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  • The Big Beat The Big Beat Quick View

    $39.99
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    The Big Beat

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Art Blakey was one of the greatest of all jazz drummers, a masterful talent scout and the inspiring leader of the Jazz Messengers. For 35 years (1955-90), the Jazz Messengers featured brilliant young talent who were pushed by Blakey to write new music and play at their very best. One certainly could not coast with Blakey's explosive drumming constantly egging on the players. The who's who of jazz passed through Blakey's band for several generations, with everyone from Freddie Hubbard and Wynton Marsalis to Benny Golson and Horace Silver benefiting from the hard-swinging experience. But few lineups could compete with the 1960 edition of the Jazz Messengers featured on The Big Beat. Blakey, the old man of the band at 30, is joined by bassist Jymie Merritt and three brilliant stylists who were not only exciting soloists but very skilled songwriters: trumpeter Lee Morgan, tenor-saxophonist Wayne Shorter and pianist Bobby Timmons. The Big Beat introduces Timmons' Dat Dere (which practically defines soul jazz) and Shorter's Lester Left Town (a tribute to Lester Young) and includes an inventive version of It's Only A Paper Moon along with a few other lesser-known but colorful pieces. This is hard bop at its finest from one of the most immortal jazz groups of all time.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Art Blakey
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Curtis (Awaiting Repress) Curtis (Awaiting Repress) Quick View

    $19.99
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    Curtis (Awaiting Repress)

    Curtis is the debut album by American soul/funk artist Curtis Mayfield, released in September 1970. Produced by Mayfield, it was released on his own label Curtom Records. The musical styles of Curtis moved further away from the pop-soul sounds of Mayfield's previous group The Impressions and featured more of a funk and psychedelia inspired sound. The album's subject matter incorporates political and social concerns of the time.


    Curtis sold well at the time charting at number one on the Billboard Black albums (for five nonconsecutive weeks) and number nineteen on the Billboard Pop albums charts. Only the single (Don't Worry) If There's a Hell Below, We're All Going to Go charted. Curtis receives very high praise from modern day critics with Bruce Eder of Allmusic commenting that the record is ...practically the Sgt. Pepper's album of '70s soul...

    1. If There Is A Hell Below We're All Gonna Go
    2. The Other Side Of Town
    3. Wild And Free
    4. The Makings Of You
    5. Miss Black America
    6. Move On Up
    7. We The People Who Are Darker Than Blue
    8. Give It Up
    Curtis Mayfield
    $19.99
    180 Gram Audiophile Virgin Vinyl LP -Sealed AWAITING REPRESS Buy Now
  • The Scene Changes The Scene Changes Quick View

    $39.99
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    The Scene Changes

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Bud Powell was one of those very few special innovators who permanently changed the way that his instrument is played in jazz. Prior to Powell's arrival on the scene, pianists kept time with their left hand, stating the beat by striding back and forth between bass notes and chords while their right played melodic variations. When Powell rose to prominence in 1945, his style was a revelation. He stated chords with his left-hand on an irregular basis as if he were a drummer hitting the bass drum while his right played rapid single-note lines like a horn player. This became the way to play jazz piano. While Bud Powell's recordings of the 1950s could be erratic due to his personal problems, his greatest work was on Blue Note. The Scene Changes, recorded in 1958 with Paul Chambers and Art Taylor, is one of his finest recordings, featuring Powell at the peak of his powers. Powell is heard in prime form, playing one brilliant solo after another. He introduces such originals as "Cleopatra's Dream," "Danceland" and "Crossin' The Channel," showing that he was also a masterful composer. With its impeccable sound and often-stunning piano solos, The Scene Changes is a must for all Blue Note collectors.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Bud Powell
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Green Street Green Street Quick View

    $39.99
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    Green Street

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    As the most prolific guitarist on Blue Note's roster, Grant Green was very busy during 1960-65, appearing in all types of settings with his fellow all-stars. However Green Street is quite unique for it showcases Green in a trio with bassist Ben Tucker and drummer Dave Bailey. Because Green rarely played chords, instead concentrating on single-note lines, hearing him in this sparse setting is similar to hearing a brilliant tenor-saxophonist such as Sonny Rollins in a piano less trio. Recorded April 1, 1961, Green Street features the guitarist stretching out on three originals, Round Midnight and Alone Together. With Tucker and Bailey hanging on every Green phrase and reacting immediately to his musical thoughts, the focus is almost entirely on the guitarist. Grant Green comes up with consistently surprising and rewarding ideas, taking these songs on unexpected trips and creating music for the ages. Few other guitarists or saxophonists of the time could have excelled in this setting on the level of Green. Heard in brilliant sound, Green Street is one of the most essential recordings of Grant Green.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Grant Green
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Today! (Pure Pleasure) Today! (Pure Pleasure) Quick View

