More than seven years before Stan Getz and Charlie Byrd introduced the bossa nova of Antonio Carlos Jobim to American audiences, guitarist Laurindo Almeida and altoist Bud Shank (in a quartet with bassist Harry Babasin and drummer Roy Harte) recorded the intriguing music heard on this LP. The performances are very close to bossa nova in their combination of cool-toned jazz and Brazilian rhythms; in fact, these are arguably the first bossa nova recordings, long before even Jobim and Joao Gilberto initially recorded. Only four of the 14 tunes are not based on Brazilian folk songs, and many of the songs (particularly Carinoso) are quite memorable. This historically significant, very accessible, and highly recommended release is a gem.
- Laurindo Almeida (guitar)
- Bud Shank (alto saxophone)
- Harry Babasin (bass)
- Roy Harte (drums)
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.
2. Amor Flamengo
3. Stairway To The Stars
4. Acercate Mas
5. Terra Seca
6. Speak Low
14. Blue Baiao