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  • The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress) The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress) Quick View

    $89.99
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    The Great Chicago Concert 1956 (Pure Pleasure) (Awaiting Repress)

    There has never been (nor will there ever be again) a musician so beloved all over the world as Louis Armstrong. Artistically, he was not only the single most influential fount and inspiration for every pop-music instrumentalist and singer of his time and thereafter, but he was quite easily the greatest entertainer ever to step on the stage, musical or theatrical. And where Louis was concerned, there was no separation; he was as theatrical as he was musical.



    This album documents just one of his countless concert appearances. It is unique and typical at the same time, for the evening began with a review of '50 years of Jazz' (which also paralled Armstrong's life, for he and jazz were both born at the turn of the century - Louis in 1901, as a baptismal certificate discovered after his death has established, not 1900, as he had always believed), followed by a standard-issue Armstrong All Stars program.



    Although his choice of selections would change slightly from one night to another, and then more so from one year to the next, certain elements remained constant. No matter how often a composition was repeated (he opened every show "Sleepy Time Down South", almost invariably followed by "Indiana"), Louis Armstrong gave his all every performance - no matter how many or few in the audience, and no matter if the decades of nearly non-stop touring had left him exausted on a particular night.



    Musicians:



    • Louis Armstrong (trumpet, vocal)

    • Edmond Hall (clarinet, vocal)

    • Trummy Young (trombone, vocal)

    • Billy Kyle (piano)

    • Dale Jones (bass)

    • Barrett Deems (drums)

    • Velma Middleton (vocal)



    Recording: June 1956 live at Medina Temple, Chicago

    Production: George Avakian



    Format: 3LPs 33rpm / Box, booklet



    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. Medley: Flee As A Bird To The Mountain/ Oh, Didn't He Ramble

    2. Medley: Memphis Blues/Frankie And Johnny/Tiger Rag

    3. Do You Know What It Means To Miss New Orleans
    4. Basin Street Blues
    5. Black And Blue

    6. West End Blues
    7. On The Sunny Side Of The Street

    8. Struttin' With Some Barbecue
    9. When It's Sleepy Time Down South

    10. Medley: Manhattan / When It's Sleepy Time Down South

    11. Indiana
    12. The Gypsy
    13. The Faithful Hussar

    14. Rockin' Chair

    15. Bucket's Got A Hole In It

    16. Perdido
    17. Clarinet Marmalade
    18. Mack The Knife
    19. Medley: Tenderly / You'll Never Walk Alone

    20. Stompin' At The Savoy

    21. Margie
    22. Big Mama's Back In Town
    23. That's My Desire
    24. Ko Ko Mo (I Love You So)
    25. When The Saints Go Marching In
    26. The Star Spangled Banner
    Louis Armstrong
    $89.99
    180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed AWAITING REPRESS Buy Now
  • The Bright Mississippi The Bright Mississippi Quick View

    $29.99
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    The Bright Mississippi

    Through his work as producer, composer, arranger and consummate session man, New Orleans native Allen Toussaint has truly earned living-legend status. He has collaborated on landmark recordings for such artists as Ernie K. Doe, Lee Dorsey, Dr. John, the Meters, the Pointer Sisters and Labelle and released acclaimed albums of his own. The 70 year-old pianist, already a Rock and Roll Hall of Fame Inductee, was the recipient, on the recent Grammy Awards telecast, of the Recording Academy's prestigious Trustee Award, honoring a lifetime in the studio, both behind the scenes and in front of the mic.


    On The Bright Mississippi, his Nonesuch debut, Toussaint continues to break new ground with his first jazz-oriented set, displaying the same effortless swing and relaxed charm he brought to his classic rock and roll sides. He salutes Big Easy stars of a previous generation, the jazz greats who, in the early 20th century, built the genre from the ground up and turned the ears of the world to New Orleans. Backed by an all-star combo that sounds like a group of old friends, Toussaint reinterprets classic jazz and blues tunes popularized or written by such New Orleans greats as Louis Armstrong, Sidney Bechet, Jelly Roll Morton and Joe King Oliver, as well as pieces composed by fellow travelers Django Reinhardt, Duke Ellington and Thelonious Monk. He accedes the producers chair to trusted friend Joe Henry, who sat behind the board for Toussaint's contributions to Our New Orleans, Nonesuch Records best-selling 2005 benefit release aiding hurricane victims on the Gulf Coast. Henry also produced The River In Reverse, Toussaint's 2006 post-Katrina collaboration with Elvis Costello.


    Henry assembled a decidedly non-traditional band of backing players for The Bright Mississippi, assuring a fresh take on such venerable tunes as West End Blues, St. James Infirmary, and Dear Old Southland. Joining Toussaint for four days of sessions at Manhattans Avatar Studio were guitarist Marc Ribot (Costello, Tom Waits), bassist David Piltch (k.d. lang), clarinetist Don Byron, trumpeter Nicholas Payton and drummer Jay Bellerose (Robert Plant /Alison Krauss, Sam Phillips). Nonesuch label-mates Brad Mehldau (piano) and Joshua Redman (saxophone) stopped by for one tune each.It was wonderful, says Toussaint of these convivial sessions.


    Everything is live, of course. This isn't the kind of assembly line music where somebody put the wheels on here and somebody put the top on there. Everything got done at the same time, so everybody fed on each other, their personality and tonality.