    $34.99
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    Today! (Pure Pleasure)

    The '60s revived the careers of many early bluesmen, but none so dramatically as that of Mississippi John Hurt. Hurt recorded a few brilliant sides in the '20s, then ostensibly disappeared off the face of the Earth until folk musician Tom Hoskins went looking for him in 1963. At the age of 70, Hurt began one of the greatest comebacks in music history. From his first '60s shows until his death in 1966, Hurt was a popular mainstay of the folk-music circuit. TODAY! demonstrates why the audiences loved him so. More a melodic songster than a traditional bluesman, Hurt has a great deal in common with '60s folk musicians - many of whom he inspired. Hurt's dexterous and beautiful finger-picking style provided aspiring folk performers with a template, as did his warm and gentle stage presence. All these elements are amply evident on TODAY!, on which Hurt turns in definitive performances of Pay Day, Louis Collins, Spike Driver's Blues, and Make Me a Pallet on Your Floor. He even takes a rare (and successful) turn at slide guitar on Talking Casey. Like all of Hurt's Vanguard albums, TODAY! is an absolutely essential document of a great American artist.




    Musicians:



    • Mississippi John Hurt (vocal, guitar)




    Recording: 1966




    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. Payday
    2. Im Satisfied
    3. Candy Man
    4. Make Me A Pallet On The Floor
    5. Talkin Casey
    6. Corrina, Corrina
    7. Coffee Blues
    8. Louis Collins
    9. Hot Time In The Old Town Tonight

    10. If You Dont Want Me Baby
    11. Spike Driver's Blues
    12. Beulah Land
    Mississippi John Hurt
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Gigolo The Gigolo Quick View

    $49.99
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    The Gigolo


    Limited Edition!


    Remastered by Kevin Gray and Steve Hoffman from the Original Rudy Van Gelder Blue Note Master Tapes!


    The Definitive issue of this classic Blue Note title!


    THE SOUND:

    Mono or Stereo? Rudy Van Gelder first began recording Blue Note sessions in stereo in March of 1957. From then until an October 30, 1958 Art Blakey session, Rudy simultaneously ran both mono and stereo session tapes. The stereo presentation revealed more air, more detail and more sheer life than the mono. The mono playback was a wonderful remembrance of the old LP we all knew and loved. The stereo playback from the original masters was eerie. It was like going back in time to that day in Rudy's studio. Quite simply, the stereo masters revealed more of what it was like to be there that day.


    Why 45rpm? Simply...Because it sounds better! 180 gram pressings versus 200 gram? Music Matters, Lt. uses 180 gram pressings for the simple reason that they believe 180 gram weight is more than sufficient to provide a near perfect pressing. When Music Matters asked their friends at Record Technology Inc. for their recommendation to achieve the highest possible quality pressings their answer was unequivocal... go with 180 gram!


    Upgrading Connections at Acoustech! It goes without saying that there are many controversies and debates in the perfectionist audio/LP collector market. But one area of near universal agreement is the quality of mastering that emerges from Kevin Gray's custom-built AcousTech Mastering studio in Camarillo, CA. Kevin, along with Steve Hoffman, has provided many of the best sounding new and reissued albums on LP during the last 5 or 6 years working outs of AcousTech.


    THE JACKETS:

    Music Matters Exclusive! Music Matters strongly feels that these Blue Note recordings deserve nothing less than the finest graphic presentation. The Music Matters Definitive 45RPM Blue Note jackets are designed to last a lifetime, using ultra-durable extra thick cardboard stock and thick, luxurious lamination... quality you'll be able to feel in your hand the moment you pick up one of these albums. In addition, Music Matters has obtained exclusive access to a treasure trove of over 30,000 original Blue Note session photos from Mosaic Images for use in this series. The gatefold opens to display these session photos in stunning high resolution - four times sharper than original Blue Note jacket photos.


