (drums)



    Recording: July 1974 at the Seed Studio in Vallauris, France, by Gerhard Lehner




    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. Blues For Sale
    2. Gone With The Wind
    3. If You were Mine
    4. Am I Waisting My Time
    5. The Dirty Old Man
    6. Linger Awhile
    7. Mr Bechet
    Budd Johnson & Earl Hines
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Frames Frames Quick View

    $16.99
    Buy Now
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    Frames

    The debut Brian Haas & Matt Chamberlain album Frames features 11 instrumental compositions that spiral through the tempered scale. A through-composed work for piano and percussion, it was written entirely by Haas, the internationally renowned pianist and founder of Jacob Fred Jazz Odyssey. Now based in Santa Fe, Haas wrote Frames as a suite, equally influenced by stride piano masters Earl Hines, James P. Johnson and Fats Waller; the early minimalist works of Philip Glass and Steve Reich; and the lush aesthetic of modernists James Blake, Flying Lotus and Nigel Godrich. The music is pastoral, intensely melodic and tells the story of an imagined human life.


    "After several years of non-stop touring with my band Jacob Fred Jazz Odyssey I felt completely drained," explains Haas. "I was pulled to move to the high desert and mountains of Sante Fe; the space/distance from the road, the unearthly view from my house and the strange hum of my new surroundings inspired this music. What started as an exercise in all 12 keys turned into Frames."


    Brian Haas has recorded 21 albums and toured the world for two decades with Jacob Fred Jazz Odyssey, a band he started while a student at The University of Tulsa. Grammy Award-winning drummer Matt Chamberlain is one of the most revered musicians of his time having toured and recorded with the likes of Brad Mehldau, Edie Brickell & The New Bohemians, Critters Buggin, Tori Amos, Bill Frisell and Frank Ocean among others.

    1. Birth
    2. Open Windows
    3. Death: An Introduction
    4. Prism
    5. Of Many, One
    6. Niche
    7. Drive
    8. Death: An Observation
    9. Closing Window
    10. An Empty House
    11. From Nothing, Infinite
    Brian Haas & Matt Chamberlain
    $16.99
    Vinyl LP - Sealed Buy Now
  • The Genius After Hours (Speakers Corner) The Genius After Hours (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    The Genius After Hours (Speakers Corner)

    No ifs and buts! Ray Charles belongs in every jazz collection. Friends of pure jazz tend to forget this in the light of his numerous hits in categories such as gentle ballads, and even country and western songs, and rhythm'n'blues during the more than 60 years of Charles' extremely successful (also financially speaking) career.


    The producer Neshui Ertegun gathered together a star-studded cast for this Atlantic Records studio recording. There was David Newman on the tenor sax, Joe Harris on the drums, and even Oscar Pettiford on the bass. Not forgetting Ray Charles himself who was an excellent jazz pianist.


    The studio was saturated with the blues! A relaxed mood prevailed, just as one might imagine it. The musicians came to the studio after a concert, they were completely drained, worn out, exhausted: they had the blues and then they played the blues.


    Even a standard work such as Gershwin's The Man I Love was turned into an elegy. Only Ain't Misbehavin', which reminds one more of Earl Hines than Fats Waller, and Charlesville - a fast blues number - were treated to a change of tempo.


    The Genius After Hours is a self-portrait that exhibits the less well-known talents of this exceptional artist during the second half of the last century. It makes great listening for all lovers of jazz, soul, blues, rhythm'n'blues, country and western, pop, funk You name it, Charles has got it!


    Musicians:


    • Ray Charles (piano)
    • Dave 'Fathead' Newman (alto saxophone, tenor saxophone)
    • Emmott Dennis (bassoon)
    • Joseph Bridgewater, John Hunt (trumpet)
    • Roosevelt Sheffield, Oscar Pettiford (bass)
    • Joe Harris, William Peebles (drums)


    Recording: April 1956 and September 1957 in New York City in mono

    Production: Nesuhi Ertegun & Jerry Wexler

    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. The Genius After Hours
    2. Ain't Misbehavin'
    3. Dawn Ray
    4. Joy Ride
    5. Hornful Soul
    6. The Man I Love
    7. Charlesville
    8. Music, Music, Music
    Ray Charles
    $34.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • Paradise & Lunch (On Sale) Paradise & Lunch (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