    LP 1
    1. Egyptian Fantasy
    2. A Dear Old Southland
    3. St. James Infirmary
    4. Singin the Blues
    5. Winin Boy Blues
    6. West End Blues


    LP 2
    1. Blue Drag
    2. Just a Closer Walk with Thee
    3. Bright Mississippi
    4. Day Dream
    5. Long, Long Journey
    6. Solitude

    Allen Toussaint
    $29.99
    140 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Louis And The Good Book Louis And The Good Book Quick View

    $27.99
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    Louis And The Good Book

    An unusual album in the Louis Armstrong canon, this collection of gospel songs, spirituals, homilies, and comic vignettes was the only religious album this determinedly secular musician recorded. Backed by a gospel vocal group led by the celebrated jazz arranger Sy Oliver, Armstrong performs a variety of religious-themed favorites, including Ezekiel Saw De Wheel, Going to Shout All Over God's Heaven, and Didn't it Rain, as well as Sit Down, You're Rockin' the Boat from GUYS AND DOLLS. There's an affecting version of the traditional spiritual Sometimes I Feel Like a Motherless Child, and a particular highlight is the inclusion of two comic sermons by the musician's alter ego, Elder Eatmore.
    1. Nobody Knows The Trouble I've Seen
    2. Shadrack

    3. Go Down Moses
    4. Rock My Soul (In The Bossom Of Abraham)
    5. Ezekiel Saw De Wheel
    6. On My Way (Got On My Travelin' Shoes)

    7. Down By The Riverside

    8. Swing Low, Sweet Chariot
    9. Sometimes I Feel Like A Motherless Child

    10. Jonah And The Whale
    11. Didn't It Rain

    12. This Train
    Louis Armstrong
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Satch Plays Fats (Pure Pleasure) (Awaiting Repress) Satch Plays Fats (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
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    Satch Plays Fats (Pure Pleasure) (Awaiting Repress)

    Based upon the artistic and commercial success of "Louis Armstrong Plays W.C. Handy", George Avakian gathered the All Stars into the studio again for a second session to record tunes by Fats Waller. This is also a stunning album: the All Stars, at the top of their form, play great material by a single composer. All Stars vocalist Velma Middleton, (who was often underrated) is especially captivating.



    Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York revue Connie's Hot Chocolates. But Waller made an indelible enough impression for Satchmo to record the tribute album Satch Plays Fats: The Music of Fats Waller in 1955 when such ideas were new. If you love Louis Armstrong, buy it. If you love Fats Waller, buy it. If you just love jazz with a swing beat, then this collection is for you. Satchmo gives us an incomparable interpretation of Waller's music that would have made the corpulent keyboard king himself very proud indeed. It is soooo SWEET! You won't be disappointed.



    Armstrong infuses these pieces with a style very true to Fats' own, including the humour and wit that Satchmo weaves into the lyrics. The sound is smooth, and the rhythm is HOT! Recording quality is very good, and the selection is impeccable -- some of Waller's greatest hits.




    Musicians:



    • Louis Armstrong (trumpet, vocal)

    • Trummy Young (trombone)

    • Barney Bigard (clarinet)

    • Billy Kyle (piano)

    • Arvell Shaw (bass)

    • Barrett Deems (drums)

    • Velma Middleton (vocal)




    Recording: April & May 1955

    Production: George Avakian



    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. Honeysuckle Rose
    2. Blue Turning Grey Over You
    3. I'm Crazy Bout My Baby
    4. Squeeze Me
    5. Keepin' Out of Mischief
    6. All That Meat and No Patatoes
    7. I've got a feeling I'm Falling
    8. Black and Blue
    9. Ain't Misbehavin'
    10. (What Did I Do To Be So) Black and Blue
    11. I'm Crazy 'Bout my Baby
    12. Blue Turning Grey Over You
    13. I've Got a Feeling I'm Falling
    14. Squeeze Me
    15. (What Did I Do To Be So) Black and Blue
    16. Ain't Misbehavin'
    17. Blue Turning Grey Over You
    18. Keepin' Out of Mischief Now
    19. Sweet Savannah Sue
    20. That Rhythm Man
    Louis Armstrong
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Basin Street Blues Basin Street Blues Quick View

    $24.99
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    Basin Street Blues

    Recorded Live In 1956 & 1957


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


    On Vinyl For The First Time Ever


    Louis Armstrong and his All-Stars are captured in rare form during these live recordings from 1956 and 1957, which are finally making their vinyl debut with this 180 gram Pallas pressing. The album features a great collection of tunes which had become staples of Armstrong's live shows, including his perennial opener, "Indiana"; the crowd favorite, "Tiger Rag"; the always joyful, "When The Saints Go Marching In"; and the great title-track, "Basin Street Blues". Satch's frontline band at the time boasted the very distinctive sounds of
    trombonist Trummy Young and clarinetist Ed Hall.