    THE REVIEWS:

    Hear what Michael Fremer, Wayne Garcia and others are saying about the Blue Note Definitive 45rpm Reissue Series from Music Matters, Ltd:

    They're BIG and open and definitely work in stereo because they're not hard left/right stereo. The cymbals are so chimey and the skins so open! Even Rudy's typical boxy piano isn't too bad. These are going to be really good....!!!! (Real time reaction after hearing his first test pressing of Horace Parlan's Speakin' My Piece LP.) - Michael Fremer, Stereophile Magazine


    I've heard a lot of Blue Note originals and myriad reissues over the years, but based on the sample test pressings heard so far, none-and I mean none-convey the intensity of living, breathing music-making the way the Music Matter's Blue Note series does. The sense of air, texture, and dynamic pop in these grooves is astonishing. - Wayne Garcia, The Absolute Sound


    Art Blakey & the Jazz Messengers "The Big Beat" and Horace Parlan, "Speakin' My Piece." And if this is any indication of what's to come, I advise you to get on the list now, before this collection is sold out. - Albert Porter, www.positive-feedback.com


    The Music Matters 45s have all immediacy and add a free-flowing naturalness that is surprising at first but very easy to get used to. - Marc Mickelson, www.soundstage.com


    There is no real explanation for Lee Morgan's greatness. He emerged in 1956 as a precocious 18-year old already recording for Blue Note and performing as one of the stars of the Dizzy Gillespie Orchestra. He continued to grow during his years with Art Blakey's Jazz Messengers and in the 1960s was jazz's leading trumpeter. In 1965 when he recorded The Gigolo, Morgan was still only 27 yet had already created a lifetime of exciting music. On The Gigolo, he builds upon his earlier successes and plays with a brilliance only reached by the most immortal of jazz musicians. His four originals include the original version of his memorable blues Speed Ball, and he really digs into You Go To My Head. Hearing The Gigolo with its phenomenal sound and brilliant playing is a thrill that all jazz fans need to experience.


    Features:

    • Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound!

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Limited Edition

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


    Musicians:

    Lee Morgan, trumpet

    Wayne Shorter, tenor saxophone

    Harold Mabern, Jr., piano

    Bob Cranshaw, bass

    Billy Higgins, drums


    The albums are being cut at 45 RPM for maximum quality by Kevin Gray and me using our full ANALOG disk cutting system; most studios cannot even cut vinyl in 100% true analog anymore (they convert to digital first) but we can. The original Rudy Van Gelder engineered stereophonic session tapes are used when we master these gems. The sound quality is amazing on our test cuts. Like from heaven. First totally uncompressed versions of these jazz classics that I've ever heard and trust me, you will be impressed; they sound like no other releases of this music.


    The sound is lifelike, the horns are in the room with you. Our non-invasive mastering insures the true breath of life on these original Van Gelder session tapes is transferred to the virgin vinyl with absolute authenticity. It is like hearing these BLUE NOTE masterpieces for the first time and that is NO exaggeration. When we heard the first lacquer acetate playback from our first mastering session I thought Joe Harley was going to pee in his pants he was so excited. Actually we all were; after 50 years of many lackluster and some downright bad sounding versions of these albums, hearing the real deal is a humbling experience, even for us hardened music veterans. You will be able to listen to the music exactly like we did...
    - Steve Hoffman

    This title is not eligible for discount.

    1. Yes I Can, No You Can't
    2. Trapped
    3. Speed Ball
    4. The Gigolo
    5. You Go To My Head
    Lee Morgan
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • How Will The Wolf Survive? How Will The Wolf Survive? Quick View

    $34.99
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    How Will The Wolf Survive?

    Produced by T-Bone Burnett, the major breakthrough of Los Lobos' How Will The Wolf Survive? was a launching pad for the tried & true sound of these Latin American musical heroes. Honing their craft in '70s L.A. by doing loads of weddings and dance gigs, they incorporated Rock into their Mexican sound which resulted in a Pop staple of legendary proportions. The band switch easily between Rockers like "Don't Worry Baby" and "A Matter Of Time" and modern Mexican evergreens "Corrida #1" and "Serenata Norteña".
    1. Don't Worry Baby
    2. A Matter Of Time
    3. Corrida #1
    4. Our Last Night
    5. The Breakdown
    6. I Got Loaded
    7. Serenata Norteña
    8. Evangeline
    9. I Got To Let You Know
    10. Lil' King Of Everything
    11. Will The Wolf Survive?
    Los Lobos
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blue And Sentimental Blue And Sentimental Quick View

    $39.99
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    Blue And Sentimental


