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  • Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure) Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure) Quick View

    $34.99
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    Grand Encounter: 2 Degrees East 3 Degrees West (Pure Pleasure)

    Also reissued as 2 Degrees East, 3 Degrees West and occasionally listed under tenor saxophonist Bill Perkins' name, this classic session is the ultimate in cool jazz. Perkins' mellow tone matches quite well with the quiet but inwardly passionate playing of pianist John Lewis, guitarist Jim Hall, bassist Percy Heath, and drummer Chico Hamilton. Lewis is featured with the rhythm section on I Can't Get Started, Hall is added for Skylark, and the full group plays three standards plus Lewis' memorable (and atmospheric) 2 Degrees East, 3 Degrees West.



    Musicians:



    • John Lewis (piano)

    • Bill Perkins (tenor saxophone)

    • Jim Hall (guitar)

    • Percy Heath (bass)

    • Chico Hamilton (drums)



    Recording: February 1956

    Production: Richard Bock



    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 Me Or Leave Me
    2. I Cant Get Started

    3. Easy Living
    4. 2 Degrees East 3 Degrees West
    5. Skylark
    6. Almost Like Being In Love
    John Lewis
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Wonderful World Of Jazz (Pure Pleasure) (On Sale) The Wonderful World Of Jazz (Pure Pleasure) (On Sale) On Sale Quick View

    $34.99 $26.24 Save $8.75 (25%)

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    The Wonderful World Of Jazz (Pure Pleasure) (On Sale)

    There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to Body And Soul as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to I Remember Clifford where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis. - S.C.Berry


    Whether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on Body & Soul makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly Afternoon In Paris, is at the same level. Wonderful is the perfect title for this record. - E Barrios

    Musicians:



    • John Lewis (piano)

    • Eric Dolphy (alto saxophone)

    • James Rivers (bassoon)

    • Paul Gonsalves (tenor saxophone)

    • Herb Pomeroy (trumpet)

    • Gunther Schuller (french horn)

    • Jim Hall (guitar)

    • George Duvivier (bass)

    • Connie Kay (drums)



    Recording: July and September 1960

    Production: Nesuhi Ertegun & Tom Dowd



    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. Body And Soul
    2. I Should Care
    3. Two Degrees East, Three Degrees West
    4. Afternoon In Paris
    5. I Remember Clifford
    John Lewis
    $34.99 $26.24 Save $8.75 (25%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Afternoon In Paris (Speakers Corner) Afternoon In Paris (Speakers Corner) Quick View

    $39.99
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    Afternoon In Paris (Speakers Corner)

    It was in Paris that John Lewis co-led this 1956 date with Sacha Distel, a French guitarist who never became well known in the U.S. but commanded a lot of respect in French jazz circles. The same can be said about the other French players employed on Afternoon In Paris -- neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.S., although both were well known in European jazz circles. With Lewis on piano, Distel on guitar, Wilen on tenor, Michelot or Percy Heath on bass, and Kenny Clarke or Connie Kay on drums, the part-American, part-French group of improvisers provides an above-average bop album that ranges from Willow Weep For Me, All The Things You Are, and I Cover The Waterfront to Milt Jackson's Bags' Groove and Lewis' title song. The big-toned Wilen was only 19 when Afternoon In Paris was recorded, but as his lyrical yet hard-swinging solos demonstrate, he matured quickly as a sax man. A mythic LP and one of the best recorded in France!!!


    Musicians:



    • John Lewis (piano)

    • Sacha Distel (guitar)

    • Barney Wilen (tenor saxophone)

    • Pierre Michelot (bass)

    • Percy Heath (bass)

    • Connie Kay (drums)

    • Kenny Clarke (drums)



    Recording: December 1956 in Paris

    1. I Cover The Waterfront
    2. Dear Old Stockholm
    3. Afternoon In Paris
    4. All The Things You Are
    5. Bags' Groove
    6. Willow Deep For Me
    John Lewis & Sacha Distel
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Charlie Parker Memorial Vol. 1 The Charlie Parker Memorial Vol. 1 Quick View

    $19.99
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    The Charlie Parker Memorial Vol. 1

    Savoy LP Reissue of Historic Charlie Parker All Stars sessions - Charlie Parker with Jazz giants Miles Davis, Max Roach, John Lewis, Bud Powell, Curly Russell, Tommy Potter
    1. Another Hair Do - Short Takes 1 & 2 - Orig.Take 3
    2. Bluebird - New Take 1