    1. When It's Sleepy Time Down South
    2. Indiana
    3. The Gypsy
    4. Basin Street Blues
    5. Tiger Rag
    6. Struttin' With Some Barbeque
    7. Do You Know What It Means To Miss New Orleans
    8. On The Sunny Side Of The Street
    9. When The Saints Go Marching In
    Louis Armstrong
    $24.99
    180 Gram Audiophile Virgin Vinyl LP- Sealed Buy Now
  • Louis Armstrong Meets Oscar Peterson Louis Armstrong Meets Oscar Peterson Quick View

    $19.99
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    Louis Armstrong Meets Oscar Peterson

    Louis Armstrong & Oscar Peterson present Louis Armstrong Meets Oscar Peterson. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. That Old Feeling
    2. Let's Fall In Love
    3. I'll Never Be The Same
    4. Blues In The Night
    5. How Long Has This Been Going On
    6. I Was Doing All Right
    1. What's New
    2. Moon Song
    3. Just One Of Those Things
    4. There's No You
    5. You Go To My Head
    6. Sweet Lorraine
    Louis Armstrong & Oscar Peterson
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set Quick View

    $469.99
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    The Rise & Fall Of Paramount Records, Volume One (1917-1927) Box Set


    * 800 Newly-Remastered Digital Tracks, Representing 172 Artists


    * 200+ Fully-Restored Original 1920s Ads And Images


    * 6x 180g Vinyl LPs Pressed On Burled Chestnut Colored Vinyl W/ Hand-Engraved, Blind-embossed Gold-Leaf Labels, Housed In A Laser-Etched White Birch LP Folio


    * 250 Page Deluxe Large-Format Clothbound Hardcover Art Book


    * 360 Page Encyclopedia-Style Softcover Field Guide Containing Artist Portraits And Full Paramount Discography


    * Handcrafted Quarter-Sawn Oak Cabinet With Lush Sage Velvet Upholstery And Custom-forged Metal Hardware


    * First-Of-Its-Kind Music And Image Player App, Allowing User Mgmt Of All Tracks And Ads, Housed On Custom-Designed USB Drive


    How did a Wisconsin chair company, producing records on the cheap and run by men with little knowledge of their audience or the music business, build one of the greatest musical rosters ever assembled under one roof? The answer lies in 'The Rise and Fall of Paramount Records 1917-1932,' an epic, two-volume omnibus of art, words and music housed in a limited-edition, hand-sculpted cabinet-of-wonder, to be jointly released by Jack White's Third Man Records and John Fahey's Revenant Records.


    'Volume One,' which covers the label's improbable rise from 1917-1927, will be released exclusively through Third Man on October 29, and worldwide on November 19. The project is co-produced by leading Paramount authority Alex van der Tuuk, and 'Volume 2' will be released in November 2014.


    Paramount Records was founded on a modest proposition: produce records as cheaply as possible, recording whatever talent was available. Over its lifetime, the label would become a "race records" powerhouse, its sound and fortunes directly linked to the Great Migration.


    By the time Paramount ceased operations in 1932, it had compiled a dizzying array of performers still unrivaled to this day, spanning early jazz titans (Louis Armstrong, King Oliver, Jelly Roll Morton, Fats Waller), blues masters (Charley Patton, Blind Lemon Jefferson, Son House, Skip James), American divas (Ma Rainey, Alberta Hunter, Ethel Waters), gospel (Norfolk Jubilee Quartette), vaudeville (Papa Charlie Jackson), and the indefinable "other" (Geeshie Wiley, Elvie Thomas). Paramount would also directly influence the style of Robert Crumb and countless other 20th century artists and illustrators, through a series of hand-drawn ads promoting its releases in the pages of the Chicago Defender.


    The 'Rise and Fall' wonder-cabinet gives equal status to page-turning narrative and new scholarship; original and newly created graphic art; industrial design; and compelling analog and digital music experiences.

    6 LPs feature 87 tracks from the collection.


    USB Drive contains 800 digital tracks by 172 artists across the Paramount family of labels, including the earliest recordings of:
    King Oliver, Jelly Roll Morton, Blind Blake, Fats Waller, Ma Rainey, Blind Lemon Jefferson, Duke Ellington, Louis Armstrong, Fletcher Henderson, Alberta Hunter, Papa Charlie Jackson, Ethel Waters, Coleman Hawkins, Johnny and Baby Dodds, Bo Weavil Jackson, Jimmy O'Bryant, Buddy Boy Hawkins, Tiny Parham, Jimmy Blythe, and Jaybird Coleman.

    Various Artists
    $469.99
    180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed Buy Now
  • Together Together Quick View

    $37.99
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    Together

    Import


    Ella & Louis - Together, Gatefold Set

    LP 1


    1. Can't We Be Friends
    2. Isn't This A Lovely Day
    3. Moonlight In Vermont
    4. They Can't Take That Away From Me
    5. Under A Blanket Of Blue
    6. Tenderly
    7. A Foggy Day
    8. Stars Fell On Alabama


    LP 2


    1. Cheek To Cheek
    2. The Nearness Of You
    3. April In Paris
    4. I'm Putting All My Eggs In One Basket
    5. Don't Be That Way
    6. They All Laughed
    7. Autumn In New York
    8. Stompin' At The Savoy

    Ella Fitzgerald and Louis Armstrong
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Lady In Satin Lady In Satin Quick View

    $20.99
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    Lady In Satin

    Billie Holiday is undeniably one of the most influential singers of the twentieth century. As the first vocalist to cite instruments and especially the horns of Louis Armstrong and Lester Young as her main inspiration, she was one of the most relentlessly individual singers of the jazz age, transforming silly Tin Pan Alley songs into jazz standards. But her biography also reads as one of the saddest tales of the modern age. Her talents came at a cost; the price seemed to be a predilection for bad men and an addiction to drugs.


