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  • Beyond The Blue Horizon: George Benson (Speakers Corner) Beyond The Blue Horizon: George Benson (Speakers Corner) Quick View

    $34.99
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    Beyond The Blue Horizon: George Benson (Speakers Corner)

    George Benson was the pupil, Wes Montgomery his teacher! And the sound of the great maestro, who played without the use of a plectrum, is quite unmistakable in this recording produced by CTI Records with George Benson in 1971. Producer Creed Taylor showed good judgement when he teamed Benson up with a small yet supremely talented group of musicians: Jack De Johnette on the drums takes Ron Carter's bass and Clarence Palmer's organ on a superb ride. Carter and Benson had met one another briefly during a Miles Davis recording session, but there the drummer was Tony Williams. Here, with Jack DeJohnette participating, the numbers on this LP gain real soul. But the lyrical side doesn't come too short either: Ode To A Kudu demonstrates this particular attribute of Benson's to perfection. And Somewhere To The East proves that he isn't afraid to experiment. All in all, this is a top album from George Benson's long and commercially successful career.



    Musicians:



    • George Benson (guitar)

    • Clarence Palmer (organ)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Michael Cameron, Albert Nicholson (percussion)



    Recording: February 1971 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    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. So What
    2. The Gentle Rain
    3. All Clear
    4. Ode To a Kudu
    5. Somewhere In the East
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Inspiration A Tribute To Nat King Cole Inspiration A Tribute To Nat King Cole Quick View

    $21.99
    Buy Now
    x

    Inspiration A Tribute To Nat King Cole

    After four years of touring and developing An Unforgettable Tribute to Nat King Cole, the legendary George Benson makes his most inspired album: Inspiration: A Tribute to Nat King Cole. The recording is one of the most meaningful of Benson's career and is a testament to the spirit of Cole's timeless body of work. Benson's heartfelt renditions of some of Cole's greatest songs with Nelson Riddle arrangements and the 42-piece Henry Mancini Institute Orchestra are complemented by duets with Tony Award winner Idina Menzel and rising star Judith Hill, along with a special collaboration with multi-GRAMMY and Pulitzer Prize-winning trumpeter Wynton Marsalis.
    1. Just One of Those Things
    2. Unforgettable
    3. Walkin' My Baby Back Home
    4. When I Fall In Love
    5. Route 66
    6. Nature Boy
    7. Ballerina
    8. Smile Straighten Up and Fly Right
    9. Too Young
    10. I'm Gonna Sit Right Down And Write Myself A Letter
    11. Mona Lisa
    George Benson
    $21.99
    Vinyl LP - Sealed Buy Now
  • Give Me The Night (Pure Pleasure) Give Me The Night (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Give Me The Night (Pure Pleasure)

    This is the peak of George Benson's courtship of the mass market -- a superbly crafted and performed pop album with a large supporting cast -- and wouldn't you know that Quincy Jones, the master catalyst, is the producer. Q's regular team, including the prolific songwriter Rod Temperton and the brilliant engineer Bruce Swedien, is in control, and Benson's voice, caught beautifully in the rich, floating sound, had never before been put to such versatile use. On Moody's Mood, Benson really exercises his vocalese chops and proves that he is technically as fluid as just about any jazz vocalist, and he become a credible rival to Al Jarreau on the joyous title track. Benson's guitar now plays a subsidiary role -- only two of the ten tracks are instrumentals -- but Q has him play terrific fills behind the vocals and in the gaps, and the engineering gives his tone a variety of striking, new, full-sounding timbres. The instrumentals themselves are marvelous: Off Broadway is driving and danceable, and Ivan Lins' Dinorah, Dinorah grows increasingly seductive with each play. Benson should have worked with Jones from this point on, but this would be their only album together.

    Musicians:

    • George Benson (vocal, guitar)
    • Lee Ritenour (guitar)
    • Herbie Hancock (electric piano, synthesizer)
    • Kim Hutchcroft (saxophone, flute)
    • Jerry Hey (trumpet)
    • Abraham Laboriel (bass)
    • Paulinho Da Costa (percussion)
    • Carlos Vega (drums)

    Recording: 1980 by Bruce Swedien
    Production: Quincy Jones

    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. Love X Love
    2. Off Broadway
    3. Moody's Mood
    4. Give Me The Night
    5. What's On Your Mind
    6. Dinorah, Dinorah

    7. Love Dance
    8. Star Of A Story (x)
    9. Midnight Love Affair
    10. Turn Out The Lamplight
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In Flight (Pure Pleasure) In Flight (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    In Flight (Pure Pleasure)

    Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.


    Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole - a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace - but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.


    In the wake of This Masquerade, the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as Nature Boy and The World Is a Ghetto, and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's Valdez in the Country, prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star.


    - Richard S. Ginell (AllMusic)

    Musicians:



    • George Benson (vocal, guitar)

    • Jorge Dalto (clavinet, piano)

    • Ronnie Foster (electric piano, synthesizer)

    • Phil Upchruch (guitar, bass)

    • Stanley Banks(bass)

    • Harvey Mason (drums)

    • Ralph MacDonald (percussion)



    Recording: 1977 at Capitol Studios, Hollywood, by Al Schmitt

    Production: Tommy Lipuma



    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. Nature Boy
    2. The Wind And I
    3. The World Is A Ghetto
    4. Gonna Love You More
    5. Valdez In The Country
    6. Everything Must Change
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Giblet Gravy Giblet Gravy Quick View

    $27.99
    Buy Now
    x

    Giblet Gravy

    In the same year that 25 year old George Benson appeared on a Miles Davis LP, he took the rhythm team of Hancock and Carter to make his own.


    With Billy Cobham, they were the foundation for an album that's half small group and half big band- one of the truly satisfying jazz that Benson made before following his role model, Wes Montgomery, in changing labels and boldly crossing over.


    Alongside the jazz and pop standards covered, Benson created a new standard with the title tune.
    The secret ingredient in the Gravy, as throughout the record, is the brilliant arranging of Tom McIntosh, one of the most original musical minds to emerge in the Sixties.

    Side 1
    1. Along Comes Mary

    2. Sunny

    3. What's New?

    4. Giblet Gravy

    5. Walk On By


    Side 2
    1. Thunder Walk

    2. Sack Of Woe

    3. Groovin'

    4. Low Down And Dirty

    George Benson
    $27.99
    Vinyl LP - Sealed Buy Now
  • Erotic Moods Erotic Moods Quick View

    $13.99
    Buy Now
    x

    Erotic Moods

    1. Erotic Moods
    2. Fed Up
    3. Loose Joints
    4. Smokin' Cheeba-Cheeba
    5. Sweet Tatse Of Love
    George Benson
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Straight Life Straight Life Quick View

    $29.99
    Buy Now
    x

    Straight Life

    Limited Edition of 1,000 Copies


    Pressed on 180 Gram Audiophile-Grade Vinyl at Pallas Group in Germany


    Mastered from Original Analog Tapes By Grammy Award Winner Bernie Grundman


    Features Joe Henderson, Herbie Hancock, George Benson, Ron Carter, and Jack DeJohnette


    Straight Life, arguably trumpeter Freddie Hubbard's greatest recording, features an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette. Recorded in 1970 between Hubbard's better-known CTI releases, Red Clay and First Light, the album was also engineered by Rudy Van Gelder and produced by Creed Taylor. This 180gram audiophile-grade vinyl reissue, which was mastered from original tapes by Bernie Grundman and pressed at Pallas in Germany, shines new light on this amazing, underrated recording.

    1. Straight Life
    2. Mr. Clean
    3. Here's That Rainy Day
    Freddie Hubbard
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sugar (Pure Pleasure) Sugar (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sugar (Pure Pleasure)

    If ever there were a record that both fit perfectly and stood outside the CTI Records' stable sound, it is Sugar by Stanley Turrentine. Turrentine, a veteran of the soul-jazz scene since the '50s, was accompanied by a who's who of groove players, including guitarist George Benson, Lonnie Liston Smith on electric piano, Freddie Hubbard on trumpet, bassist Ron Carter, organist Butch Cornell, and drummer Billy Kaye, among others. The title track is a deep soul blues workout with a swinging backbeat and the rhythm section fluidly streaming through fours and eights as Benson, Hubbard, and Turrentine begin slowly and crank up the heat, making the pace and stride of the cut simmer then pop - especially in Hubbard's solo. This is truly midnight blue, and the party's at the point of getting really serious or about to break up. By the time Benson picks up his break, full of slick, shiny, warm arpeggios, the seams are bursting and couples are edging into corners. Butch Cornell's Sunshine Alley is a solid, funky groover, paced by organ and double fours by Kaye. Turrentine and Hubbard stride into the melody and keep the vamp in the pocket, riding out past the blues line into a tag that just revs the thing up even further. But the big surprise is in the final track, one of the most solidly swinging, from-the-gut emotional rides of John Coltrane's Impressions ever taken. Turrentine is deep inside his horn, ringing out in legato with everything he has - and it is considerable. Ron Carter's bass playing flows through the modal interludes, creating a basis for some beautifully intervallic invention by Benson and Smith by building a series of harmonic bridges through the mode to solos. It's hard to believe this is Turrentine, yet is could be no one else. If jazz fans are interested in Turrentine beyond the Blue Note period - and they should be - this is a heck of a place to listen for satisfaction.