    3. Bird Gets The Worm - New Take 1

    4. Barbados - New Take 1

    5. Constellation - Short Take 2 & New Take 1

    6. Parker's Mood - New Take 1

    7. Ah-Leu-Cha - Short Take 1 & Orig. Take 2

    8. Perhaps - Short Take 4 & New Take 5

    9. Perhaps - Orig. Take 6

    10. Marmaduke - Short Take 1 & New Take 2

    11. Steeplechase - Orig Take 1

    12. Merry Go Round - New Take 1
    13. Buzzy - Short Take 4 & Orig Take 5
    Charlie Parker Allstars
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Fontessa (On Sale) Fontessa (On Sale) On Sale Quick View

    $27.99 $20.99 Save $7.00 (25%)

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    Fontessa (On Sale)

    This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' Versailles and an 11-minute Fontessa show the seriousness of the group (and the influence of Western classical music), other pieces (such as Bluesology, Woody 'N You and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard.

    -All Music Guide
    1. Versailles (Porte de Versailles)
    2. Angel Eyes
    3. Fontessa
    4. Over the Rainbow
    5. Bluesology
    6. Willow Weep for Me
    7. Woody 'N You
    8. Woody 'N You (alternate take)*


    *Bonus Track

    The Modern Jazz Quartet
    $27.99 $20.99 Save $7.00 (25%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Vince Guaraldi Trio Vince Guaraldi Trio Quick View

    $21.99
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    Vince Guaraldi Trio

    This San Francisco trio of the mid-1950s has a sparkling personality all its own, with a refreshing lack of
    pretentiousness. With an ebullient swing on the up-tempos, and a subtle, unhackneyed approach to ballads such as Sweet and Lovely and jazz standards such as John Lewis's Django", this 1956 LP marks Guaraldi's triumphant first complete album as a leader. With Eddie Duran and Dean Reilly.
    1. Django
    2. Fenwyck's Farfel
    3. Never Never Land
    4. Chelsea Bridge
    5. Fascinating Rhythm
    6. The Lady's In Love With You
    7. Sweet And Lovely
    8. Ossobucco
    9. Three Coins In A Fountain
    10. It's De-Lovely
    Vince Guaraldi Trio
    $21.99
    Vinyl LP - Sealed Buy Now
  • Django Django Quick View

    $21.99
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    Django

    Originally released on Prestige in 1955, but actually recorded during three disparate sessions that occurred sporadically from 1953-1955, Django features some of the earliest recorded output from the Modern Jazz Quartet which includes Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums).


    The warm, sophisticated nature of the material here is readily apparent from the get go courtesy of opener and album namesake, Django, a fine dedication to the memory of guitar virtuoso Django Reinhardt. The set is rounded out by graceful takes on Gillespie's One Bass, the Gershwin's But Not For Me, Vernon Duke's Autumn In New York and a handful of accomplished Lewis originals.

    1. Django
    2. One Bass Hit
    3. La Ronde Suite/Piano
    4. La Ronde Suite/Bass
    5. La Ronde Suite/Vibes
    6. La Ronde Suite/Drums
    7. The Queen's Fancy
    8. Delaunay's Dilemma
    9. Autumn In New York
    10. But Not For Me
    11. Milano
    The Modern Jazz Quartet
    $21.99
    Vinyl LP - Sealed Buy Now
  • Blue Haze Blue Haze Quick View

    $21.99
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    Blue Haze

    Blue Haze was recorded by Miles Davis in 1953 and 1954 for Prestige Records. The first track, I'll Remember April, is taken from the 1954 session on April 3rd, which made up half of the album Walkin'. The remaining tracks were taken from May 19, 1953, which was with quintet John Lewis, Charles Mingus, Percy Heath and Max Roach and the March 15, 1954 session with quartet including Horace Silver, Heath and Art Blakey.
    1. I'll Remember April

    2. Four
    3. Old Devil Moon
    4. Smooch
    5. Blue Haze
    6. When Lights Are Low
    7. Tune Up
    8. Miles Ahead
    Miles Davis
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Quartet The Quartet Quick View

    $30.99
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    The Quartet

    Milt Jackson Quartet features Milt Jackson leading a group that includes two of his cohorts in the Modern Jazz Quartet (Heath and Kay), with the great Horace Silver sitting in place of John Lewis on the piano (at this time Silver was a member of Art Blakey's Jazz Messengers). Jackson was clearly skilled in this brass-less setting, and the group decided to lay down some cool jazz tracks that epitomize the sound of that movement in the mid-1950s. The tunes are mellow and fluid, with everyone falling into an easy groove that will move even the most uptight jazz fan.
    1. Softly As In A Morning Sunrise
    2. Love ME Pretty Baby
    3. Autumn Breeze
    4. Milt Meets Sid
    5. Moving Nicely
    6. D & E
    7. Heart And Soul
    8. True Blues
    9. Bluesology
    10. Yesterdays
    11. Round About Midnight
    12. Between The Devil And The Deep Blue Sea
    Milt Jackson
    $30.99
    Vinyl LP - Sealed Buy Now
  • Rain Rain Quick View

