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Blowing In From ChicagoMusicians
Cliff Jordan, TENOR SAXOPHONE
John Gilmore, TENOR SAXOPHONE
Horace Silver, PIANO;
Curly Russel, BASS
Art Blakey, DRUMS
Clifford Jordan's first date as a leader actually found him sharing a heated jam session with fellow tenor John Gilmore. Backed by pianist Horace Silver, bassist Curly Russell, and drummer Art Blakey, the two saxophonists square off mostly on obscurities (other than Gigi Gryce's Blue Lights and Billie's Bounce). This was one of Gilmore's few sessions outside of Sun Ra's orbit and, if anything, he slightly overshadows the cooler-toned Jordan. Recommended.1. Status Quo
3. Blue Lights
4. Billie's Bounce
5. Evil Eye
6. Everywhere$15.99Vinyl LP Reissue - Sealed Buy Now
The Artistry Of Freddie HubbardTrumpeter Freddie Hubbard leads a particularly talented sextet (with trombonist Curtis Fuller, a rare outing away from Sun Ra for tenor-saxophonist John Gilmore, pianist Tommy Flanagan, bassist Art Davis and drummer Louis Hayes) on three of his originals and strong versions of Summertime and Caravan.
This title is not eligible for discount.1. Caravan
2. Bob's Place
3. Happy Times
5. The 7th Day$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
CaravanIncludes 1 Bonus Track
By the time that jazz icon/bandleader/percussionist Art Blakey and his Jazz Messengers began recording for Riverside in the fall of 1962, Blakey had already been the spiritual center of the group for nearly 15 years. The unprecedented caliber of performers who had already passed through the revolving-door personnel reads like a who's who of 20th century jazz. On Caravan -- his first of several notable sides for the venerable label -- he is joined by a quintet of concurrent and future all-stars. Likewise, it could be argued that each has never again been presented in such a fresh or inspired setting as on these recordings. In order to establish with any authority just how heavy (even for purveyors of hard bop) the players in this band are, they need only to be named: Curtis Fuller (trombone), Freddie Hubbard (trumpet), Wayne Shorter (tenor sax), Cedar Walton (piano), and Reggie Workman (bass). With Blakey (drums) firmly at the helm, these Jazz Messengers deliver a scintillating synergy that doesn't sacrifice intensity for the sake of cadence. The trademark give-and-take that graces the laid-back and sophisticated pop and jazz standards Skylark and In the Wee Small Hours of the Morning likewise is responsible for the palpable energy brought to the sizeable contributions from Shorter and Hubbard -- which make up half of the album's material. The title and leadoff track liquefies Duke Ellington's original arrangement and ignites it, fueling this extended fiery interpretation. Hubbard's first solo harks back to his own recording of Caravan, which can be heard on the Impulse release Artistry of Freddie Hubbard and was recorded earlier the same year. Coincidentally, that disc also features Curtis Fuller as well as a rare non-Sun Ra-related appearance from John Gilmore (tenor sax). Blow for blow, however, this reading has more than just an edge -- it possesses the entire blade. The melody snakes in and out of Blakey's strident flurry of syncopation. Another highlight is Shorter's interjectory solo, recalling his ability to succeed John Coltrane in Miles Davis' coterie. Among the original compositions, Shorter's upbeat Sweet 'n' Sour stands out as the most cohesive and ensemble-driven, although the singular group dynamic is well applied to the lively This Is for Albert as well. By contrast, Hubbard's Thermo is more angular -- taking full advantage of the musicians' aggressive chops. The 2001 20-bit remaster from Fantasy contains two bonus tracks: take four of Sweet 'n' Sour and take two of Thermo. This release can be considered definitive Blakey, bop, and Jazz Messengers.
- Lindsay Planer (All Music)1. Caravan
2. Sweet 'n' Sour
3. In The Wee Small Hours Of The Morning
4. Sweet 'n' Sour [Alternate Take] *
5. This Is For Albert
*Bonus Track (From The Same Sessions. Not On The Original LP)$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Blowing in From ChicagoJordan and Gilmore were big guns in Chicago and unknown elsewhere when they made this album with the dream team of Horace Silver, Curly Russell and Art Blakey. Jordan would become a kingpin of the New York hard bop scene and Gilmore would immerse himself in the world of Sun Ra, but these tenor masters were completely in sync for this great Blue Note session.
Clifford Jordan, tenor saxophone
John Gilmore, tenor saxophone
Horace Silver, piano
Curly Russell, bass
Art Blakey, drums
This title is not eligible for discount.1. Staus Quo
3. Blue Lights
4. Billie's Bounce
5. Evil Eye
6. Everywhere$49.99180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Buy Now
Sound Of JoySun Ra's second album was a Delmark release recorded in 1957, although it was originally intended for the Transition label, which did not survive long enough to release it.