    Musicians:



    • Freddie Hubbard (trumpet)

    • Stanley Turrentine (tenor saxophone)

    • Lonnie Liston Smith (electric piano)

    • Butch Cornell (organ)

    • George Benson (guitar), Ron Carter (bass), Billy Kaye (drums)

    • Richard Pablo Landrum (conga)




    Recording: November 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    Format: 1LP 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.



    1. Sugar
    2. Sunshine Alley
    3. Impressions
    4. Sugar (previously unreleased, live, bonus track)
    Stanley Turrentine
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Alone Again, Naturally Alone Again, Naturally Quick View

    $14.99
    Buy Now
    x

    Alone Again, Naturally

    Originally released in 1972, ALONE AGAIN, NATURALLY is a fine album by the eclectic and talented soul star Esther Phillips. Helmed by jazz producer Creed Taylor, and recorded with an all-star cast of fusion, soul, and jazz artists including George Benson, Maceo Parker, Ron Carter, and Billy Cobham, this is the early 1970s Creed Taylor sound adapted to pop and soul music, putting Phillips' impassioned vocals in slick, mellow soul-jazz grooves.

    -All Music Guide
    1. Use Me
    2. I Don't Want To Do Wrong
    3. Let's Move & Groove
    4. Let Me In Your Life
    5. Cherry Red
    6. I've Never Found A Man (To Love Me Like You Do)
    7. Alone Again (Naturally)
    8. Do Right Woman, Do Right Man
    9. You & Me Together
    10. Georgia Rose
    Esther Phillips
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • The New Boss Guitar The New Boss Guitar Quick View

    $21.99
    Buy Now
    x

    The New Boss Guitar


    Special Vinyl Reissue


    George Benson was only 21 when, on May 1, 1964, he recorded his first album as a leader, The New Boss Guitar of George Benson. At that point, the
    guitarist had yet to become a huge name in jazz, although many of those who knew Benson agreed that he showed great potential. This is an impressive
    debut. The guitarist had developed a distinctive, recognizable sound on his instrument, and he plays with both feeling and technique on five Benson
    originals (including the sly Shadow Dancers, the exuberant Rock-A-Bye, and the earthy blues I Don't Know) as well as interpretations of Easy Living
    and Will You Still Be Mine. This album is historically important as well as rewarding.


    George Benson is the legendary guitarist, singer/songwriter who is the recipient of 10 Grammy Awards!


    This is a 'MUST-HAVE' for all George Benson Fans, as well as a pivotal addition to any vinyl collection given its historical importance as one of Benson's
    first significant recordings.

    1. Shadow Dancers
    2. The Sweet Alice Blues
    3. I Don't Know
    4. Just Another Sunday
    5. Will You Still Be Mine?
    6. Easy Living
    7. Rock-A-Bye
    8. My Three Sons
    George Benson & The Brother Jack McDuff Quartet
    $21.99
    Vinyl LP - Sealed Buy Now
  • Body Talk (Speakers Corner) Body Talk (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Body Talk (Speakers Corner)

    Just listen to the first thirty seconds of this LP and you know that it's all about the 'Godfather of Soul' - the unique James Brown.



    But it's just as obvious that such a great artist as George Benson doesn't just present "Greatest Hits" in a new guise. Six of his own compositions plus one by Donny Hathaway/Gene McDaniels provide the guitarist and singer with a great platform to launch from. He shoots off into orbit, accompanied by first-class guest soloists such as Jon Faddis, Frank Foster, Earl Klugh and Jack DeJohnnette. Ron Carter's bass doesn't boom in the low register but offers a light and airy, yet solid, base.



    Body Talk is by no means the declaration of a world-shaking, new and avant-garde jazz. It is, however, a successful blend of jazz, soul and fusion. And when such a superb arranger as Pee Wee Ellis has his finger in the pie - or rather: his pen on the manuscript paper - then one can be sure that the almost 50-minute-long LP is a great success from beginning to end. Finally, one shouldn't forget the helping hand of the producer Creed Taylor, who made a significant contribution to this milestone on the CTI label.