    Lady In Satin is the last major recording of Billie Holiday that was released during her lifetime, and it is also the most controversial. Ray Ellis' seem like a harsh contrast to Holiday's broken and fragile voice. Ellis himself was, at first, disappointed by the quality of the recording. It was only after listening more closely that he realized the beauty of these sessions and understood why Billie ranked this album as her favorite. More than any of her other recordings, Lady In Satin calls for an emotional rather than a musical listening.

    1. I'm A Fool to Want You
    2. For Heaven's Sake
    3. You Don't Know What Love Is
    4. I Get Along Without You Very Well
    5. For All We Know (Album Version)
    6. Violets for Your Furs
    7. You've Changed
    8. It's Easy to Remember
    9. But Beautiful
    10. Glad to Be Unhappy
    11. I'll Be Around
    Billie Holiday
    $20.99
    Vinyl LP - Sealed Buy Now
  • Lullabies Of Birdland Lullabies Of Birdland Quick View

    $37.99
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    Lullabies Of Birdland

    Ella Fitzgerald is widely heralded for her clean phrasing, scat-singing and a confident sense of swing. Viewed as one of the world's most popular jazz singers, she performed alongside Louis Armstrong, Dizzy Gillespie, Frank Sinatra and Duke Ellington. Her outstanding performances on record and live yielded both critical and popular success during her lifetime. Lullabies Of Birdland consists of recordings from 1945 to 1955. It offers a wonderful set of swing-era standards, impossible to listen to without imagining yourself sipping cognac in a smoky jazzclub on Broadway.
    1. Lullaby Of Birdland
    2. Rough Ridin'
    3. Angel Eyes
    4. Smooth Sailing
    5. Oh, Lady Be Good!
    6. Later
    7. Ella Hums The Blues

    8. How High The Moon
    9. Basin Street Blues
    10. Air Mail Special
    11. Flying Home
    Ella Fitzgerald
    $37.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Real Ambassadors Real Ambassadors Quick View

    $27.99
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    Real Ambassadors

    1. Everybody's Comin'

    2. Cultural Exchange

    3. Good Reviews
    4. Remember Who You Are

    5. My One Bad Habit

    6. Summer Song
    7. King For A Day
    8. Blow Satchmo
    9. The Real Ambassador


    1. In The Lurch
    2. One Moment Worth Years
    3. They Say I Look Like God

    4. Since Love Had Its Way

    5. Swing Bells

    6. Blow Satchmo

    7. Finale

    Dave Brubeck, Louis Armstrong
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Ella & Louis Ella & Louis Quick View

    $19.99
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    Ella & Louis

    Ella Fitzgerald & Louis Armstrong present Ella & Louis. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. Can't We Be Friends
    2. Isn't This A Lovely Day?
    3. Moonlight In Vermont
    4. They Can't Take That Away From Me
    5. Under A Blanket Of Blue
    6. Tenderly
    7. A Foggy Day
    8. Stars Fell On Alabama
    9. Cheek To Cheek
    10. The Nearness Of You
    11. April In Paris
    Ella Fitzgerald & Louis Armstrong
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Live From Austin, TX (Fats Domino) Live From Austin, TX (Fats Domino) Quick View

    $24.99
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    Live From Austin, TX (Fats Domino)

    In my humble opinion, this is the definitive Fats Domino performance ever captured on camera. First of all, like his hero Louis Armstrong a generation earlier, Fats is synonymous with New Orleans. Not to mention the early days of rock-and-roll. Who doesn't love the infectious lyrics and floating melodies of "Blueberry Hill," "Ain't That A Shame," "I'm Walkin'," "I'm In Love Again" or "Blue Monday?" Music was practically a birthright for Antoine Domino, Jr., one of nine kids from a poor family. He never made it past 4th grade, but he was already playing boogie-woogie piano. By the time he cut his first record at 21, he already stood out from the crowd with his baby face smile, rollicking beat and that magic voice - youthful, warm and rich. Despite all the hits, his records don't do justice to the incredible excitement and energy of his live shows, driven by one of New Orleans' preeminent bandleaders and Fats' mentor, Dave Bartholomew. Fats is notoriously shy, but I pursued him to Las Vegas in my quest to lure him to the ACL stage. I found him in the old Elvis suite at The Flamingo, where he sat in his bathrobe peeling fresh Louisiana shrimp. I don't remember what I said or he said, but it worked - a few weeks later he came to Austin. When Hurricane Katrina hit, Fats had to be rescued from his home, sharing the trauma and devastation with his old neighbors in the Lower Ninth Ward. But don't worry - careers fade and styles change, but the music of Fats Domino is timeless.