Personnel: Sun Ra, piano, electric piano; Art Hoyle & Dave Young, trumpets; John Gilmore, tenor sax; Pat Patrick, alto & baritone sax; Jim Herndon, tympani, timbali; Julian Priester, trombone; Charles Davis, baritone sax; Victor Sproles, bass; William Cochran, drums; Clyde Williams, vocals.1. El Is A Sound Of Joy
2. Overtones Of China
3. Two Tones
5. Planet Earth
8. Reflections In Blue
9. El Viktor$19.99Vinyl LP - Sealed Buy Now
Outer Spaceways Incorporated
Limited Edition Of 1,500
Remastered For Vinyl For The First Time In Over 3
Pressed On Premium Quality Vinyl At Pallas Group In
Sun Ra's orchestra was at its most radical during this period, alternating simple chants with very outside playing and dense ensembles. While the sidemen include such notables as Marshall Allen and Danny Davis on altos, baritonist Pat Patrick, John Gilmore on tenor, bassist Ronnie Boykins and percussionist Clifford Jarvis, most of the other players in the 15-piece band (such as trumpeters Ahk Tal Ebah and Kwame Hadi) have slipped back into obscurity.
- Scott Yanow (All Music Guide)1. Somewhere There
2. Outer Spaceways Incorporated
4. Song Of The Sparer
5. Spontaneous Simplicity$24.99Vinyl LP - Sealed Buy Now
Plutonian Nights/Reflects Motion (Part One) (Awaiting Repress)Plutonian Nights, the opening jam from the 1959 Afrofuturist classic album Nubians of Plutonia, is Sun Ra's quintessential, astro-majestic party joint. Among the top grooves in his immense catalog, Ra reveals his love for R&B is inseparable from his embrace of Jazz. (He once told bassist Richard Evans, We don't play Jazz, we play Dazz.) Pat Patrick's bari sax morphs into a Fender bass, while the swinging flow of John Gilmore & Co. gives new meaning to the notion of 'Blowing' (Out From Chicago).
Remastered for top-down cruise control and better breathing. Reflects Motion is breakbeat heaven from the groundbreaking early-60s Choreographer's Workshop sessions, long buried in the deep space vaults. Marshall Allen's flute whispers betwixt Scoby Stroman's drums transmuted via Tommy "Bugs" Hunter's ghostly signature tape reverb. Down to the striking reminiscence of the vocal melody pattern, a direct predecessor (two decades prior) to King Tubby meets Augustus Pablo. Inna Space-Fire Dub Style.1. Plutonian Nights
2. Reflects Motion (Part 1)$9.997 Vinyl Single - Sealed AWAITING REPRESS Buy Now
Rocket Number NinePressed On Green Colored Vinyl
Among Sun Ra's most famous and jet-propelled anthems, Rocket Number Nine is heard here in one of the earliest renditions from a marathon June 1960 session, with a staggering, swaggering, hip-bop beat. Ignition. Liftoff. Rocket Number Nine Take Off for the Planet Venus, Zoom Zoom! Up in the air! Zoom! Up! Paired with originally unknown recordings, including the driving, bossa nova-infused Ankhnation from 1959 and Project Black Mass from 1962.
More energized and driving in contrast with the rather laconic subsequent versions appearing elsewhere, Ankhnation features a feast of traded solos from assorted Arkestral all-stars such as John Gilmore, Pat Patrick, and Hobart Dotson.
Project Black Mass is straight from the Vaults of Mystery: Voice of the Cosmos in spirit-science precision. Romping, rumbling low tones, glittering, twinkling stars, wanderful wondering. Architecture of moments, milestones of Blackness.
Extension out.1. Rocket Number Nine
3. Project Black Mass$15.99Colored 10 Vinyl Single - Sealed Buy Now
Saturn/Mystery Mr. Ra (Awaiting Repress)Sun Ra's angular yet strident and soulful Saturn," recorded in 1958, displays bluesy cubist bop in perfect alter-dimensional extension of Fletcher Henderson. It's also a showcase for John Gilmore's sax acrobatics and supersonic swing. Gilmore dove deep into the Ra Omniverse; got the concept - as Coltrane described the tenor giant - hooked by this composition, and never left. Dual baritones of Pat Patrick and Charles Davis (who continues in the front line of the living, glowing Arkestra of 2016!) boil underneath Sunny, skipping lightyear intervals on the ivories. Mystery, Mr. Ra, recorded live in 1984 and originally unissued, is just on the friendly side of ominous. Its deep funk, delivered by James Jacson on the Ancient Egyptian Astro Infinity Drum, lifts up Ra's dark bravado with no uncertainty:
I'm Mister Re, King of the Kingdom of Mystery
I represent the splendor of the Magic Myth
I'm not a part of history
I belong to the Myth you see
Part 2 of Mystery involves Sun Ra's conduction and Arkestral space chords, collective emissions of precision and discipline from the Ra jail." Marshall Allen is heard on alto at the conclusion.1. Saturn
2. Mystery Mr. Ra$9.997 Vinyl Single - Sealed AWAITING REPRESS Buy Now
The Magic City (Awaiting Repress)On the original 1965 The Magic City LP, issued on Saturn, the monster 27-1/2 minute title track sprawled across side A. Ra customarily supervised the Arkestra's improvisational process via keyboard cues or hand signals. He was always in charge-hence critic Simon Adams describing the title track as 27 minutes of controled freedom. The Magic City was never performed in concert; saxophonist John Gilmore said it was unreproducible, a tapestry of sound. Although shorter in scope than side A's magnum opus, the four works on The Magic City's flip side reflect the same improvisational approach, spatiality, and lack of structure. One session outtake, Other Worlds, an alternate version of Shadow World, is included as a bonus track on side B.