    Buy Now
    x

    Paradise & Lunch (On Sale)


    Desert Island-Worthy Paradise and Lunch Will Renew Your Faith in Music: Diverse 1974 Ry Cooder Set Comes on Like a Secret History of Song, Features Exquisite Interplay and Inspirational Harmonies


    Paradise and Lunch Mastered on 180g Vinyl from the Original Master Tapes, Pressed at RTI, and Strictly Limited to 3000 Numbered Copies: Mobile Fidelity LP Graced With Organic Sound


    Ry Cooder's exceptional Paradise and Lunch takes a popular precept - music as the common denominator across all languages and styles - to extremes few artists have envisioned let alone fulfilled. Considered by many diehards to be the California native's finest hour, the 1974 set unfurls with rarified levels of joyousness, ingenuity, and sophistication. A prime contender for any Desert Island list and an album that repeatedly restores your faith in the inimitable effects experienced upon listening to special performances, Paradise and Lunch is an eternal musicians' musician record - an adventurous, ambitious, soulful leap down roads well-traveled and paths less known.


    Such eclecticism, virtuosity, and ebullience resonate with unmatched verve on Mobile Fidelity's 180g LP reissue. Mastered from the original master tapes, pressed at RTI, and strictly limited to 3000 numbered copies, this vinyl LP boasts dead-quiet surfaces, superb transient response, front-to-back soundstaging, and an organic immediacy that heightens the enjoyment, character, and craft of the arrangements. Cooder's inspired guitar playing sounds tremendously lifelike, replete with proper scale, full-bodied tones, and a sense of decay that presents the trail ends of each note. Horns pop with three-dimensional detail and brassy colors. Akin to the contributions of all the all-star participants, Jim Keltner's percussion benefits from added stability and depth. Paradise and Lunch has never been more transparent.


    On the surface a collection of seemingly disparate jazz, blues, spiritual, and roots songs, the diversified album comes across as a secret history of music. It remains a paragon of seamless convergence in which sonic DNA differences reveal shared traits and quilt a fabric united by feeling, reinvention, and elation. Beginning with a recast rendition of a traditional folk number, Tamp 'Em Up Solid, believed to be a close descendant of the group-vocal tune sung by field hands when they stacked bales of cotton, and ending with a stirring stripped-down cover of Arthur Blake's Ditty Wah Ditty - a show-stealing duet sent up with just an acoustic guitar and jazz icon Earl Fatha Hines' spritely walking-the-line piano riffs - Paradise and Lunch charms with exquisite interplay, inspirational harmonies, and innate flair.


    At no point do the experimentations sound forced, artificial, or retro. Cooder transforms what initially appear to be obscurities into coherent, approachable songs that could have been recorded yesterday - or decades ago. In his world, a marvelous reggae-spiced and R&B-driven rendition of Bobby Womack's It's All Over Now coexists with a sanctified, harmony-based march through the gospel hymn Jesus on the Mainline anchored by restrained Dixieland accents and tolling bells. Another standard, albeit more modern, Burt Bacharach's Mexican Divorce strolls across dusty plains via gently clopping beats, shimmering Spanish motifs, and sympathetic support vocals.


    Cooder also turns up the electricity a smidge for his idea of Bobby Miller's If Walls Could Talk, a melodic snapshot of doo-wop shot through with reverb-drenched grooves. He rains funky vibes, chicken-scratch slide guitar, and churchgoing lessons down on a top-to-bottom remake of Blind Willie McTell's Married Man's a Fool, the revision evocative of the imagination, proficiency, and blending that help make Paradise and Lunch an absolute must-own album - and now, an audiophile choice for those wished-for Desert Island trips.


    This title is not eligible for further discount.

    1. Tamp 'Em Up Solid
    2. Tattler
    3. Married Man's a Fool
    4. Jesus on the Mainline
    5. It's All Over Now
    6. Fool for a Cigarette/Feelin' Good
    7. If Walls Could Talk
    8. Mexican Divorce
    9. Ditty Wah Ditty
    Ry Cooder
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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