    - Terry Lickona (producer Austin City Limits)

    1. I'm Walkin'
    2. My Blue Heaven
    3. Blue Monday
    4. I'm Ready
    5. My Girl Josephine
    6. Want To Walk You Home
    7. I'm In Love Again
    8. Let The Four Winds Blow
    9. Poor Me
    10. Walking To New Orleans
    11. Shake, Rattle and Roll
    12. Ain't That A Shame
    13. I Hear You Knocking
    14. Blueberry Hill
    15. Your Cheatin' Heart
    16. Three Nights A Week
    17. All By Myself
    Fats Domino
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • St. Louis Blues St. Louis Blues Quick View

    $54.99
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    St. Louis Blues

    Included with this deluxe reissue is a striking six-panel booklet complete with rare photos, a 1,600-word essay by Jordan Taylor on the album and a 1,200-word essay by Michael Fremer about the remastering process. This truly is a no-expenses-spared project, resulting in the ultimate version of this title.


    An influential figure in the early 20th century development of blues and popular music as a music scholar and as the composer of numerous popular songs, W.C. Handy has often been called the Father of the Blues. When two of the finest and most popular of mid-20th century musical figures, jazz and popular music icon Nat King Cole and style setting arranger extraordinare Nelson Riddle undertook an album dedicated to the music of W.C. Handy, the results were at once a worthy tribute and transformative. Particularly smooth vocals by Nat King Cole were aptly backed by resourceful orchestrations from Nelson Riddle. From the landmark laments of St. Louis Blues and the loving appreciation of Morning Star on through to the colloquial rag of Joe Turner's Blues, the varied facets of W.C. Handy's songs were given a lastingly freshened interpretation. Along with the contemporary Louis Armstrong Plays W.C. Handy (also available here at Acoustic Sounds), this album is considered by many to be the best anthology of the music of W.C. Handy.


    Using the original first generation 3-track session tapes from Capitol's vaults and all-analogue systems including custom headstacks, 3-track preview heads, console and monitoring chain installed at AcousTech specially for these releases, mastering engineers Kevin Gray and Steve Hoffman realize the rich beauty of these recordings in this double 45-RPM 180-gram album set. Included with this deluxe reissue is a striking six-panel booklet complete with rare photos, a 1,600-word essay by Jordan Taylor on the album and a 1,200-word essay by Michael Fremer about the remastering process. This truly is a no-expenses-spared project, resulting in the ultimate version of this title and a historic reissue.


    Originally released in 1958.

    Where Did Everyone Go?

    Say It Isn't So

    If Love Ain't There

    (Ah, The Apple Trees) When The World Was Young

    Am I Blue?

    Someone To Tell It To

    The End Of A Love Affair

    I Keep Goin' Back To Joe's

    Laughing On The Outside (Crying On The Inside)

    No, I Don't Want Her

    Spring Is Here

    That's All There Is


    Bonus tracks:


    A Farewell To Arms

    Happy New Year

    Nat King Cole
    $54.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Classic Album Collection Classic Album Collection Quick View

    $37.99
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    Classic Album Collection

    Import


    3 LP set, all recorded originally in 1956/57

    LP1 - Ella & Louis
    1. Can't We Be Friends
    2. Isn't This A Lovely Day
    3. Moonlight In Vermont
    4. They Can't Take That Away From Me
    5. Under A Blanket Of Blue
    6. Tenderly
    7. A Foggy Day
    8. Stars Fell On Alabama
    9. Cheek To Cheek
    10. The Nearness Of You
    11. April In Paris


    LP2 - Ella & Louis Again
    1. Don't Be That Way
    2. Makin' Whoopee
    3. They All Laughed
    4. Comes Love
    5. Autumn In New York
    6. Let's Do It (Let's Fall In Love)
    7. Stompin' At The Savoy
    8. I Won't Dance
    9. Gee, Baby, Ain't I Good To You?


    LP3 - Ella & Louis Again
    1. Let's Call The Whole Thing Off
    2. These Foolish Things (Remind Me Of You)
    3. I've Got My Love To Keep Me Warm
    4. Willow Weep For Me
    5. I'm Puttin' My Eggs In One Basket
    6. A Fine Romance
    7. Ill Wind
    8. Love Is Here To Stay
    9. I Get A Kick Out Of You
    10. Learnin' The Blues

    Ella Fitzgerald and Louis Armstrong
    $37.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Plays W.C. Handy Plays W.C. Handy Quick View

    $34.99
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    Plays W.C. Handy

    Louis Armstrong's finest album of the '50s was without a doubt Louis Armstrong Plays W.C. Handy (1954). Its carefree, joyous vibe permeates a record that's filled with frivolous trumpet solos, romping rhythms and Armstrong's signature growl.


    William Christopher Handy is dubbed the Father Of The Blues for his important role in the development of modern music by developing Blues as the popular format of music in the Roaring Twenties. Armstrong and his All-Stars (trombonist Trummy Young, clarinetist Barney Bigard, pianist Billy Kyle, bassist Arvell Shaw, drummer Barrett Deems and singer Velma Middleton) were clearly inspired by this fresh, bluesy repertoire. Absolute classic Jazz album!

    1. St. Louis Blues
    2. Yellow Dog Blues
    3. Loveless Love
    4. Aunt Hagar's Blues
    5. Long Gone (From Bowlin' Green)
    6. The Memphis Blues (Or, Mister Crump)
    7. Beale Street Blues
    8. Ole Miss
    9. Chantez-les Bas (Sing 'Em Low)
    10. Hesitating Blues
    11. Atlanta Blues (Make Me One Pallet On Your Floor)
    Louis Armstrong
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bing & Satchmo Bing & Satchmo Quick View

    $27.99
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    Bing & Satchmo

    The complete original 1960 album Bing & Satchmo (originally on MGM) - the only complete LP Louis Armstrong and Bing Crosby ever made as a team - plus many top jazz musicians and an orchestra arranged & conducted by Billy May.