    Musicians:



    • George Benson (guitar, vocal)

    • Frank Foster (tenor saxophone)

    • Gerald Chamberlain, Dick Griffin (trombone)

    • Jon Faddis, John Gatchell, Waymon Reed (fluegel horn, trumpet)

    • Harold Mabern (electric piano)

    • Earl Klugh (guitar)

    • Ron Carter, Gary King (bass)

    • Jack DeJohnette (drums)

    • Mobutu (percussion)



    Recording: July 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    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. Dance
    2. When Love Has Grown
    3. Plum
    4. Body Talk
    5. Top Of The World
    George Benson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Cheshire Cat Cheshire Cat Quick View

    $11.99
    Buy Now
    x

    Cheshire Cat

    Reuniting Ronnie Foster with guitarist George Benson, who also produced the previous On the Avenue, the keyboardist's final Blue Note date Cheshire Cat completes his immersion into the mainstream. Few records that fall into the soul-jazz genre balance both sides of the equation so carefully or so deftly. While Foster's original compositions boast the harmonic complexity and structural rigorousness of jazz, Benson's production is pure pop, with numbers including Like a Child sounding indistinguishable from the commercial soul fare making radio play lists during the mid-'70s. (A convincing cover of Stevie Wonder's Tuesday Heartbreak further blurs the genre lines.) Expanding upon ideas first explored via On the Avenue, Foster again steps behind the microphone to handle vocal chores on several tracks, proving a fine if unspectacular singer. He remains most persuasive as a composer and instrumentalist, however, articulating the infectiousness and gradations of his music with clarity and aplomb.
    1. Like A Child
    2. Tuesday Heartbreak
    3. Fly Away
    4. Funky Motion
    5. Cheshire Cat
    6. Heartless
    Ronnie Foster
    $11.99
    Vinyl LP Reissue - Sealed Buy Now
  • Miles In The Sky (On Sale) Miles In The Sky (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

    Buy Now
    x

    Miles In The Sky (On Sale)

    Numbered, Limited Edition


    1968 Record Marks First Time Davis Uses Electric Piano, Bass, and Guitar: Second Half is Acoustic


    Mastered from the Original Master Tapes: Seminal Proto-Fusion Effort Explodes With Color and Vibrancy


    Final Effort With Davis' Classic Second Quintet Finds the Leader Looking to the Past and the Future


    Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity's 45RPM pressing brings the aural magic into focus.


    Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Afforded the benefits provided by the record's wider grooves, Davis' burnished trumpet resounds with utmost clarity, and the soundstage seems to extend for days. Reference-caliber separation and imaging give each musician their own space, allowing every passage to come across without any sonic limitations.


    The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on Paraphernalia, blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.


    Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a transitional work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging Stuff and frisky Paraphernalia glancing toward the future while keeping solid footing in the past.


    Similarly, so do Country Boy and Black Comedy. In his original review for jazz authority DownBeat, Larry Kart observes: Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Boy' recalls a fragment from his Summertime solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight ahead solo here, the orderly pattern of the past is displaced and fragmented.


    Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.


    This title is not eligible for further discount.

    1. Stuff
    2. Paraphernalia
    3. Black Comedy
    4. Country Son
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Language Of Life Language Of Life Quick View

    $34.99
    Buy Now
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    Language Of Life

    The Language of Life is the fifth album by English electronic duo Everything but the Girl, released in 1990.


    Tommy LiPuma had previously worked with artists like Miles Davis, Horace Silver, Randy Newman, and George Benson and had contributed production to Aztec Camera's Love album in 1987. He had expressed an interest in producing Everything but the Girl and invited Tracey Thorn and Ben Watt to New York and LA.


    Song arrangements were written by Larry Williams and Jerry Hey. The band LiPuma put together included Omar Hakim on drums, John Patitucci on bass and Larry Williams on keyboards. Ben Watt played guitar and piano, as well as doing some singing. Tracey Thorn sang only. LiPuma produced, in Thorn's words, a fully realised, immaculately performed and produced modern American Soul-Pop record.