    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Ike Quebec was perhaps the least likely musician to be leading albums for Blue Note in the early 1960s for he was a big-toned swing stylist rather than a hard bop or soul jazz player. But Quebec, a superb musician who was making a major comeback, was one of the most important figures in the entire history of Blue Note. He was the one who introduced Alfred Lion to bebop in the mid-1940s (including Thelonious Monk and Bud Powell) which entirely changed the course of Blue Note. Quebec, who gained some fame as a member of the Cab Calloway Orchestra, was a member of the Blue Note family back in the mid-1940s, having a hit with his recording of "Blue Harlem." After Quebec introduced Alfred Lion to the new music, he worked as an A&R man for Blue Note. Inactive during much of the 1950s, Quebec emerged in 1960 in prime form, recording several gems for Blue Note including Blue and Sentimental, his definitive album. Equally skilled on intimate ballads and uptempo romps, Quebec displays his mastery of the tenor and his huge sound throughout this set. Joined by a pianoless quartet that includes Grant Green, Quebec makes every breath and sound count, playing seductive lines on the ballads and swinging forcefully on the hotter numbers. He only lived until 1963 (passing away when he was just 44), but, as Blue And Sentimental shows, Ike Quebec saved the very best for his later period, creating a masterpiece.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Ike Quebec
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Misterioso Misterioso Quick View

    $34.99
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    Misterioso

    Originally released in 1965 and produced by Jazz great Teo Macero, this Hard Bop album by Thelonious Monk is an essential part of Monk fans, and rightfully belongs in any Jazz collection for that matter.


    Misterioso (Recorded On Tour) contains 8 powerful live performances at venues such as Brandeis University, Lincoln Center and The Village Gate in New York and the Newport Jazz Festival during the early Sixties, when Jazz was pushed into further directions.


    This album features Thelonious Monk on piano, Larry Gales and Butch Warren on double bass, Ben Riley and Frankie Dunlop on drums and longtime Monk band member Charlie Rouse on tenor sax.

    1. Well, You Needn't
    2. Misterioso
    3. Light Blue
    4. I'm Gettin' Sentimental Over You
    5. All The Things You Are
    6. Honeysuckle Rose
    7. Bemsha Swing
    8. Evidence
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In 'N Out In 'N Out Quick View

    $49.99
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    In 'N Out

    From the moment that Kenny Dorham picked a 25-year old Joe Henderson out of obscurity in 1962 and had him join his band, it was obvious that Henderson was a very powerful force, a young giant who sent shock waves through the jazz world. Henderson, who had a very distinctive sound from the start along with the ability to play both "inside" and "outside," sounded very much at home whether playing bebop or free improvisations. He also proved to be a perfect musical brother for Dorham. Henderson's In 'N Out album finds the two horns expressing similar ideas, blending together perfectly, and creating memorable music that is beyond description. Every note that Dorham and Henderson play on this classic album is passionate, intense and meaningful. While most young musicians would be in awe if teamed with Dorham, McCoy Tyner, Richard Davis and Elvin Jones, Henderson not only had no difficulty playing with those masters, but he raised the intensity level and forced them to keep up with him. Rudy Van Gelder brilliantly captured this group, which has never sounded better than on this must-have reissue.

     

    Features:


    • Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    • Remastered by Kevin Gray and Steve Hoffman at Acoustech

    • Cut at 45rpm for Better Sound!

    • Pressed on two 180 gram Virgin Vinyl LPs by RTI

    • Limited Edition

    • Numbered

    • Ultra-Durable, Extra Thick Album Jackets

    • Gatefold Album with Session Photos in stunning High Resolution


     

    Musicians:


    • Joe Henderson

    • Kenny Dorham

    • McCoy Tyner

    • Richard Davis

    • Elvin Jones


    This title is not eligible for discount.

    In 'N Out
    Punjab
    Serenity
    Short Story
    Brown's Town
    Joe Henderson
    $49.99
    180 Gram Audiophile Virgin Vinyl 45 RPM LP - 2 LPs Sealed Buy Now
  • Right Now! Right Now! Quick View

    $39.99
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    Right Now!

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Jackie McLean always had an intense sound, playing a little bit sharp and putting passion into every sound that came out of his alto-saxophone. While he was initially inspired by Charlie Parker, Sonny Rollins and Bud Powell, by 1951 he was already a true original. McLean added a great deal of fire to the music of Miles Davis, Charles Mingus and Art Blakey's Jazz Messengers. A giant of hard bop during the second half of the 1950s, McLean was one of the very few musicians of his generation to explore freer forms of jazz in the 1960s. Avant-garde jazz perfectly fit his adventurous style which was already very emotional. 1965's Right Now, which matches him with a trio that includes pianist Larry Willis, is one of his most exciting albums of the 1960s. McLean stretches out at length on Willis' beautiful ballad "Poor Eric" and three originals, often playing with such ferocity that it will cause one's hair to stand up. The music (other than the ballad) is hard-charging, intense and often free with McLean heard at his most innovative. Even a half-century later, Right Now! sounds contemporary, vital and thrilling.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Jackie McLean
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Speak No Evil (Pre-Order) Speak No Evil (Pre-Order) Quick View

