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  • Sonny Meets Hawk! (Pure Pleasure) Sonny Meets Hawk! (Pure Pleasure) Quick View

    $34.99
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    Sonny Meets Hawk! (Pure Pleasure)

    This is a memorable meeting of a pair of genial giants - Sonny Rollins, who has been called again and again the boss of the modern tenor sax, and Coleman Hawkins, who is the father of jazz saxophone playing.



    Each has made enormous contributions to jazz improvisation, beyond the limits of his instrument. The sum total of their work forms the impressive foundation for this once-in-a-lifetime album.



    This recording is extraordinary in every sense, and not merely in that it marks the first time (except for a brief on-stage appearance at the 1963 Newport Jazz Festival, which inspired this studio recording) that these great musicians have played together. Each has blended his own strong personality with the other's, yet neither has lost his individuality. Where one reaches into the other's 'bag', it is done with musical logic and respect; always, the goal of a cohesive duet relationship is uppermost in each of their minds. And perhaps the most extraordinary aspect of this album is that neither musician plays safe; each exercises his powerful imagination throughout, running all the risks entailed in daring improvisation - but gaining also the satisfactions inherent in such an approach.



    Musicians:



    • Sonny Rollins (tenor saxophone)

    • Coleman Hawkins (tenor saxophone)

    • Paul Bley (piano)

    • Henry Grimes (bass)

    • Bob Cranshaw (bass)

    • Roy McCurdy (drums)




    Recording: July 1963 in New York City by Mickey Crofford and Paul Goodman

    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. Yesterdays
    2. All the Things You Are
    3. Summertime
    4. Just Friends
    5. Lover Man
    6. At McKie's
    Sonny Rollins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Western Suite (Pure Pleasure) Western Suite (Pure Pleasure) Quick View

    $34.99
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    Western Suite (Pure Pleasure)

    In late 1957, jazz saxophonist, clarinetist, composer, and iconoclast Jimmy Giuffre broke up the original Jimmy Giuffre 3 with Ralph Pena and Jim Hall. In early 1958, for a recording session, he formed a new trio without a rhythm section. For the album Trav'lin' Light, his new trio included Hall on guitar and the underrated trombone giant Bob Brookmeyer.


    For a year, they gigged together up and down the West Coast and played summer festivals, recorded, and even played clubs in New York. They became a trio of adventurous musicians for whom form was not an obstacle to creativity. As the year wound down, Giuffre wanted to document the trio once more, sensing its life was coming to an end. He composed the four-movement Western Suite with the trio's strengths in mind, as a way of documenting how they had come together as a band during that year.


    The piece itself stands as a crowning achievement in a career that included discovering the talents of Steve Swallow and Paul Bley and making the truly revolutionary recording Free Fall for Columbia three years later. The roots of that thinking lie in this set. Jim Hall's playing was dark, funky, ambiguous, sounding like drums and voices all at the same time -- particularly in the fourth movement. Brookmeyer became the pace setter. His lines were played as stage settings for the other two players to dialogue and narrate against. Giuffre, ever the storyteller, advanced the improvisation angle and wrote his score so that each player had to stand on his own as part of the group; there were no comfort zones.


    ithout a rhythm section, notions of interval, extensions, interludes, and so on were out the window. He himself played some of his most restrained yet adventurous solos in the confines of this trio and within the form of this suite. It swung like West Coast jazz, but felt as ambitious as Copland's Billy The Kid. The record is filled out with two other tunes, one of Eddie Durham's, Topsy, and the final moment of mastery this band ever recorded, the already classic Blue Monk. The easy stroll of the front line with Brookmeyer's trombone strutting New Orleans' style is in sharp contrast to Giuffre's clarinet playing. Which carries the bluesy melody through three harmonic changes before he solos and then plays three more. Hall keeps it all on track, and somehow the piece sounds very natural this way, though unlike Monk, there are no edges here -- everything is rounded off. This is as solid as any of the earlier or later Jimmy Giuffre 3 records, and two notches above Trav'lin' Light in that it reveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio.


