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  • Afro Classic (Speakers Corner) Afro Classic (Speakers Corner) Quick View

    $34.99
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    Afro Classic (Speakers Corner)

    In the Seventies, fusion was a popular pigeonhole for music somewhere between jazz and pop. At the same time it was also an often used, belittling term employed by critics and representatives of 'pure' jazz, who never wanted to listen to it, let alone include any of the numerous LPs in their collection.



    Forty years later, the dust has settled. Flautist Hubert Laws' recordings not only for the Atlantic but also the CTI labels are treasured - especially the present LP, which was produced by the 'Master of Sound' Creed Taylor. Now these crossover numbers from the worlds of classic, jazz, pop and easy listening are available once more. Discover, for example, Al Kooper's composition Fire And Rain (more familiar are the versions from Blood, Sweat & Tears and James Taylor), the famous theme music from the film Love Story, and three classical compositions by J. S. Bach and Mozart. All have been given a facelift and with such super sidemen ranging from Ron Carter to Bob James and a superb Freddie Waits on the drums, they are a real treat.
    So cast aside any preconceptions and enjoy this meticulous production and the clear reproduction on vinyl.



    Musicians:



    • Hubert Laws (flute)

    • Don Sebesky (arranger)

    • Fred Alston, Jr. (bassoon)

    • Bob James (electric piano)

    • Gene Bertoncini (guitar)

    • David Friedman (vibraphone)

    • Ron Carter (bass)

    • Airto, Richie 'Pablo' Landrum (percussion)

    • Fred Waits (drums)




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

    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. Fire and Rain
    2. Allegro from Concerto No. 3 in D
    3. Theme from Love Story
    4. Passacaglia in C Minor
    5. Flute Sonata in F
    Hubert Laws
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Main Attraction The Main Attraction Quick View

    $14.99
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    x

    The Main Attraction

    The Main Attraction is an album by American jazz guitarist Grant Green featuring performances recorded in 1976 and released on the Kudu label.


    Arranged by Dave Matthews


    Musicians:

    Grant Green - guitar/all solos

    Steve Khan - guitar

    Don Grolnick - electric piano, clavinet

    Will Lee - bass

    Andy Newmark - drums

    Carlos Charles - conga, percussion

    Sue Evans - percussion

    Hubert Laws - flute

    Burt Collins, Jon Faddis - trumpet

    Sam Burtis - trombone

    Michael Brecker - saxophone/all tenor solos

    Ronnie Cuber - baritone saxophone

    Joe Farrell - tenor saxophone

    1. The Main Attraction
    2. Future Feature
    3. Creature
    Grant Green
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Blue Moses (Speakers Corner) Blue Moses (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Blue Moses (Speakers Corner)

    Randy Weston - now an elderly gentleman and one of the few living witnesses and co-creators from the heyday of hard bop - still leaves his home in Brooklyn to tour through Africa, Europe and Asia. A truly multicultural man. His percussive style has been influenced in particular by the ethnic music of Morocco; his amazing sense for the sounds produced by North-African melodic and rhythmic instruments has enriched his music over many years.
    After seven years without making any recordings, Blue Moses was recorded in 1972 in Rudy Van Gelder's studio. Lengthy trips through North Africa and as far as the Niger, plus the ignorance of American record companies, were the reasons for the long pause. Finally the CTI producer Creed Taylor took an interest in Randy Weston and financed a large ensemble with Don Sebesky as arranger.
    The four themes provide a great basis for improvisations by the soloists, whereby the Randy Weston's piano takes the lion's share. The flute is also very prominent - and no wonder: it is played by Hubert Laws. It is quite possible that many jazz fans will have missed the name Randy Weston when flipping through the letter 'W' in record shops in the 70s. Now they have the opportunity to correct this mistake with this re-release



    Musicians:



    • Randy Weston (piano)

    • Don Sebesky (arranger)

    • Grover Washington Jr. (tenor saxophone)

    • Freddie Hubbard (trumpet)

    • Garnett Brown (trombone)

    • Alan Rubin (fluegel horn)

    • Hubert Laws (flute)

    • George Marge (english horn, clarinet, flute)

    • Ron Carter (bass)

    • Bill Cobham (drums)




    Recording: March & April 1972 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
    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. Ifrane
    2. Ganawa (Blue Moses)
    3. Night In Medina
    4. Marrakesh Blues
    Randy Weston
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Deodato 2 (Speakers Corner) Deodato 2 (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Deodato 2 (Speakers Corner)

    In his early years, Deodato, 'the gift of God', cultivated a highly original art of give and take in his music. His score for Stanley Kubrick's science fiction film A Space Odyssey 2001 - a funky, jazzed-up adaptation of Richard Strauss's bombastic orchestral work Also sprach Zarathustra - opened the ears of innumerable cinema-goers to classical music. On the present album Deodato again rocks and grooves with works from past eras: Gershwin's Rhapsody In Blue is reworked rhythmically and enriched, while Ravel's Pavane unfolds hesitatingly over a velvety carpet of sound. And why not win new fans for major musical works? Deodato, the master, and his complex musical apparatus impart a true Latin feeling to these covered works.


    The 'new' classic Nights In White Satin too, one of the most congenial gigantic hits from the 60s, is staged by Deodato as a miniature slow rock drama just as perfectly as he cultivates his own very pure funky style (Super Strut). In Deodato's arrangements, the powerful instrumental forces open out almost effortlessly and evolve into a gentle flow of sheer pleasure. Everything appears to be simple, although nothing is simple! And therein lies the uniqueness of 'the gift of God'.