    $13.99
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    Rain

    The UK's Goodtime Boys debut full-length Rain features twelve new songs. Rain was recorded by Lewis Johns at The Ranch in Southampton and
    mastered by Alan Douches at West West Side, and features some of the band's most aggressive songs ever written alongside some of their most melodic
    songs yet.
    1. Washout
    2. Wallflower
    3. Doubt
    4. Life Moves
    5. Dandelion
    6. Hypocrisy
    7. Cloudbursts
    8. Moral Decay
    9. Daydreamer
    10. Folsom
    11. Newspaper Sky
    12. Downpour
    Goodtime Boys
    $13.99
    Vinyl LP - Sealed Buy Now
  • Concorde Concorde Quick View

    $21.99
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    Concorde

    The very first long-playing record ever recorded by the Modern Jazz Quartet, Concorde (1955) provides a vehicle for stunningly refined playing by
    legendary vibraphonist Milt Jackson, pianist John Lewis, bassist Percy Heath, and drummer Connie Kay in his maiden voyage behind the kit with the
    MJQ. The centerpiece of the session is undoubtedly the Gershwin Medley, which features interpretations of Soon, For You, For Me Forevermore,
    Love Walked In and Our Love Is Here To Stay that are nothing short of definitive. This landmark album, recorded by the inimitable Rudy Van Gelder,
    captures the cool, thoughtful sound of the Modern Jazz Quartet at their best and is an absolute MUST-HAVE on vinyl for all manner of jazz listeners.
    1. Ralph's New Blues
    2. All Of You
    3. I'll Remember April
    4. Gershwin Medley: Soon / For You, For Me, Forevermore / Love Walked In / Our Love Is Here To Stay
    5. Softly, As In A Morning Sunrise
    6. Concorde
    The Modern Jazz Quartet
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Pyramid (Pure Pleasure) Pyramid (Pure Pleasure) Quick View

    $34.99
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    Pyramid (Pure Pleasure)

    With such a tight group as the MJQ is is impossible to single out individual musicians which probably accounts for their long lived success.
    This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' Vendome. Ray Brown's Pyramid, Jim Hall's Romaine, and Lewis' famous Django, along with cooking jams on How High The Moon and It Don't Mean A Thing. The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. - Scott Yanow/AMG

    Musicians:



    • John Lewis (piano)
    • Milt Jackson (vibraphone)
    • Percy Heath (bass)
    • Connie Kay (drums)


    About Pure Pleasure



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



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



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



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



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



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

    1. Vendome
    2. Pyramid
    3. It Don't Mean A Thing (If It Ain't Got That Swing)
    4. Django
    5. How High The Moon
    6. Romaine
    The Modern Jazz Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Promise (Awaiting Repress) The Promise (Awaiting Repress) Quick View

    $59.99
    Buy Now
    x

    The Promise (Awaiting Repress)


    • Play 33 1/3 Series


    • 180 Gram Heavyweight Vinyl Pressed By MMP


    • Gatefold Jacket With Magic-Eye Graphic & Black Poly-Lined Inner Sleeves



    • Includes 8-Page Booklet


    • Project Designed & Sleeve Made By Khiov


    The 'Play 33 1/3 LP Series' is a Vinyl LP project including masterpiece albums which have never been released on LP. The albums are released by Universal Music Korea on LP for the first time and the heavyweight vinyl LP is pressed in Germany. Khiov designs the project, reforms the original artworks for the LP size and precisely made the sleeves.


    John McLaughlin's 1995 album was originally released on CD only on Verve Records. The cover features a Magic-Eye graphic that contains a hidden image. McLaughlin is joined by artists such as Jeff Beck, Al Di Meola, Michael Brecker and more!