    $39.99
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    Speak No Evil (Pre-Order)

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Wayne Shorter made a major impact on the Jazz world during 1963-64. He left Art Blakey's Jazz Messengers to become a member of the Miles Davis Quintet, and he recorded Night Dreamer and Juju as a leader for Blue Note. Speak No Evil is even notable than those two gems, for Shorter had developed into not only one of the most original tenor-saxophonists of the 1960?s but also one of its most vital composers. With superb playing by Herbie Hancock, Ron Carter, Freddie Hubbard and Elvin Jones, Shorter introduces six unique compositions including Fee-Fi-Fo-Fum, Speak No Evil and Infant Eyes. Hubbard and Hancock consistently raise the temperature with fiery solos. Shorter's playing and writing are both beyond description, utilizing a logic all his own which, over time, has become a major influence in Modern Jazz. Throughout Speak No Evil, Shorter creates brilliant new music like no one else.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Wayne Shorter
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Our Man In Paris Our Man In Paris Quick View

    $39.99
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    Our Man In Paris

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    In 1963, the year when Our Man In Paris was recorded, Dexter Gordon turned 40 and moved to Europe for what would be a dozen-year stay. Gordon had been the first important bebop tenor-saxophonist and a giant of Jazz since 1945. After some time off the scene in the ?50s, he was signed to Blue Note. He returned with full force, playing with power, wit and his trademark huge sound, creating one masterpiece after another. On Our Man In Paris, he is clearly inspired by the playing of the innovative bebop pianist Bud Powell, himself at the peak of his powers, bassist Pierre Michelot and the pioneering bop drummer Kenny Clarke. Gordon plays chorus after chorus of fresh, swinging ideas on such tunes as Scrapple From The Apple, Broadway and A Night In Tunisia,? making these Jazz standards sound as if they were written for him. This blazing bebop date is a constant joy.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Dexter Gordon
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Sidewinder (Awaiting Repress) The Sidewinder (Awaiting Repress) Quick View

    $39.99
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    The Sidewinder (Awaiting Repress)

    Cut at 33 1/3 RPM by Kevin Gray at Cohearent Audio from the Original Rudy Van Gelder Blue Note Master Tapes


    Pressed 180 Gram Virgin Vinyl LPs by RTI


    Top Quality Gatefold Packaging with Laminated Covers & High Quality Session Photos


    It came about purely by accident. At the end of a Lee Morgan record date in 1963, one more song was needed. The trumpeter quickly put together a catchy ditty with a boogaloo rhythm that he called "The Sidewinder." While it was born as an afterthought, "The Sidewinder" became Morgan's biggest hit and launched a boogaloo craze, even being used on a nationally televised commercial. The irresistible playing by Morgan, Joe Henderson and a rhythm section propelled by Billy Higgins made this into one of Blue Note's biggest selling records. Lee Morgan, who was 25 at the time, had already been a household name in jazz for seven years. He began recording for Blue Note as a leader in 1956 when he was just 18, had been a featured member of the Dizzy Gillespie Big Band while still a teenager, and had been the star of Art Blakey's Jazz Messengers during 1958-61. After a bit of time off the scene, in 1963 he launched his comeback with The Sidewinder. Beyond the classic title cut, The Sidewinder is also notable for four other Morgan hard bop originals including "Totem Pole" and "Gary's Notebook." Morgan is in brilliant form throughout, playing with the brashness, confidence and soulfulness that had made him famous as a child prodigy in jazz. Joe Henderson was rapidly emerging as one of the top young tenor-saxophonists of the time, and the quintet, which had never played together as a unit before, sounded like a well-oiled jazz machine that was on high gear. Reissued in superb sound, The Sidewinder is not only one of the major musical highpoints of Lee Morgan's life but music for the ages.


    Features:

    Limited Edition of Only 3500 Copies!

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!