    Musicians:



    • Eumir Deodato (keyboards)

    • Jon Faddis (trumpet, fluegel horn)

    • Wayne Andre (trombone)

    • Joe Temperley (bassoon)

    • Hubert Laws (flute)

    • John Tropea (guitar)

    • Stanley Clarke (bass)

    • Billy Cobham (drums)





    Recording: April and May 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. Nights In White Satin
    2. Pavane For A Dead Princess
    3. Skyscrapers
    4. Super Strut
    5. Rhapsody In Blue

    Deodato
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Crying Song Crying Song Quick View

    $13.99
    Buy Now
    x

    Crying Song

    Side One


    1. La Jean
    2. Love Is Blue / Sing A Rainbow
    3. Crying Song
    4. Listen To The Band


    Side Two


    1. I've Gotta Get A Message To You
    2. Feelin' Alright?
    3. Cymbaline
    4. How Long Will It Be?
    Let It Be

    Hubert Laws
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    God Bless The Child (Pure Pleasure) (Awaiting Repress)

    Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless The Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition Love Is the Answer and Do What You Gotta Do -- and stroke it smooth and mellow as on the title track, the truly sublime Be Yourself, and Thad Jones' A Child Is Born. This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



    Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    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. Be Yourself
    2. Love Is The Answer
    3. Do What You Gotta Do
    4. A Child Is Born
    5. God Bless The Child
    Kenny Burrell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Stone Flower (Speakers Corner) Stone Flower (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stone Flower (Speakers Corner)

    Around the year 1970, almost everything appeared to have been said about the style of music over the past two decades, which was a mix of samba and cool jazz. Adventurous musicians such as Luis Bonfa, Baden Powell, Charly Byrd, João and Astrud Gilberto, and the saxophonist Stan Getz lent fire and sentiment to the "new trend". First and foremost among them was Carlos Antonio Jobim, whose catchy tunes such as the ticking, shuffling song Desafinado and the genial One Note Samba were heard all over the globe.
    That the man from Ipanema still had a lot to say is proved by the present album, which presents Jobim's creativity at the height of his maturity. Right from the very first number, where Urbie Green on the trombone 'sings' Tereza My Love so purely in the top register, it is clear that the late bossa with its typical rhythm is structurally far more refined than the early hot dance numbers. The melodies are woven through, as it were, with shining gold and silver threads of rhythm, and clusters of sound are light and airy. However, here and there, the musicians let their hair down, such as in the Latin classic Brazil.



    With that magician of sound Deodato as arranger and conductor, and Rudy van Gelder as recording engineer, this LP is certainly a Bossa masterpiece. There's no more to be said!



    Musicians:



    • Antonio Carlos Jobim (piano, electric piano, violin, vocal, guitar)

    • Joe Farrell (soprano saxophone)

    • Urbie Green (trombone)

    • Hubert Laws (flute)

    • Eumir Deodato (guitar, arranger, conductor)

    • Harry Lookofsky (violin)

    • Ron Carter (bass)

    • Airto Moreira, Everaldo Ferreira (percussion)

    • João Palma (drums)



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

    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. Tereza My Love
    2. Children's Games
    3. Choro
    4. Brazil (Ary Barroso)
    5. Stone Flower
    6. Amparo
    7. Andorinha
    8. God and the Devil in the Land of the Sun
    9. Sabia
    Antonio Carlos Jobim
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stone Soul (Speakers Corner) Stone Soul (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stone Soul (Speakers Corner)

    With all the exultation about the reconciliation between the capitalistic USA and the socialistic island state of Cuba, it is easy to oversee that the musical fusion between the two countries took place decades ago. Afro Cuban jazz, in which the interpretation and rhythms of swing and bebop are united with all imaginable rhythms from Brazil and the Caribbean, was label enough to describe a peaceful yet exciting and revolutionary music.


    At first glance it appears that in his album Stone Soul the Cuban percussionist Mongo Santamaria just took a handful of popular songs from pop and soul and 'translated' them into his own musical language. So far so good: but the enthusiasm and joy with which the band performs is anything but ordinary. Once the threshold for a potent Latin combo has been overcome with meaty winds (See Saw), Sonny Fortune on the alto sax storms ahead along rhythm & blues tracks and breaks out with hectic cleft licks on his own headstrong path. Incited by crisp percussion, one can experience how traditional music is combined with a musician's own ideas to create completely new music.

    Musicians:



    • Mongo Santamaria (conga,bongo)
    • Sonny Fortune (alto saxophone)
    • Hadley Caliman, Hubert Laws (tenor saxophone)
    • Art Kaplan (bassoon)
    • Louis Gasca (trumpet)
    • Rodgers Grant (piano)
    • William Allen (bass)
    • Steve Berrios (timpani)
    • Bernard Purdie (drums)
    • Julito Collazo, Osualdo Martinez (percussion)


    Recording: 1969 by Fred Catero

    Production: David Rubinson

    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. See-Saw
    2. Son-Of-A-Preacher Man

    3. Love Child
    4. Where Are We
    5. Hitchcock Railway

    6. Stoned Soul Picnic
    7. Who's Making Love
    8. The Now Generation
    9. Little Green Apples
    10. Cloud Nine
    Mongo Santamaria
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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