    Originally issued in 1996 when he was 54, the Promise offers a summation of all the places John McLaughlin has been in his career, and points directly toward his future. Featuring a wide range of musicians including appearances by the Free Spirits, the Guitar Trio, and an electric version of Shakti, the Promise is easily the most wide-ranging and diverse offering of McLaughlin's long career. Its contents encompass everything from straight post-bop and swinging soul-jazz to fusion to modern takes on East Indian music as it meets the West. As if this weren't enough, there are even moments with spoken word laced throughout, such as a verse of Dante read by Stefania Bombi toward the end of his scorching, funky, soul-jazz number Thelonius Melodius with B-3 organist Joey DeFrancesco and drummer Dennis Chambers. The set kicks off with one of its finest moments, a guitar-to-guitar reading of John Lewis' Django with Jeff Beck (bassist Pino Palladino, drummer Mark Mondesir, and drummer Tony Hymas round it out). Beck's solo is first; it is expansive as it moves from a gorgeous restating of the melody through slinky harmonic extrapolations. McLaughlin's answer is ambitious and intuitive. They then move toward one another and the melody, complementing each other perfectly. El Ciego is a complex, flamenco-tinged jazz number with McLaughlin trading knotty lines and soulful solos with Al di Meola and Paco de Lucia. Jazz Jungle is late 20th century fusion at its blazing best with Michael Brecker, Chambers, Don Alias, James Genus, and Jim Beard beginning almost nebulously before ratcheting the tempo and idea palettes to dizzying heights (Brecker is particularly brilliant). The Wish, with Zakir Hussein, Nishat Khan, and Trilok Gurtu, looks deeply into Indian classical music balanced by a European gaze. McLaughlin's engagement with Khan's sitar creates nearly rapturous expression, all the while contained inside a texture that is as atmospheric as it is exotic. Shin Jin Rui employs the same band as Jazz Jungle, with the exception of the saxophone, played by David Sanborn. His playing is riskier than on his own records, his alto juxtaposed with McLaughlin's guitar, a study in funky, electric jazz modernism. The set closes with a lovely all-acoustic reading of Jimmy Rowles' The Peacocks with guitarist Phillipe Loi and bassist Yan Maresz, and a verse by Lorca read by Susana Beatrix as an end cap. Ultimately, the Promise stands as one of McLaughlin's towering achievements as a guitarist and leader.

    - Thom Jurek (All Music Guide)


    Musicians

    John McLaughlin: guitars, keyboards

    Don Alias: percussion

    Jim Beard: keyboards

    Jeff Beck: guitar

    Michael Brecker: saxophone

    Dennis Chambers: drums

    Vinnie Colaiuta: drums

    Joey DeFrancesco: organ, trumpet

    Paco De Lusica: guitar

    Al Di Meola: guitar

    Zakir Hussain: tabla

    Nishat Khna: sitar, vocals

    David Sanborn: saxophone

    Sting: bass

    LP 1
    1. Django
    2. Thelonious Melodius
    3. Amy and Joseph
    4. No Return
    5. El Ciego


    LP 2
    1. Jazz Jungle
    2. The Wish
    3. English Jam
    4. Tokyo Decadence
    5. Shin Jin Rui
    6. The Peacocks

    John McLaughlin
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Two Of A Mind Two Of A Mind Quick View

    $29.99
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    Two Of A Mind

    Mastered From Original Analog Tapes By Grammy Award Winner Bernie Grundman


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


    Altoist Paul Desmond and baritonist Gerry Mulligan
    always made for a perfect team during their infrequent
    collaborations. Both of the saxophonists had immediately
    distinctive light tones, strong wits, and the ability to
    improvise melodically. Here, on "Two of a Mind", the two
    masterful reed players are featured in pianoless quartets
    that also include Wendell Marshall, Joe Benjamin or
    John Beal on bass, and Connie Kay or Mel Lewis on
    drums. ORG Music brings new light to the classic
    recording with this audiophile-grade reissue.

    1. All The Things You Are
    2. Stardust
    3. Two Of A Mind
    4. Blight Of the Fumble Bee
    5. The Way You Look Tonight
    6. Out Of Nowhere
    Paul Desmond & Gerry Mulligan
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Acoustic Classics Acoustic Classics Quick View

    $24.99
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    Acoustic Classics

    Grammy winning guitarist Peter Frampton is one of the most celebrated artists and guitarist in rock history. At 16, he was lead singer and guitarist for the British band The Herd. At 18, he co-founded one of the first super groups, seminal rock act Humble Pie. His session work includes collaborations with such legendary artists as George Harrison, Harry Nilsson, David Bowie, Jerry Lee Lewis, Ringo Starr, John Entwistle and many others. His fifth solo album, the electrifying Frampton Comes Alive!, is one of the top-selling live records of all time selling more than 17 million copies worldwide.
    1. Fig Tree Bay
    2. Wind of Change
    3. All I Want to Be (Is by Your Side)
    4. Show Me the Way
    5. Lines on My Face
    6. Sail Away
    7. Baby, I Love Your Way
    8. All Down to Me
    9. Penny for Your Thoughts
    10. Do You Feel Like I Do
    11. I'm in You
    Peter Frampton
    $24.99
    Vinyl LP - Sealed Buy Now
  • In A New Setting (Speakers Corner) In A New Setting (Speakers Corner) Quick View