    Remastered by Kevin Gray at Cohearent Audio

    Pressed 180 gram Virgin Vinyl LPs by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    Musicians:

    Lee Morgan, trumpet

    Bob Cranshaw, bass

    Barry Harris, piano

    Joe Henderson, tenor sax

    Billy Higgins, drums

    1. The Sidewinder
    2. Totem Pole
    3. Gary's Notebook
    4. Boy, What a Night
    5. Hocus Pocus
    Lee Morgan
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Unity Unity Quick View

    $39.99
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    Unity

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    By the time he recorded what is universally regarded as his finest album in 1964, Larry Young had developed his own innovative style on Hammond B-3 organ and had proved that the instrument could be used for so much more than soul jazz. He was light years ahead of his contemporaries, and fully established himself as the most forward thinking B-3 organ player of the Coltrane era. Teaming with a superb cast consisting of trumpet sensation Woody Shaw (who contributed three of the six selections), Joe Henderson and Elvin Jones, Larry Young inspires each of these young giants to some of the finest performances of their lives. Unity, which still sounds as contemporary as the day it was recorded, is an essential post-bop classic!


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Larry Young
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Workout (Pre-Order) Workout (Pre-Order) Quick View

    $39.99
    Buy Now
    x

    Workout (Pre-Order)

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    In a word association game, the name "Hank Mobley" will often generate "Blue Note" and vice versa. While Mobley had a musical life beyond the Blue Note label including associations with Dizzy Gillespie, Art Blakey's Jazz Messengers and Miles Davis (the 1961 Quintet), it is for his Blue Note recordings that he rightfully most remembered. Mobley led 25 albums for Blue Note and appeared on over 30 others as a sideman. His consistency resulted in all of those recordings being recommended to hard bop collectors. Mobley's mastery of the style, his attractive tone, and his skill at writing songs that inspire memorable solos made him a perfect representative of the Blue Note sound. Even with his large number of great recordings, Workout is something special and a real standout. Joined by Grant Green, Wynton Kelly, Paul Chambers and Philly Joe Jones, Mobley creates brilliant statements on four of his best originals (including the soulful "Uh Huh" and "Greasin' Easy"), "The Best Things In Life Are Free" and "Three Coins In A Fountain." The passion in Mobley's playing is exciting and will surprise many. He takes wild chances that challenge the other all-stars, and he plays with a constant stream of creative ideas. Even collectors who own a dozen other Hank Mobley albums will have to get this version of Workout which, with its superb remastering, has never sounded better.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Hank Mobley
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed PRE-ORDER Buy Now
  • Point Of Departure Point Of Departure Quick View

    $39.99
    Buy Now
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    Point Of Departure

    Cut At 33 1/3 RPM By Kevin Gray At Cohearent Audio From The Original Rudy Van Gelder Blue Note Master Tapes


    Pressed On 180 Gram Virgin Vinyl LP By RTI


    Top Quality Gatefold Packaging With Laminated Covers & High Quality Session Photos


    Point Of Departure is not only one of the greatest jazz recordings of 1964, but of all time. The stellar lineup (Eric Dolphy, Kenny Dorham, Joe Henderson, Richard Davis and a teen aged Tony Williams) was given a set of challenging compositions by the brilliant pianist and composer Andrew Hill. This group created the album known as Point of Departure, an acknowledged modern day classic and one of Blue Notes most extraordinary recordings. Andrew Hill was a quiet revolutionary, but he was every bit as original in his conception as Thelonious Monk. Hill extended, twisted and turned hard bop into his own very fresh and personal music. Like Eric Dolphy, Hill spawned few imitators. His conception was so pure, and so unique, both as a player and as an arranger-composer that nearly a half century later, Point Of Departure remains a brilliant touchstone of modern jazz.


    Features:

    Limited Edition of Only 3500 Copies

    Remastered from the Original Rudy Van Gelder Blue Note Master Tapes

    Remastered by Kevin Gray at Cohearent Audio

    Pressed on 180 gram Virgin Vinyl LP by RTI

    Ultra-Durable, Extra Thick Album Jackets

    Gatefold Album with Session Photos in stunning High Resolution

    Stereo


    This title is not eligible for discount.

    Andrew Hill
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In The Winner's Circle (Pure Pleasure) In The Winner's Circle (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    In The Winner's Circle (Pure Pleasure)

    Rare stuff from John Coltrane! The album features 'Trane' playing tenor on only 4 of the album's 8 tracks - making it kind of surprising that they used his name in the title - but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs - possibly not a name that's as sexy as John Coltrane, hence the billing - but a worthy leader for the date, given the quality of the music.



    Many of the other players here are small combo heroes who can also shine brightly in bigger groups - such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass - plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date - but the bigger charm is the full ensemble work - on titles that include She Didn't Say Yes, Turtle Walk, At Home With The Blues, Seabreeze, and Love & The Weather.