    Bing and Satchmo... Thats a good album. I mean, Im proud of that album, of my efforts. (Billy May)

    1. Muskrat Ramble

    2. Sugar
    3. The Preacher

    4. Dardanella

    5. Lets Sing Like A Dixieland Band

    6. Way Down Yonder In New Orleans

    7. Brother Bill

    8. Little Ol Tune

    9. At The Jazz Band Ball

    10. Rocky Mountain Moon

    11. Lazy River

    12. Bye Bye Blues
    13. Now You Has Jazz
    Louis Armstrong & Bing Crosby
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Great Reunion The Great Reunion Quick View

    $21.99
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    The Great Reunion

    Originally released as a second volume of recordings by Roulette Records from a 1961 summit between two jazz icons, after hearing this collaboration you'll wish they had recorded ten volumes. And wit the musical talent and knowledge between them, they could have!


    Using Armstrong's regulars plus Ellington at the piano (who performs exceptionally well, comping understatedly behind the vocals), the duo romps through seven of the Duke's most famous and popular compositions. And when Satchmo decides to blow, he leaves the Dixie clich? at home and shapes his solos perfectly into the tasteful arrangements.


    With Trummy Young on trombone and Barney Bigard on clarinet plus a rhythm section of Mort Herbert on bass and Danny Barcelona on drums, these recordings are a once-in-a-lifetime dream summit meeting that thank God producer Bob Thiele was brilliantly astute enough to arrange and capture on tape.

    1. It Don't Mean A Thing (If It Ain't Got That Swing)
    2. Solitude
    3. Don't Get Around Much Anymore
    4. I'm Beginning To See The Light
    5. Just Squeeze Me
    6. I Got It Bad (And That Ain't Good) and Azalea
    Louis Armstrong & Duke Ellington
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Together For The First Time Together For The First Time Quick View

    $21.99
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    Together For The First Time

    Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly -- or indirectly -- back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together.


    On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor's Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars. This group included ex-Ellington clarinetist Barney Bigard, ex-Jimmie Lunceford swing-to-bop trombonist Trummy Young, bassist Mort Herbert, and drummer Danny Barcelona. A second session took place during the afternoon of the following day. The music resulting from Thiele's inspired experiment is outstanding and utterly essential. That means everybody ought to hear this album at least once, and many will want to hear it again and again all the way through, for this is one of the most intriguing confluences in all of recorded jazz. - All Music Guide

    1. Together for the First Time: Duke's Place
    2. I'm Just a Lucky So and So
    3. Cotton Tail
    4. Mood Indigo
    5. Do Nothin' Till You Hear From Me
    6. The Beautiful American
    7. Black and Tan Fantasy
    8. Drop Me Off in Harlem
    9. The Mooce
    10. In a Mellowtone
    Louis Armstrong & Duke Ellington
    $21.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Plays W.C. Handy (Pure Pleasure) (Awaiting Repress) Plays W.C. Handy (Pure Pleasure) (Awaiting Repress) Quick View

    $44.99
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    Plays W.C. Handy (Pure Pleasure) (Awaiting Repress)

    The excellence of Louis' band is so high and so consistent that every man deserves commendation for his part in making this remarkably fine record. Trummy Young particularly should be singled out for his driving solos and for the way he 'boots' Louis in the final ensembles. The way I feel about this record can be summed up in this way: When I die, I want people to say, "That's the guy that if it hadn't been for him and Louis Armstrong and W. C. Handy, there wouldn't have been that great record, Louis Armstrong Plays W. C. Handy."
    (excerpt from the sleeve notes by George Avakian)



    Musicians:



    • Louis Armstrong (trumpet, vocal)

    • Velma Middleton (vocal)

    • Trummy Young (trombone)

    • Barney Bigard (clarinet)

    • Billy Kyle (piano)

    • Arvell Shaw (bass)

    • Barrett Deems (drums)



    Recording: July 1954 by Mason Coppinger
    Production: George Avakian




    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. St Louis Blues
    2. Yellow Dog Blues
    3. Loveless Love
    4. Aunt Hagars Blues
    5. Long Gone (From Bowling Green)
    6. Memphis Blues
    7. Beale Street Blues
    8. Ole Miss Blues
    9. Chantez Les Bas (Sing Em Low)
    10. Hesitating Blues
    11. Atlanta Blues (Make Me One Pallet On Your Floor)

    12. George Avakians Interview With W.C. Handy

    13. Loveless Love (rehearsal sequence)
    14. Hesitating Blues (rehearsal sequence)
    15. Alligator Story
    16. Long Gone (From Bowling Green) (rehearsal sequence)
    Louis Armstrong
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Sweetenings (Pure Pleasure) Sweetenings (Pure Pleasure) Quick View

    $34.99
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    x

    Sweetenings (Pure Pleasure)

    Harry 'Sweets' Edison, a smooth and suave trumpeter, was a cohort of orchestra leader Count Basie, a favourite of bandleader Nelson Riddle, and a noted backup artist for the most prominent vocalists of his time. Edison, with his energetic yet reticent blowing style, bridged a genre gap between the early classic jazz sound of Louis Armstrong and modern bebop modes. Edison, who played equally well in both styles, had a special talent for sustaining his trumpet notes and injecting each single tone with expression and soul never heard before or after.