    $34.99
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    In A New Setting (Speakers Corner)

    The vibraphonist presents himself in a new setting in this recording from 1964. Clearly Milt Jackson wanted to free himself occasionally from the straightjacket of the Modern Jazz Quartet. Sonny's Blues is proof of this: it is percussive and swinging, and without the eagle eyes of John Lewis in the background. This time the young McCoy Tyner, who had worked with John Coltrane (A Love Supreme was recorded in the same month), was at the piano. Jimmy Heath, responsible for the drive not only as a composer but also as instrumentalist, and Bob Cranshaw on the bass, contribute important impetus to the short blues, ballad-like and bop themes. None of the twelve numbers became a real jazz hit, but each has kept its own individual charm to this day.
    If you set value on an excellent product being excellently packaged then you are well advised to purchase this LP. Unlike the CD version in its jewel case, this album is now being re-released with its original gatefold cover from the truly beautiful Limelight series, for which the designer alone should have received a Grammy.



    Musicians:



    • Jimmy Heath (tenor saxophone)

    • Milt Jackson (vibraphone (vibes))

    • McCoy Tyner (piano)

    • Bob Cranshaw (bass)

    • Connie Kay (drums)



    Recording: December 1964

    Production: Luchi De Jesus



    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. Sonny's Blues
    2. I'm Gonna Laugh You Out Of My Life
    3. Spanish Fly
    4. No Moon At All
    5. Slow Death
    6. Clay's Blues
    7. Lazy Melody
    8. Project-S
    9. Ev-ry Time We Say Goodbye
    10. That's In
    11. Ineffable
    Milt Jackson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Stitt Plays Bird (Speakers Corner) Stitt Plays Bird (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Stitt Plays Bird (Speakers Corner)

    It is widely known that Sonny Stitt didn't want to be taken for Charlie 'Bird' Parker and changed from playing the alto to the tenor saxophone. Although false rumours pop up every now and then, the truth is that at the beginning of the 1940s Stitt independently developed the same be-bop licks as Parker without ever having heard him.
    For Stitt Plays Bird Sonny had to unearth his old instrument and insert a new mouthpiece because Atlantic Records and their entrepreneurial president Ahmet Ertegun hoped for big sales figures. Which actually proved true.


    One half of the modern jazz quartet provided the melodic and rhythmic basis for improvisations on eight 'hits' by Charlie Parker and one composition by his first employer Jay McShann. Added to this are the subtle, sensitive scatterings from Jim Hall and the emphatic beat from Richard Davis, both of which lend delicacy and pulse to the numbers. It's hard to recommend a special track, but Scrapple From The Apple is just awesome! All the numbers are based on standards - just which they are can be found in the informative liner notes by the be-bop expert Ira Gitler. Atlantic's logo "Full Dynamic Frequency Spectrum" is no longer a swindle in this new pressing and at last one can enjoy all nine titles in all their sonic glory.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:



    • Sonny Stitt (alto saxophone)
    • John Lewis (piano)
    • Jim Hall (guitar)
    • Richard Davis (bass)
    • Connie Kay (drums)



    Recording: January 1963 at Atlantic Studios, New York City, by Tom Dowd

    Production: Nesuhi Ertegun




    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. Ornithology
    2. Scrapple From The Apple
    3. My Little Suede Shoes
    4. Parker's Mood
    5. Au Privave
    6. Ko-Ko
    7. Confirmation
    8. Hootie Blues
    9. Constellation
    Sonny Stitt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Great Jazz Standards (Pure Pleasure) Great Jazz Standards (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Great Jazz Standards (Pure Pleasure)