    Musicians:



    • John Coltrane (tenor saxophone)

    • Donald Byrd, Art Farmer (trumpet)

    • Frank Rehak (trombone)

    • Gene Quill (alto saxophone)

    • Al Cohn (bassoon)

    • Rolf Kuhn (clarinet)

    • Eddie Costa (piano, vib)

    • Freddie Green, Kenny Burrell (guitar)

    • Oscar Pettiford (bass)

    • Philly Joe Jones, Ed Thigpen (drums



    Recording: September & October 1957 in New York City



    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. Lazy Afternoon
    2. Not So Sleepy
    3. Sea Breeze
    4. Love And The Weather
    5. She Didn't Say Yes
    6. If I'm Lucky
    7. At Home With The Blues
    8. Turtle Walk
    John Coltrane
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Lost Songs Lost Songs Quick View

    $21.99
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    x

    Lost Songs

    Lost Songs is the eighth studio album by Austin, Texas art rock outfit ...And You Will Know Us by the Trail of Dead.


    Recorded at Horus Sound Studios in Hanover, Germany, the album's lyrics are themed around war, tyranny and apathy. Frontman Conrad Keely said, the music was inspired by the apathy to real world events that has plagued the independent music scene now for over a decade. Up to Infinity is about the Syrian civil war. We believe that tyranny and despotism suffered by any people, anywhere, is intolerable and should not be treated as an internal matter, but completely justifies intervention by the international community.

    LP1
    1.Open Doors
    2. Pinhole Cameras
    3. Up to Infinity
    4. Opera Obscura
    5. Lost Songs
    6. Flower Card Games
    7. A Place to Rest


    LP2
    1. Heart of Wires
    2. Catatonic
    3. Awestruck
    4. Bright Young Things
    5. Time and Again
    6. Skywhaling
    7. Mountain Battle Song
    8. Verschollene Songs
    9. Idols of Perversity

    And You Will Know Us By The Trail Of Dead
    $21.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Roll The Bones Roll The Bones Quick View

    $26.99
    Buy Now
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    Roll The Bones

    200 Gram Vinyl LP


    From a lyrical perspective, 1991's Roll the Bones is quite possibly Rush's darkest album (most of the songs deal with death in no uncertain terms), but from a musical point of view, the record treads territory (highbrow melodic hard rock) similar to its recent predecessors, with only a few surprises thrown in for good measure. These include an amusing rap section in the middle of the title track, a welcome return to instrumentals with Where's my Thing?, and one of the band's finest songs of the '90s in the gutsy Dreamline. Neurotica is another highlight which lives up to its title, and though their negative subject matter can feel stifling at times, fine tracks like Bravado, The Big Wheel, and Heresy feature wonderful melodies and arrangements.

    1. Dreamline
    2. Bravado
    3. Roll The Bones
    4. Face Up
    5. Where's My Thing?
    6. The Big Wheel
    7. Heresy
    8. Ghost Of A Chance
    9. Neurotica
    10. You Bet Your Life
    Rush
    $26.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Charles Mingus Presents Charles Mingus (Pure Pleasure) (Awaiting Repress) Charles Mingus Presents Charles Mingus (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Charles Mingus Presents Charles Mingus (Pure Pleasure) (Awaiting Repress)

    Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus, has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus, and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off Folk Forms No. 1, followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. Original Faubus Fables is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, What Love? and the outrageously titled All the Things You Could Be by Now if Sigmund Freud's Wife Was Your Mother, are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free.




    Musicians:



    • Eric Dolphy (alto saxophone, bass clarinet)

    • Ted Curson (trumpet)

    • Charles Mingus (bass)

    • Dannie Richmond (drums)




    Recording: October 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    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. Folk Forms, No. 1

    2. Original Faubus Fables

    3. What Love

    4. All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother

    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Bruch - Scottish Fantasy / Hindemith - Violin Concerto (Speakers Corner)

    Max Bruch's Scottish Fantasia is a late-Romantic work which is seldom found on concert hall programmes today. One realises after listening to the piece for the first time that the composition proves to be at least as solid and artistic as all the other works of the composer.



    The London Symphony Orchestra, conducted by Jascha Horenstein gives a sonorous interpretation of the melancholic which, according to Bruch, depicted an aged minstrel who, while gazing upon the ruins of an ancient keep, ponders over the splendid days gone by. The well-known slender but warm timbre of David Oistrakh's violin is well suited to this music which was inspired by Scotland.
    David Oistrakh demonstrates his versatility in this performance of Hindemith's Violin Concerto, written in 1939, where he effortlessly mesmerises the audience with breakneck cascades of scales. With many years of experience in the performance of modern music, the London Symphony Orchestra, led by the composer himself, prove that they are a match for this work.