    The special quality of his trumpet playing earned him the nickname 'Sweets' because of the sweetness of the tones. Likewise his ability to control the tone of his trumpet brought him to the forefront as a session musician, playing accompaniments for the most respected vocalists of his time.


    Edison was a true pioneer of jazz. An old-time homespun boy, born in Columbus, Ohio, he never knew with certainty even the year of his birth. According to his best knowledge, he was born in 1919, although some sources list the date as early as 1915. Edison knew even less about his own father, a Native American of the Hopi (Apache) tribe and a drifter who stayed only a few weeks with Edison's mother before taking to the road and was rarely heard from afterward. Edison spent his early years with an uncle, who was a coal miner and a farmer, in Louisville, Kentucky. It was Edison's uncle who taught the boy to play the pump organ and to play scales on an old cornet. Edison, who also listened to his uncle's records, was especially inspired by the music of Louis Armstrong and Bessie Smith.


    Harry Sweets Edison added something special to any date in which he took part, but these 1958 sessions he led for Roulette are especially enjoyable. Joined by either Jimmy Jones or Kenny Drew on piano and Joe Benjamin or John Simmons on bass, along with tenor saxophonist Jimmy Forrest and drummer Charlie Persip, Edison's trumpet swings effortlessly through a batch of standards and originals.


    The loping blues Centerpiece became a classic jazz composition, recorded by numerous jazz artists, but this was its debut appearance on LP. Jive at Five dates from his years with Count Basie and finds the band sticking to an accompanying role in this swinging but brief arrangement. Edison utilizes a mute in the gently swinging Louisiana, while he showboats just a bit in a brief take of It Happened in Monterey. While this record might have offered a little more variety by giving solo space to some of the talented sidemen present, this long out of print LP is well worth acquiring.



    Musicians:



    • Harry Edison (trumpet)

    • Jimmy Forrest (tenor saxophone)

    • Jimmy Jones (piano)

    • Joe Benjamint (bass)

    • John Simmons (bass)

    • Charlie Persip (drums)



    Recording: November 1958 in New York
    Production: Teddy Reig




    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. Centerpiece
    2. Candy
    3. Jive At Five
    4. Imagination
    5. Louisana
    6. Harriet
    7. It Happened In Monterey
    8. If I Had You
    9. Paradise
    10. Indiana
    11. Pussy Willow
    12. Sweetenings
    Harry Sweets Edison
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Porgy & Bess (Speakers Corner) Porgy & Bess (Speakers Corner) Quick View

    $69.99
    Buy Now
    x

    Porgy & Bess (Speakers Corner)

    The dream of creating an American opera such as Scott Joplin's Treemonisha, written in 1911, inspired George Gershwin a good twenty years later to amazing compositional feats. While Gershwin had brought his musical and musical comedies with great Éclat to Broadway, he wanted his through-composed stage work Porgy And Bess to be regarded as a legitimate opera.



    No matter whether one regards this exceptional work as »American folk opera« (The New York Times) or as a veristic portrayal of African-American life, central to the work is the expressionistic orchestral music that includes (work) songs, spirituals and elements of jazz, and the cast of singers, which, at the insistence of Gershwin, featured African-American singers.



    This stipulation will certainly have suited Verve boss Norman Granz who engaged not only a fresh and lively big band but also a classical string orchestra to support his successful duo of Ella and Louis. Thanks to this superb line-up, the catchy song I Got Plenty O' Nuttin' rolls along sleekly with swing and drive, while Summertime and Bess, You Is My Woman Now wafts away to the sound of heavenly violins. Listening to this music, you couldn't care less about the genre or category, just as long as these two genial musicians perform wonderfully arranged material from the American Song Book. The incomparable nasal twang of Armstrong's solo trumpet seeks out unerringly jazz elements where you would least expect them.



    Musicians:



    • Ella Fitzgerald (vocal)

    • Louis Armstrong (trumpet, vocal)




    Recording: August 1957 in Los Angeles and October 1957 in Chicago

    Production: Norman Granz




    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.


    LP1
    1. Overture

    2. Summertime
    3. I Wants To Stay Here
    4. My Man's Gone Now
    5. I Got Plenty O' Nuttin
    6. Buzzard Song
    7. Bess, You Is My Woman Now


    LP2
    1. It Ain't Necessarily So

    2. What You Want Wid Bess
    3. A Woman Is A Somtime Thing
    4. Oh, Doctor Jesus
    5. Medley: Here Come De Honey Man / Crab Man / Oh, Dey's So Fresh & Fine
    6. There's A Boat Dat's Leavin' Soon For New York
    7. Bess, Oh Where Is My Bess?
    8. Oh Lawd. I, On My Way!

    Ella Fitzgerald and Louis Armstrong
    $69.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Ellington & Coltrane Ellington & Coltrane Quick View

    $27.99
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    Ellington & Coltrane

    180 Gram Vinyl


    Includes Bonus Track


    Duke Ellington & John Coltrane is a jazz album by Duke Ellington and John Coltrane recorded on September 26, 1962 and released in February 1963 on Impulse! Records.