    Great Jazz Standards was recorded when Evans was red-hot from two successes with Miles Davis, Miles Ahead and Porgy And Bess.
    Evans' signature brass choir is in place - creatively voiced, spaciously arranged, a supple, multi-coloured, sonically surprising counterpoint to a succession of superb soloists. The added bonus, for Evans' projects, is the foregrounding of saxophone and clarinet soloists Steve Lacy and Budd Johnson.
    Lacy and the original swing-to-bop missing link, Johnson, are the ones who will make the hair on your neck curl. Lacy's solos on Monk's Straight No Chaser and John Lewis' Django must be some of the finest pre-free improvisations he recorded, already heading from quirky to out-there. Johnson's clarinet solo on Don Redman's spooky, swing-meets-whole tone classic, Chant Of The Weed, and slow-burning, stirring tenor solo on Evans' La Nevada are some of the finest the all-but-forgotten genius ever recorded. Trumpeter Johnny Coles, has the inevitable misfortune of being compared to Miles Davis and being found to be ... different. Sunny, open and extroverted, he may not be a stylist of Davis' proportions, but he's an enjoyable alternative foil for Evans' arrangements.
    A magnificent but neglected album, and still coming up fresh as daisies.




    Musicians:



    • Budd Johnson (tenor saxophone, clarinet)

    • Steve Lacy (soprano saxophone)

    • Al Block (woodwinds)

    • Johnny Coles, Allen Smith (trumpet)

    • Jimmy Cleveland (trombone)

    • Bill Barber (tuba)

    • Gil Evans (piano)

    • Chuck Wayne (guitar)

    • Dick Carter (bass)

    • Elvin Jones (drums)



    Recording: February 1959

    Production: Richard Bock




    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.



    Gil Evans
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • When I Look In Your Eyes When I Look In Your Eyes Quick View

    $34.99
    Buy Now
    x

    When I Look In Your Eyes

    Years after the '90s, the decade will be remembered for the rise of pianist-vocalist Diana Krall. Simply put, this British Columbian-born artist is one of the most engaging musicians to emerge from the heap of scat-happy singers high on pyrotechnics, but short on poetry. Stamped with the imprimatur of the Nat King Cole trio and blessed by her apprenticeship with the late West Coast piano giant Jimmy Rowles, Krall simply sings songs the way they're supposed to be sung: with devotion to the lyric and with attention to the groove.


    This album finds Krall in familiar company with compatriots Russell Malone (on guitar), bassist John Clayton, drummers Lewis Nash and Jeff Hamilton, and vibraphonist (and former Bill Evans associate) Larry Bunker--all supported by Johnny Mandel's svelte string arrangements. Krall and crew take Irving Berlin's chestnut Let's Face the Music and Dance and the Sinatra-signatured I've Got You Under My Skin south to Brazil via a sexy bossa nova. Malone's lush guitar accompaniment complements Krall's heartfelt delivery on When I Look in Your Eyes, and Michael Franks's Popsicle Toes dances courtesy of Hamilton's drum work. Devil May Care, East of the Sun (and West of the Moon), The Best Thing for You, and the stridish I Can't Give You Anything but Love groove with a minimum of waste, while Mandel's simpatico strings steal the show on I'll String Along with You, Pick Yourself Up, and Do It Again. All of which further illuminate the cool fire from this fine gift from North of the Border. --Eugene Holley Jr.

    LP 1
    1. Let's Face The Music And Dance
    2. Devil May Care
    3. Let's Fall In Love
    4. When I Look In Your Eyes
    5. Popsicle Toes
    6. I've Got You Under My Skin


    LP 2
    1. I Can't Give You Anything But Love
    2. I'll String Along With You
    3. East Of The Sun (West Of The Moon)
    4. Pick Yourself Up
    5. The Best Thing For You
    6. Do It Again

    Diana Krall
    $34.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • When I Lay My Burden Down (Awaiting Repress) When I Lay My Burden Down (Awaiting Repress) Quick View

    $21.99
    Buy Now
    x

    When I Lay My Burden Down (Awaiting Repress)

    This amazing artifact showcases two intimate recordings with two of the legends of the blues. Furry Lewis and Fred McDowell were recorded in their homes in the late '60s and Biograph lovingly originally released the recordings as a split record. Both artists rise to the occasion, creating laid-back stylings of some of their most famous songs (John Henry, Casey Jones, When I Lay My Burden Down) as well as material not as readily available anywhere else. This is the first opportunity to buy this release since it was first put out over thirty years ago! 180g vinyl reissue from Sutro Park remastered especially for this release!
    Side A - Fred McDowell
    1. If You See My Baby
    2. John Henry
    3. Louise
    4. 61 Highway
    5. Big Fat Mama
    6. When I Lay My Burden Down
    7. Dankin' Farm
    Side B - Furry Lewis
    8. Casey Jones (Ramblin' Mind)
    9. Harry Furry Blues
    10. Every Day In The Week
    11. Grieve My Mind
    12. Beale Street Blues
    13. When I Lay My Burden Down
    Fred McDowell & Furry Lewis
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Money Monster Soundtrack Money Monster Soundtrack Quick View