    This DECCA recording offers first class interpretations of two great masterpieces from differing eras that have been acclaimed widely and have reached far beyond the circle of Oistrakh fans.



    Musicians:



    • David Oistrakh (violin(/li>
    • London Symphony Orchestra

    • Jascha Horenstein and Paul Hindemith (conductor)




    Recording:October 1962 at the Walthamstow Town Hall, London by Arthur Lilley and Alan Reeve

    Production: Erik Smith





    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.



    Jascha Horenstein conducts the London Symphony Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Traffic Traffic Quick View

    $29.99
    Buy Now
    x

    Traffic

    Mastered from the Original Island Records Tapes by Joe Reagoso at Friday Music Studios with Kevin Gray


    Traffic were one of the premier architects of the acid rock movement in the '60s and blossomed further into one of the most important super groups of the '70s. Their recordings are the soundtrack to a generation of music enthusiasts that continues to this day and will forever stand the test of time. In 1968, the legendary founding members Stevie Winwood, Dave Mason, Jim Capaldi and Chris Wood sojourned on after a smash debut with Dear Mr. Fantasy and continued the winning streak with the groundbreaking self-titled classic Traffic.


    Known for their superior progressive rock, jazz and pop influences, the multi-faceted music of this LP offers non-stop entertainment which truly illustrates the legendary talent of this English quartet. Whether standout tracks from the pens of Dave Mason like the classic rock smash anthem Feelin' Alright? or the prog-rock masterpiece Winwood and Capaldi's classic Forty Thousand Headmen, the Traffic album has surely earned its currency over the years as one of the more important albums of the classic rock era.


    Filled with the piano driven melodies and vocals of the legendary Stevie Winwood, the hard rocking vocals and guitar work of the masterful Dave Mason, the explosive sax breaks by the late Chris Wood and the power drumming and vocals of the late great Jim Capaldi, the Traffic album will always be one of the most revered albums in their extraordinary career.


    Even further classics ensued with each of the hard rockin' ten tracks that make up this masterwork. How about the smash sounds of Pearly Queen or another Winwood and Capaldi classic Means To An End, plus more Dave Mason treasures like You Can All Join In or Don't Be Sad. No matter what track is your favorite, it's all classic Traffic, and it just doesn't get much better than this.


    Friday Music continues with their second installment in the Traffic/Friday Music 180 Gram Audiophile Vinyl Series with the monumental rock classic Traffic. Mastered impeccably by Joe Reagoso from the original Island Records tapes at Friday Music Studios with Kevin Gray, Traffic is a truly one of the most important audiophile vinyl releases of 2012.


    Friday is also including a very rare gatefold cover, which includes the original gatefold photo of Dave Mason, Stevie Winwood, Chris Wood and Jim Capaldi, for the first time in North America since its 1968 release!

    1. You Can All Join In
    2. Pearly Queen
    3. Don't Be Sad
    4. Who Knows What Tomorrow May Bring
    5. Feelin' Alright?
    6. Vagabond Virgin
    7. Forty Thousand Headmen
    8. Cryin' To Be Heard
    9. No Time To Live
    10. Means To An End
    Traffic
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Alabama Blues (Pure Pleasure) Alabama Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Alabama Blues (Pure Pleasure)

    J. B. Lenoir was one of the outstanding blues artists of all times. His album Alabama Blues is the first recorded document by any blues poet, who included and incorporated very critically the social and political situation of black people living in the U.S.A. in the year of 1965. Thus a musical document was created long before the black communities in the United States became proud of their heritage - their roots. Jimi Hendrix was the first artist who acknowledged that J. B. Lenoir's work, preserved in this album, was a major part of his self-liberation and of finding his own identity. Though the Library of Congress has placed this album in its achives as an important part of American Musical History - comparable to Duke Ellington's Black, Brown and Beige Suite for example - it was never released in the United States, and even in Europe its distribution was poor. Because of this it has become one of the most searched-for collectors' items in music today. Pure Pleasure Records is happy and proud to release this masterpiece of music again.



    Musicians:



    • J. B. Lenoir (vocal, guitar)

    • Willie Dixon (vocal)

    • Freddie Below (drums)




    Recording: May 1965 in Chicago, Ill.

    Production: Horst Lippmann



    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. Alabama Blues
    2. The Mojo Boogie
    3. God's Word
    4. The Whale Has Swallowed Me
    5. Move This Rope
    6. I Feel So Good
    7. Alabama March
    8. Talk To Your Daughter
    9. Mississippi Road
    10. Good Advice
    11. Vietnam
    12. I Want To Go
    J.B. Lenior
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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