    Musicians:



    • Jimmy Giuffre (clarinet, tenor saxophone, bassoon)

    • Jim Hall (guitar)

    • Bob Brookmeyer (trombone)




    Recording: 1958 by Heinz Kubicka, Herb Kaplan, and Tom Dowd
    Production: Nesuhi Ertegun




    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. Pony Express
    2. Apaches
    3. Saturday Night Dance
    4. Big Pow Wow
    5. Topsy
    6. Blue Monk
    Jimmy Giuffre
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jimmy Giuffre 3, 1961 Jimmy Giuffre 3, 1961 Quick View

    $25.99
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    Jimmy Giuffre 3, 1961

    Musicians:

    Jimmy Giuffre clarinet

    Paul Bley piano

    Steve Swallow double-bass


    Recorded March and August 1961

    1. Jesus Maria
    2. Emphasis
    3. In The Mornings Out There
    4. Scootin' About
    5. Cry, Want
    6. Brief Hesitation
    7. Venture
    8. Afternoon
    9. Trudgin'
    10. Ictus
    11. Carla
    12. Sonic
    13. Whirrrr
    14. That's True, That's True
    15. Goodbye
    16. Flight
    17. The Gamut
    18. Me Too
    19. Temporarily
    20. Herb & Ictus
    Jimmy Giuffre
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Paris Concert Paris Concert Quick View

    $35.99
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    Paris Concert

    Circle was a band on fire with creativity. Corea and Holland had just left Miles Davis's band, keen to explore all parameters of new music in an improvised context. Braxton, equally inspired by Stockhausen and Coltrane, brought in new directions from the AACM. Altschul's resumÉ included extensive work with Paul Bley. Together they were, for a while, matchless. Melody Maker: "Paris Concert is evidence that here was one of the most excitingly talented bands of recent years." Recorded 1971.
    LP 1
    1. Nefertitti
    2. Song For The Newborn
    3. Duet
    4. Lookout Farm / Kelvin 73° (Variation -3)


    LP 2
    1. Toy Room - Q & A
    2. No Greater Love

    Circle
    $35.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Facing You Facing You Quick View

    $25.99
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    Facing You

    Facing You is one of the most important recordings in contemporary jazz for several reasons, aside from being beautifully conceived and executed by pianist Keith Jarrett. It is a hallmark recording of solo piano in any discipline, a signature piece in the early ECM label discography, a distinct departure from mainstream jazz, a breakthrough for Jarrett, and a studio prelude for his most famous solo project to follow, The Köln Concert. Often meditative, richly melodic, inventive, and introspective beyond compare, Jarrett expresses his soul in tailored tones that set standards for not only this kind of jazz, but music that would serve him and his fans in good stead onward.


    In this program of all originals, which sound spontaneously improvised with certain pretexts and motifs as springboards, the rhapsodic Ritooria, 4/4 love/spirit song Lalene, and song for family and life My Lady; My Child firmly establish Jarrett's heartfelt and thoughtful approach. Vapallia cements the thematic, seemingly effortless, lighter -- but never tame -- aesthetic. Starbright is an easy-paced two-step tune signifying fully Jarrett's personalized stance. Straddling a more jagged, angular, and free edge, the pianist evokes the influence of Paul Bley during Semblence.


    But it is the opening selection, an extended ten-minute opus titled In Front, that truly showcases Jarrett at his playful best -- a timeless, modal, direct, and bright delight. A remarkable effort that reveals more and more with each listen, this recording has stood the test of time, and is unquestionably a Top Three recording in Keith Jarrett's long and storied career.

    1. In Front
    2. Ritooria

    3. Lalene
    4. My Lady, My Child
    5. Landscape For Future
    6. Starbright
    7. Vapallia
    8. Semblence
    Keith Jarrett
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Andando El Tiempo Andando El Tiempo Quick View

    $25.99
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    Andando El Tiempo


    Carla Bley: Piano

    Andy Sheppard: Tenor Saxophone, Soprano Saxophone

    Steve Swallow: Bass



    Andando el Tiempo features new music of wide emotional compass by Carla Bley, and underlines her originality and resourcefulness as a jazz composer. "Saints Alive!" sets up animated conversations between the participants with striking statements from Steve Swallow's bass guitar and Andy Sheppard's soprano sax. The stately "Naked Bridges/Diving Brides" draws inspiration from Mendelssohn and the poetry of Paul Haines. And the powerful three part title composition - which addresses the trials and tribulations of recovery from addiction - moves through sorrow to hopefulness and joy. The trio with Sheppard and Swallow has been an ideal vehicle for Carla's writing for more than 20 years and also provides one of the best contexts for her unique piano playing. Like the critically lauded ECM album Trios (2012), Andando el Tiempo was recorded at Lugano's RSI Studio and produced by Manfred Eicher.

    1. Gefion
    2. Copenhagen
    3. And They All Came Marching Out of the Woods
    4. White
    5. Lyskaster
    6. Airport Poem
    7. Oktober
    8. Ending
    Carla Bley / Steve Swallow / Andy Sheppard
    $25.99
    Vinyl LP - Sealed Buy Now
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