    $36.99
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    x

    Money Monster Soundtrack


    First Pressing Of 500 Copies On 180 Green Vinyl, Black Vinyl Thereafter


    Gatefold Sleeve


    Includes A 4 Page Booklet


    PVC Protective Sleeve


    In the taut and tense thriller Money Monster, Lee Gates (George Clooney) is a bombastic TV personality whose popular financial network show has made him the money wiz of Wall Street. But after he hawks a high tech stock that mysteriously crashes, an irate investor (Jack O'Connell) takes Gates, his crew, and his ace producer Patty Fenn (Julia Roberts) hostage live on air. Unfolding in real time, Gates and Fenn must find a way to keep themselves alive while simultaneously uncovering the truth behind a tangle of big money lies.


    Dominic Lewis, a British-born film composer, has been working with some of Hollywood's most acknowledged and revered composers, including, but not limited to Hans Zimmer, Ramin Djawadi, Henry Jackman and John Powell. He is now a resident composer at Zimmer's renowned Santa Monica musical think-tank, Remote Control Productions.


    His additional music credits to date include the films Rio, Kung Fu Panda 2, X-Men: 1st Class, Sherlock Holmes: A Game of Shadows, Captain America: The Winter Soldier, The Amazing Spider-Man 2, The Interview, as well as multiple commercials.


    Henry Jackman has done production work with artists including Mike Oldfield (Voyager), Sally Oldfield (Flaming Star), Trevor Horn/Art of Noise (The Seduction of Claude Debussy), Elton John and Gary Barlow. He made scores for X-Men: 1st Class, The 5th Wave, Kick Ass 2, This Is The End and many more.

    1. Opening Bell
    2. Bear Market
    3. Initial Claims
    4. Triple Buy
    5. Molly
    6. Human Error
    7. Hostile Takeover
    8. Outside World
    9. Rallying Market
    10. High Frequency Fraud
    11. Market Crash
    12. Closing Bell
    13. Global Players
    Henry Jackman & Dominic Lewis
    $36.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chris Shiflett And The Dead Peasants Chris Shiflett And The Dead Peasants Quick View

    $19.99
    Buy Now
    x

    Chris Shiflett And The Dead Peasants

    Chris Shiflett & The Dead Peasants is a new project from Shiflett, already known as the lead guitarist for Foo Fighters and the frontman for Jackson United. Steeped in his love for classic country artists (Johnny Cash, Waylon Jennings), rockabilly (Gene Vincent, Eddie Cochran), and deep-rooted rock bands (The Rolling Stones, The Replacements), this new album is packed with soulful pedal steeland twang guitar-accented songs. The album highlights his talent and versatility not only as a skillful guitarist, but also as a songwriter. These infectious Americana-laced rock songs are some of the best hes penned, from the chiming keys and buoyant, ringing guitars of Get Along to the pedal steel- and mandolin-lined heartache of Bandaged, and from the spry, Old 97s-ian Baby, Let It Out to the rueful country swing of Death March.


    Shiflett wrote the songs on Chris Shiflett & The Dead Peasants over the course of 2008-09, inspiration first striking when a friend asked him to perform at Orange Countys punk-rockabilly Hootenanny festival in 2008. After re-immersing himself in his Americana and old country music collection to prepare a short set and then playing a brief acoustic tour with friend Joey Cape of Lagwagon, he began writing what eventually became the new album. Recorded at the Foo Fighters Studio 606 in Los Angeles, CA, this past December and January, the core band on Chris Shiflett & The Dead Peasants is Shiflett (vocals, guitar), 606 house engineer John Lousteau (drums, in addition to engineering), and Derek Silverman (keyboards). The albums additional instrumentation was performed by an array of fine musicians, including Davey Faragher (Elvis Costello and The Imposters, Jenny Lewis, John Hiatt) on bass, Greg Leisz (Wilco, Lucinda Williams, Whiskeytown) on pedal steel, Stevie Blacke (Beck, Weezer, Colbie Caillat) on violin and mandolin, and Audra Mae on backing vocals.