    For Ellington, it was one of many collaborations with fellow jazz-greats in the early 1960s, including Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach and Charles Mingus. More unusually, it placed him in a jazz quartet setting (in this case, saxophone, piano, bass and drums), rather than his usual one in a big band.


    For Coltrane, it was an opportunity to work with one of jazz's all-time greats. It was one of several albums he recorded in the early 1960s in a more conservative and accessible style, alongside John Coltrane and Johnny Hartman and Ballads. Despite their differences in background, style and age (Ellington was 63 and Coltrane 36 when the tracks were recorded), it has been said that the two interacted seamlessly and subtly, neither one outshining the other.


    The quartet was filled out by the bassist and drummer from either of their bands. The tracks they recorded featured Ellington standards (In a Sentimental Mood), new Ellington compositions and a new Coltrane composition (Big Nick).


    Coltrane felt very honoured to work with Ellington: I was really honoured to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven't caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn't have had the same spontaneity. And they mightn't have been any better!

    1. In A Sentimental Mood
    2. Take The Coltrane
    3. Big Nick
    4. Stevie
    5. My Little Brown Book
    6. Angelica
    7. The Feeling Of Jazz
    8. I Got It Bad and That Ain't Good*


    *Bonus Track

    Duke Ellington & John Coltrane
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress) Quick View

    $469.99
    Buy Now
    x

    Rise & Fall Of Paramount Records, Volume 2 (1928 - 1932) (Awaiting Repress)


    Six LPs, 800 Digital Tracks, Two Definitive Large-Format Books. All Housed In A Polished Aluminum Case Evoking The Era's High Art Deco Stylings And America's Own Machine Age Modernism.


    800 Newly-remastered Digital Tracks, Representing 175 Artists


    90+ Fully-restored Original 1920s-30s Paramount Ads From Chicago Defender


    6 X 180g LPs Pressed On Alabaster-white Label-less Vinyl, Each Side With Its Own Hand-Etched Numeral And Holographic Image


    250 Pg. Large-Format Clothbound Hardcover Book Featuring Original Paramount Art And The Label's Curious Tale


    400 Pg. Encyclopedia-Style Softcover Field Guide Containing Artist Bios & Portraits And Full Paramount Discography


    Polished Aluminum And Stainless Steel Cabinet, Evoking 1930s High Art Deco Stylings And America's Own Machine Age Modernism


    First-Of-Its-Kind Music And Image Player App Containing All Tracks And Ads, Housed On Sculpted Metal USB Drive


    Last November, Jack White's Third Man and John Fahey's Revenant issued The Rise & Fall of Paramount Records, Volume One (1917-27), the first installment of the curious tale of America's most important record label. It was called spectacular (New York Times), unprecedented (Rolling Stone), breathtaking (Boing Boing), a cabinet of wonder, indeed (Pitchfork), and the most perfectly realized attempt to combine music and documentation (Fretboard Journal) and damnedest musical objet d'art (Nashville Scene) folks had ever seen.


    Third Man-Revenant now presents the final volume in the Paramount story - The Rise & Fall of Paramount Records, Volume Two (1928-32).


    As Volume Two begins, Paramount is entitled to a breather - in the previous 5 years it's been home to giants like King Oliver, Jelly Roll Morton, Louis Armstrong, Blind Lemon Jefferson, Alberta Hunter, Blind Blake, Ethel Waters, Ma Rainey, Papa Charlie Jackson, Eubie Blake, Fletcher Henderson, Big Bill Broonzy, Roosevelt Sykes, James P. Johnson, Jaybird Coleman, Clarence Williams, and Fats Waller.


    But just as it seems the label might be losing steam, it begins a second act that threatens to dwarf its first. In its final 5 year push from 1928-32, Paramount embarks on a furious run for the ages, birthing the entire genre of Mississippi Delta blues and issuing some of the most coveted recordings in the history of wax - a staggering playlist including Skip James, Charley Patton, Son House, Tommy Johnson, Blind Roosevelt Graves, Willie Brown, King Solomon Hill, Tampa Red, Georgia Tom Dorsey, Little Brother Montgomery, Lottie Kimbrough, Rube Lacy, Meade Lux Lewis, Buddy Boy Hawkins, Ramblin' Thomas, Jaydee Short, George Bullet Williams, Cow Cow Davenport, Clifford Gibson, Ishman Bracey, Charlie Spand, Jabo Williams, Louise Johnson, Blind Joe Taggart, Geeshie Wiley & Elvie Thomas, and The Mississippi Sheiks.


    Paramount simply killed. But more than that, it changed how this country thought of itself. It was the first and most comprehensive chronicler of what America really sounded like in the 1920s and '30s - on its street corners, at its fish fries and country suppers, in its nightclubs and dance halls and showtents. In the process, Paramount - not some preservationist-minded enterprise like the Library of Congress - inadvertently created the most significant repository of this young nation's greatest art form.

    6 LPs feature tracks from the collection.


    USB Drive contains 800 digital tracks by 175 artists across the Paramount family of labels.

    Various Artists
    $469.99
    180 Gram Audiophile Virgin Vinyl LP + 2 Books - 6 LPs Sealed AWAITING REPRESS Buy Now
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