    1. Driving
    2. Get Back Together

    3. Meet Me In The Morning
    4. Me And Bobby D

    5. The Language Of Life

    6. Take Me

    7. Imagining America

    8. Letting Love Go
    9. My Baby Don't Love Me
    10. The Road
    Everything But The Girl
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Wild Horses Rock Steady Wild Horses Rock Steady Quick View

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    Wild Horses Rock Steady

    Johnny Hammond's 1972 soul-jazz beauty is another stunning example of great creativity at Creed Taylor's Kudu label through the mid-'70s. Arranged by Bob James, Hammond's trademark B-3 work is showcased here on six extended cover versions of tunes from the pop vernacular. The lineup includes guitarists George Benson, Eric Gale, and Melvin Sparks, saxophonists Grover Washington, Jr. and Pepper Adams, bassist Ron Carter (playing electric as well as double bass), and drummers Bernard Purdie and Billy Cobham! There are grooves galore in this wondrously mixed set, from the smoking guitar breaks in the read of Aretha Franklin's Rock Steady to the syncopated organ pyrotechnics in It's Impossible, with Washington playing his ass off around Hammond's organ breaks, and the beautiful horn arrangements by James in Peace Train. The funky-butt glimmer in I Don't Know How to Love Him could have been played by the Stax/Volt horns with a Funk Brothers rhythm section. James weaves a string section in harmonic counterpoint to Hammond's organ in the melody, creating a moving tapestry of textures against the backbeat. But nothing can prepare the listener for the closing cover of Jagger and Richard's Wild Horses, with a military snare beat providing an unlikely intro to an All Along the Watchtower-like progression that transforms itself seamlessly into a darkly minor reading of the original melody, with beautiful fills by Benson and Sparks. When the horns kick in during the refrain with plenty of fuzz guitar and bass over the top, the listener falls headlong into the magic of dirty groove and roll.

    - Thom Jurek (All Music)
    1. Rock Steady
    2. Who Is Sylvia?
    3. Peace Train
    4. I Don't Know How to Love Him
    5. It's Impossible
    6. Wild Horses
    Johnny Hammond
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Taru Taru Quick View

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    Taru

    Lee Morgan, trumpet

    Bennie Maupin, tenor saxophone

    George Benson, guitar

    John Hicks, piano

    Reggie Workamn, bass

    Billy Higgins, drums


    Trumpeter Lee Morgan performs two funky boogaloos, a ballad, and three complex group originals on this album whose music was first released in 1980. This is a transitional date with the hard bop stylist leaning in the direction of modal music and even anticipating aspects of fusion. His sextet (which includes Bennie Maupin on tenor, guitarist George Benson, pianist John Hicks, bassist Reggie Workman, and drummer Billy Higgins) is quite advanced for the period and inspires Morgan to some fiery and explorative playing.


     

    Avotcja One
    Haeschen
    Dee Lawd
    Get Yourself Together
    Taru, What's Wrong With You
    Durem
    Lee Morgan
    $11.99
    Vinyl LP Reissue - Sealed Buy Now
  • Mr. Shing-a-Ling Mr. Shing-a-Ling Quick View

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    Mr. Shing-a-Ling

    This album is from 1967 same year as Lou recorded the classic Alligator Bogaloo and this album stands the comparison with the Bogaloo album. The only change here is that George Benson was replaced by a young Jimmy Ponder. Ponder is still ,sadly enough, quite unknown to the big audience..his playing here is extremely pleasing and he lifts the sometimes to often played The shadow of your smile to another level with a beautiful solo. Idris Muhammad is recorded slightly more upfront than on the other albums which gives this recording some extra pulse and groove.Blue Mitchell on trumpet has that laid back bounce that give his solos that lift.
    1. Ode to Billie Joe
    2. The Humpback
    3. The Shadow of Your Smile
    4. Peepin'
    5. The Kid
    Lou Donaldson
    $11.99
    Vinyl LP Reissue - Sealed Buy Now
  • First Light (Awaiting Repress) First Light (Awaiting Repress) Quick View

    $29.99
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    First Light (Awaiting Repress)


    Numbered, Limited Edition of 2,000 Copies


    Pressed on 180 Gram Audiophile-Grade Vinyl at Pallas Group in Germany


    Mastered from Original Analog Tapes by Bernie Grundman


    Features Herbie Hancock on Rhodes


    Freddie Hubbard entered Creed Taylor's studio for the
    third time in 1971 with the express purpose of making
    a record radically different from anything he'd cut
    before; he was looking for it to use electricity and to be
    out of the soul-jazz mold, but was also more ambitious
    and wanted to push that envelope and himself. Taylor
    and Hubbard assembled a band that included Herbie
    Hancock , Eric Gale, George Benson, Ron Carter,
    Jack DeJohnette, Airto Moreira, and Richard Wyands.
    The album is part of a loose trilogy including his two
    previous records, Red Clay and Straight Life. Now
    available in its essential form, First Light was mastered
    from original analog tapes and pressed on 180gram
    audiophile-grade vinyl at Pallas.