    1. Helsinki
    2. Get Along
    3. Bandaged
    4. God Damn
    5. Burning Lights (Joe Strummer cover)
    6. An Atheists Player
    7. Not Going Down Alone
    8. Baby, Let It Out
    9. Death March
    Chris Shiflett And The Dead Peasants
    $19.99
    Vinyl LP - Sealed Buy Now
  • Beale Street Saturday Night Beale Street Saturday Night Quick View

    $19.99
    Buy Now
    x

    Beale Street Saturday Night

    Clear Vinyl


    Memphis' Beale Street had been a hub of music and activity since the
    1860s. As it was being plowed under for "urban renewal" in 1976, James
    Luther Dickinson-who had played with The Stones, Ry Cooder and the
    Flamin' Groovies (later with Bob Dylan and the Cramps among others), as
    well as produced Big Star, Screamin' Jay Hawkins and Alex Chilton (also,
    The Replacements, Green On Red, and Mudhoney )-decided to not only
    celebrate the legacy of great Memphis music, but make it back into the
    place where both the blues and rock 'n' roll originated.


    A camaraderie of Memphis musicians, photographers, artists, thespians
    and "appropriate weirdos" gathered under Dickinson's direction to record
    the heart of Beale Street-past and present. From Furry Lewis and Sleepy
    John Estes to Sid Selvidge and Dickinson's own Mud Boy & The Neutrons,
    Beale Street Saturday Night is an unparalleled audio trip through Memphis
    music history. Recorded in places varying from artists' homes, to Ardent
    Studios, to The Orpheum Theatre, Beale Street Saturday Night was originally
    created as a fundraiser for the Memphis Development Foundation.
    This reissue will serve a similar purpose as a portion of the proceeds will
    go to support the radio program Beale Street Caravan which focuses on
    Memphis music, new and old.


    Beale Street
    Saturday Night features new liners from Jim Lancaster (who worked on
    the original issue) and previously unseen photos. This first ever reissue
    of Beale Street Saturday Night was done under the supervision and with
    the blessing of the Dickinson family, and it finally makes widely available
    this important music and historical Memphis document for new audiences
    to discover.


    In 1977, Memphis was officially declared "Home of the Blues" by an act
    of Congress. So, welcome home.

    1. Walkin' Down Beale Street - Sid Selvidge
    2. Hernando Horn - Fred Ford
    3. Beale Street Blues - Grandma Dixie Davis
    4. Big Fat Mama/Liquor Store - Sleepy John Estes
    5. Ol' Beale Street Blues - Prince Gabe
    6. Furry's Blues - Furry Lewis
    7. Rock Me Baby- Teenie Hodges
    8. Rock Me Baby - Alex
    9. "Ben Griffin was killed in the Monarch..." - Thomas Pinkston
    10. Frisco Blow - Johnny Woods
    11. On The Road Again - Mud Boy & The Neutrons
    12. "Mr. Handy Told Me 50 Years Ago." - Thomas Pinkston
    13. Chicken Ain't Nothin' But A Bird - Furry Lewis
    14. Roll On, Mississippi - Grandma Dixie Davis
    Various Artists
    $19.99
    Clear Vinyl LP - Sealed Buy Now
  • Two Of A Mind (Speakers Corner) Two Of A Mind (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Two Of A Mind (Speakers Corner)

    Although the beautiful sound, mutual understanding and harmonic balance mostly predominate, the music of alto saxophonist Paul Desmond performing together with baritone saxophonist Gerry Mulligan is far from what one calls 'easy listening'. For many, it is even difficult to identify the melody of evergreens such as Stardust and The Way You Look Tonight. (And what theme is tucked away in Two Of A Mind????)
    The recording in the RCA Victor Studio took place over several days in 1962, and this is why different bass players and percussionists are heard - Wendell Marshall, Joe Benjamin and John Beal each take their turn on the bass, while Connie Kay and Mel Lewis change places behind the drum set. These musicians form a brilliant team, and that there is no piano is both deliberate and inevitable for Gerry Mulligan recordings of the day. By the way, the second saxophonist in The Way You Look Tonight is Paul Desmond - by means of over-dubbing in the middle of the stereo recording!
    The present LP could certainly take a rightful place in a 'Best Of' collection alongside the other recordings by Gerry Mulligan with Ben Webster and Stan Getz.



    Musicians:



    • Gerry Mulligan (bassoon)

    • Paul Desmond (alto saxophone)

    • Joe Benjamin, John Beal, Wendell Marshall (bass)

    • Connie Kay, Mel Lewis (drums)




    Recording: 1962 at RCA Victor's Studio A, New York City by Ray Hall, Bob Simpson and Mickey Crofford

    Production: Bob Prince and George Avakian





    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. All the Things You Are
    2. Stardust

    3. Two of a Mind
    4. Blight of the Fumble Bee
    5. The Way You Look Tonight
    6. Out of Nowhere
    Paul Desmond & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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