For this definitive edition, historical and technical liner notes are provided by noted jazz historian Ben Young, who restored and remastered the album with his Triple Point Records partner Joe Lizzi. Both men have been recognized for their extensive work on the Grammy Nominated Albert Ayler boxset, released on John Fahey's Revenant records in 2005.
First-generation Saturn pressings of The Magic City were monophonic. A full stereo version had been issued on Sun Ra's Thoth subsidiary label sometime after 1969; however, it suffered from a technical flaw that prevented many copies of the LP from tracking cleanly through the first cut on side B. A 1973 gatefold LP reissue on Impulse featured reprocessed stereo. For this definitive reissue, Cosmic Myth Records used stereo sources which are superior to the Thoth pressing.
Cosmic Myth Records issues recordings under license from Sun Ra LLC, comprised of the heirs and rights holders of Sun Ra's music. The series is being co-produced and supervised by Irwin Chusid (Raymond Scott, Esquivel, Langley School Music Project) and Michael D. Anderson, who maintains the Sun Ra Music Archive, the world's foremost collection of original Ra session masters.$20.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
The Natch'l BluesTaj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like She Caught The Katy And Left Me A Mule To Ride and The Cuckoo -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be the two original closing numbers, You Don't Miss Your Water ('Til Your Well Runs Dry) and Ain't That A Lot Of Love, which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on You Don't Miss Your Water, which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. Ain't That a Lot of Love, by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's Gimme Some Lovin'. This LP reissue includes a trio of bonus tracks: a faster-paced rendition of The Cuckoo with a more prominent lead guitar, the slow electric lament New Stranger Blues featuring some good mandolin-style playing on the guitar, and the rocking instrumental Things Are Gonna Work Out Fine, which is a killer showcase for Davis' lead electric guitar and Taj Mahal's virtuosity on the harmonica.1. Good Morning Miss Brown (Album Version)
3. I Ain't Gonna Let Nobody Steal My Jellyroll (Album Version)
4. Going up to the Country, Paint My Mailbox Blue
5. Done Changed My Way of Living
6. She Caught the Katy and Left Me a Mule to Ride
7. The Cuckoo (Album Version)
8. You Don't Miss Your Water ('Til Your Well Runs Dry) (Album Version)
9. Ain't That a Lot of Love$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Natch'l Blues (Pure Pleasure)Taj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like She Caught The Katy And Left Me A Mule To Ride and The Cuckoo -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be the two original closing numbers, You Don't Miss Your Water ('Til Your Well Runs Dry) and Ain't That A Lot Of Love, which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on You Don't Miss Your Water, which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. Ain't That a Lot of Love, by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's Gimme Some Lovin'. This LP reissue includes a trio of bonus tracks: a faster-paced rendition of The Cuckoo with a more prominent lead guitar, the slow electric lament New Stranger Blues featuring some good mandolin-style playing on the guitar, and the rocking instrumental Things Are Gonna Work Out Fine, which is a killer showcase for Davis' lead electric guitar and Taj Mahal's virtuosity on the harmonica.
- Taj Mahal (harmonica, guitar)
- Jesse Edwin (guitar, piano, arranger)
- Al Kooper (organ, piano)
- Gary Gilmore (bass)
- Chuck Blackwell, Earl Palmer (drums)
Recording: May & October 1968
Production: David Rubinson
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. Good Morning Miss Brown Corinna
2. I Ain't Gonna Let Nobody Steal My Jellyroll
3. Going Up To The Country, Paint My Mailbox Blue
4. Done Changed My Way Of Living
5. The Cuckoo (alternative version)
6. She Caught The Katy And Left Me A Mule To Ride
7. The Cuckoo
8. You Don't Miss Your Water ('Til Your Well Runs Dry)
9. A Lot Of Love
10. New Stranger Blues
11. Things Are Gonna Work Out Fine$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now