    1. First Light
    2. Uncle Albert/Admiral Halsey

    3. Moment to Moment
    4. Yesterday's Dreams
    5. Lonely Town
    6. Fantasy in D
    Freddie Hubbard
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Macroscope Macroscope Quick View

    $19.99
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    Macroscope

    MACROSCOPE, the fifth album and Mack Avenue
    debut by his adventurous trio The Nels Cline Singers,
    provides a measure of the long-running group's
    staggering range. Captivating and continually
    surprising, the album finds the instrumental
    trio with the slyly deceptive name veering
    in one off-kilter direction only to suddenly be
    overwhelmed by another drastic stylistic shift,
    often within the space of a single tune.
    Serrated psychedelia becomes consumed
    by soulful Brasiliana, blissed-out electronica
    overwhelmed by garage-rock skronk. Then
    there's the wholly unexpected "Red Before
    Orange," where a howling Hendrix-inspired solo
    suddenly erupts in the middle of a slick lounge-jazz
    number, Cline unleashing the inner George
    Benson that few of us expected he even had.


    "The title MACROSCOPE speaks to the idea of
    the mutt within," Cline says, "the fact that I'm
    not in any one genre, and never have been.
    I was a rock and roll kid, but after hearing
    Coltrane and Miles and Weather Report, then
    Indian music and Nigerian pop and that sort
    of thing, there was no turning back. From that
    point on, the idea of purism just was not possible.


    Produced by Nels Cline and David Breskin


    Nels Cline - guitars, effects, voice, Quintronics Drum Buddy

    Scott Amendola - drums, percussion, electronic treatments/loops, mbira

    Trevor Dunn - basses, effects


    Additional musician guests:

    Yuka C. Honda - electric piano, OP-1

    Cyro Baptista - percussion universe

    Josh Jones - congas, other percussion

    Zeena Parkins - electric harp

    1. Companion Piece
    2. Canales' Cabeza
    3. Respira
    4. Red Before Orange
    5. The Wedding Band
    6. Macroscopic (for Kusama-san)
    7. Climb Down
    8. Seven Zed Heaven
    9. Hairy Mother
    10. Sascha's Book Of Frogs
    The Nels Cline Singers
    $19.99
    Vinyl LP - Sealed Buy Now
  • Straight Life (Pure Pleasure) Straight Life (Pure Pleasure) Quick View

    $34.99
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    Straight Life (Pure Pleasure)

    Recorded between trumpeter Freddie Hubbard's better-known classics Red Clay and First Light, Straight Life is actually arguably Hubbard's greatest recording. Hubbard, joined by an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette, is frequently astounding on Straight Life (check out that introduction) and Mr. Clean, constructing classic solos. The very memorable set is rounded off by the trumpeter's duet with Benson on a lyrical version of the ballad Here's That Rainy Day. This exciting album is essential for all serious jazz collections.



    Musicians:



    • Freddie Hubbard (trumpet, fluegel horn)

    • Joe Henderson (tenor saxophone)

    • Herbie Hancock (piano)

    • George Benson (guitar)

    • Ron Carter (bass)

    • Jack DeJohnette (drums)

    • Richard Pablo Landrum (percussion)

    • Weldon Irvine (tambourine)



    Recording: November 1970 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder

    Production: Creed Taylor



    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. Straight Life
    2. Mr. Clean
    3. Here's That Rainy Day
    Freddie Hubbard
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Derry Legend (Discontinued) (On Sale) Derry Legend (Discontinued) (On Sale) On Sale Quick View

    $24.99 $19.74 Save $5.25 (21%)

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    Derry Legend (Discontinued) (On Sale)

    "An album simmering with background chaos worthy of prime-era Buttholes or Royal Trux. The real surprise is how Derry Legend clears room for pop chops, making it possible to see the Axemen's relation to bands like the Clean and the Gordons. A wonderful testament to the power and limits of form-bloat. Ahoy! - Byron Coley


    Long overdue re-issue of this cracked pop classic and Flying Nun rarity, Derry Legend was one of Kurt Cobain's top NZ platters and a staple of his mix-tapes.


    Once I saw this band play live and thought "Ugh! What is this crap?!" I tried to listen to their truly awful "Three Virgins" album, but just couldn't see (hear?) the point. So the other day when a flatmate bought this "new" album (it appears to have been recorded in 1987, actually), I just shook my head and thought "so some people still buy records just because they like the cover art."


