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Louis Armstrong Plays W.C Handy

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  • 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
  • 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.


    This title is not eligible for discount.

    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
  • 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
  • Satch Plays Fats (Pure Pleasure) (Awaiting Repress) Satch Plays Fats (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
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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
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