    Then a strange thing happened: by accident I heard the last song first and thought "Hey that's quite good." I played the first side next - better still! - then the whole second side - FAR OUT! Since then I've been playing this over and over and it just cracks me up how good it is.


    The music is like childhood memories of the first time you ever heard rock 'n roll; the first time you ever heard slushy-pop; the first time you ever heard rap (!). Listen to He's Leaving Home and wonder what George Benson LP the band sat around and assimilated; hear "The Wharf With No Name" and wonder why the Beatles never thought of it first; hop on one leg to "That's Finland, Dear" and understand why Acid House was just a nine-day wonder while Chuck Berry's rhythms still cascade like thunder. - Bevandra's Ears

    1. Disc To Disk
    2. You Gave Me The Power Of The Gangbusters
    3. Hey Alice!
    4. Rocks In My Heart
    5. He's Leaving
    6. The Tragic Tale Of The Rock 'N Roll Legend
    7. Ferris Wheel
    8. Human Hot Dogs
    9. The Wharf With No Name
    10. Carmen On Ice
    11. That's Finland, Dear
    12. Mourning Of Youth
    Axemen
    $24.99 $19.74 Save $5.25 (21%)
    Vinyl LP - Sealed Buy Now
  • Carney (200 Gram Vinyl) Carney (200 Gram Vinyl) Quick View

    $34.99
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    Carney (200 Gram Vinyl)

    Hit Maker And Musician's Musician Struck Chart Gold With 1972 Album Carney


    Analogue Productions Reissue On 200-Gram Vinyl


    Mastered By Kevin Gray At Cohearent Audio From The Original Master Tapes


    Plated And Pressed At Quality Record Pressings


    Heavyweight Tip-On Old-Style Jacket From Stoughton Printing


    With his trademark top hat, hair well past his shoulders, a long, lush beard, an Oklahoma drawl and his fingers splashing two-fisted barrelhouse piano chords, future Rock and Roll Hall of Fame inductee Leon Russell cut a flamboyant figure in the early 1970s. He recorded his first hit single Tight Rope with the release of his third, and most successful album Carney, in 1972, which peaked at No. 2 on the Billboard Hot 200.


    Two years earlier Russell had already played on hundreds of songs as one of the top studio musicians in Los Angeles. The Oklahoma-born pianist, guitarist, songwriter and bandleader led Joe Cocker's band Mad Dogs & Englishmen, appeared at George Harrison's 1971 Concert for Bangladesh in New York City and composed numerous hits of his own. He was in Phil Spector's Wall of Sound Orchestra and played sessions for Frank Sinatra, Sam Cooke, Aretha Franklin, the Ventures and the Monkees, among many others.


    But it was the top-rated Carney, reissued here on an audibly exquisite 200-gram LP from Analogue Productions, that put Carney into the league of extraordinary musicians. Soulful roots-rock yields to dizzying psychedelia on this, Russell's most famous album. His all-time biggest hit, Tight Rope, leads to Out in the Woods, Cajun Love Song, This Masquerade, and more! No link in the reissue chain was sacrificed, making this outstanding reissue a true audiophile masterpiece. Kevin Gray at Cohearent Audio remastered the album from the original master tapes; plating and pressing took place at Quality Record Pressings, makers of the world's finest-sounding LPs. Lastly, as benefits a stellar reissue, we packaged our version in a heavyweight old-style tip-on jacket from Stoughton Printing.


    Russell wrote scores of hits for others, among them Superstar, (written with Bonnie Bramlett) for the Carpenters, Delta Lady for Joe Cocker and This Masquerade, for George Benson. His own version of This Masquerade is featured on Carney. More than 100 acts recorded A Song for You, which Russell said he wrote in 10 minutes. Ray Charles' recording of the song in 1993 received a Grammy Award.


    Sadly, Russell's life as a musical muse and performer ended with his death at 74 on Nov. 13, 2016, at his home in Nashville. He will be forever remembered for making a broad, sophisticated palette of American music sound down-home and natural.

    1. Tight Rope
    2. Out in the Woods
    3. Me and Baby Jane
    4. Manhattan Island Serenade
    5. Cajun Love Song
    6. Roller Derby
    7. Carney
    8. Acid Annapolis
    9. If the Shoe Fits
    10. My Cricket
    11. This Masquerade
    12. Magic Mirror
    Leon Russell
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Look Of Love (Awaiting Repress) The Look Of Love (Awaiting Repress) Quick View

    $54.99
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    The Look Of Love (Awaiting Repress)

    Available for the first time on 180 Gram 45rpm Double Vinyl!


    Experience Diana Krall's The Look Of Love as you've never heard it before... on 45rpm Heavyweight 180 Gram Audiophile Double Vinyl! Diana Krall's voice sounds fuller, richer and sweeter!


    Mastered by Bernie Grundman from the Original Analogue Master Tapes & Pressed at RTI! Numbered Deluxe Laminated Gatefold Jackets!


    In order to achieve the BEST possible sound ORG has cut The Look Of Love on 4 sides and at 45rpm to allow the maximum cutting level. This gives the record the best signal to noise ratio, better dynamics, less inner groove distortion and better overall sound!


    From the luxurious opening chords of the first track, even before Diana Krall has sung a single beautiful note, The Look of Love, will have you hooked. After winning a Best Jazz Vocal Performance Grammy for 1999's platinum-selling When I Look in Your Eyes, Diana Krall delivers her best album yet - a lush, cinematic collection of ballads and bossa nova tunes. Featuring the London Symphony Orchestra arranged and conducted by the legendary Claus Ogerman, The Look of Love brings to mind such classic Frank Sinatra albums as In the Wee Small Hours and Only The Lonely. These elegant piano solos, the sensual vocals, and the wickedly modern sense of humor are, inimitably, all Diana Krall.


    The Look of Love is the fifth album by Diana Krall in a row that Tommy LiPuma, Verve Music Group Chairman, produced. LiPuma is also known for his work with Barbra Streisand, Miles Davis, Joao Gilberto, Natalie Cole and Shirley Horn. Regarding Claus Ogerman, Diana Krall said that, together with Johnny Mandel, he has been her favorite arranger/composer since she was seventeen. Ogerman had an important role on albums recorded by Frank Sinatra, Barbra Streisand and Antonio Carlos Jobim. Ogerman also had been working for years together with LiPuma, for the first time on George Benson's outstanding album Breezin'. Since Claus Ogerman featuring Michael Brecker in 1990, the two had gone separate ways. But when Diana Krall was on tour in Munich, LiPuma arranged for her to have lunch with Ogerman. That is how the pianist/singer, the arranger/composer and the producer began to work on a common project: The Look of Love.


    Diana's songs were arranged by Claus Ogerman who also conducts the London Symphony Orchestra. The Look of Love gives an impression of unity despite the fact that it contains material from a lot of different sources: e.g. Cry Me A River by Julie London, Love Letters by Nat King Cole and jazz-standards such as Dancing in the Dark by Arthur Schwartz (music)/Howard Dietz (text), I Remember You by Victor Scherzinger/John Mercer and 'S Wonderful by George and Ira Gershwin.


    Features:

    • Numbered Deluxe Laminated Double Gatefold Jackets

    • 180g Vinyl

    • 45rpm

    • Pressed at RTI

    • Mastered by Bernie Grundman from the Original Analogue Master Tapes!


    Musicians:

    Diana Krall, piano & vocals

    Russell Malone, guitar

    Christian McBride, acoustic bass

    Peter Erskine, drums

    Jeff Hamilton, Paulinho Da Costa, percussion

    Luis Conte, percussion

    Romero Lubambo, guitar

    John Pisano, Dori Caymmi, acoustic guitar

    London Symphony Orchestra

    Los Angeles Session Orchestra

    Claus Ogerman, arranger & conductor


    This title is not eligible for discount.

    1. S'Wonderful
    2. Love Letters
    3. I Remember You
    4. Cry Me A River
    5. Besame Mucho
    6. The Night We Called It A Day
    7. Dancing In The Dark
    8. I Get Along Without You Very Well
    9. The Look Of Love
    10. Maybe You'll Be There
    Diana Krall
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Heaven On Earth Heaven On Earth Quick View

    $11.99
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    Heaven On Earth

    Organist Larry Young gets knee deep in the funk on this later Blue Note album.


    Musicians:

    George Benson-Guitar

    Eddie Gladden-Drums

    Byard Lancaster-Sax (Alto)

    Herbert Morgan-Sax (Tenor)

    Side One


    1.The Infant
    2. The Cradle
    3. The Hereafter


    Side Two


    1.Heaven On Earth
    2. Call Me
    3. My Funny Valentine

    Larry Young
    $11.99
    Vinyl LP Reissue - Sealed Buy Now
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