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  • Blue Moses (Speakers Corner) Blue Moses (Speakers Corner) Quick View

    $34.99
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    Blue Moses (Speakers Corner)

    Randy Weston - now an elderly gentleman and one of the few living witnesses and co-creators from the heyday of hard bop - still leaves his home in Brooklyn to tour through Africa, Europe and Asia. A truly multicultural man. His percussive style has been influenced in particular by the ethnic music of Morocco; his amazing sense for the sounds produced by North-African melodic and rhythmic instruments has enriched his music over many years.
    After seven years without making any recordings, Blue Moses was recorded in 1972 in Rudy Van Gelder's studio. Lengthy trips through North Africa and as far as the Niger, plus the ignorance of American record companies, were the reasons for the long pause. Finally the CTI producer Creed Taylor took an interest in Randy Weston and financed a large ensemble with Don Sebesky as arranger.
    The four themes provide a great basis for improvisations by the soloists, whereby the Randy Weston's piano takes the lion's share. The flute is also very prominent - and no wonder: it is played by Hubert Laws. It is quite possible that many jazz fans will have missed the name Randy Weston when flipping through the letter 'W' in record shops in the 70s. Now they have the opportunity to correct this mistake with this re-release



    Musicians:



    • Randy Weston (piano)

    • Don Sebesky (arranger)

    • Grover Washington Jr. (tenor saxophone)

    • Freddie Hubbard (trumpet)

    • Garnett Brown (trombone)

    • Alan Rubin (fluegel horn)

    • Hubert Laws (flute)

    • George Marge (english horn, clarinet, flute)

    • Ron Carter (bass)

    • Bill Cobham (drums)




    Recording: March & April 1972 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA
    Production: Creed Taylor





    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.



    1. Ifrane
    2. Ganawa (Blue Moses)
    3. Night In Medina
    4. Marrakesh Blues
    Randy Weston
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Percussion Record The Percussion Record Quick View

    $49.99
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    The Percussion Record

    The O-Zone Percussion Group consists of selected percussionists at Indiana University of Pennsylvania. Their conductor, Dr. Gary J. Olmstead, has been Director of Percussion studies at IUP since 1966. He received a Bachelor of Music degree from the University of Michigan, Master of Fine Arts degree from Ohio University and Doctor of Musical Arts degree from the Cleveland Institute of Music. He is recognized nationally as a leading percussion educator and is active as a performer, conductor, and clinician.


    Carl Adams has been a professor at Indiana University of Pennsylvania since 1979 teaching flute, jazz Improvisation and is a member of the IUP Faculty Woodwind Quintet. Active on both the classical and jazz scene, Adams has performed with the U.S. Military Academy Band, the Keystone Wind Ensemble and the Akron and Johnstown Symphonies. Solo recital appearances include the Kennedy Center, Wolf Trap, Carnegie Recital Hall and the Chautauqua Institution. He performs in a tri-state area with the Carl Adams Jazz Quartet and has appeared at the Pittsburgh Jazz Society, Nemacolin in Woodlands, Three Rivers Arts Festival, the Westin-William Penn (Pittsburgh) and in benefit concerts for the Westmoreland Symphony.


    James Rupp is a veteran of the great 'big bands' of Woody Herman, Maynard Ferguson and Glenn Miller, including tours of the United States and Europe. Jim has recorded television specials with the Woody Herman Orchestra and the Bobby Floyd Trio and live albums with the Woody Herman and Glenn Miller Orchestras.


    Jerry Tachoir is acclaimed by critics for his talent, versatality, and his studious grasp of the jazz idiom and brings an exciting and engaging dimension to his performances. He has been an active member of the Ludwig/Musser clinic staff since 1972. His most requested clinic features include improvisational techniques, harmonic awareness, and vibe technique.


    The connection of the percussion ensemble with jazz/rock/popular music seems a logical one given the inclusion of various percussion instruments as integral parts of this music. The drumset, of course, was present from the beginning of jazz and rock. The vibraphon has long been a favorite jazz instrument and the xylophone was a favorite ragtime solo instrument in the early part of the 20th century. Ethnic percussion instruments from Latin America, Africa and other cultures have long been used in the jazz/rock/pop Idiom.

    Musicians:

    Dr. Gary J. Olmstead, conductor

    Carl Adams, percussion

    James Rupp, percussion

    Jerry Tachoir, percussion

    1. Jazz Variants
    2. A Time for Jazz
    3. Highlife
    4. Atticus
    5. Suite for Drumset
    6. Conflict of Interest
    7. Rondo Barock
    8. La Bamba
    The O-Zone Percussion Group
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Percussion Direct (Awaiting Repress) Percussion Direct (Awaiting Repress) Quick View

    $49.99
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    Percussion Direct (Awaiting Repress)

    This album features a heavily percussion oriented programme spread over the four 45 rpm direct to disc sides with performances from Bill Cunliffe, Paulihno Da Costa, the Larry Karush Percussion Quartet and the Robin Cox Ensemble.


    One of LAs leading jazz pianists, Bill Cunliffe, teams up with the Brazilian master precussionist Paulihno Da Costa for bossa inspired instrumentals. The Larry Karush Percussion Quartet gives you a taste of world music flavoured jazz featuring tablas and frame drums. The music performed the quartet is an eclectic and dynamic mix of contemporary jazz and world music with tablas, congas and frame drum highlighted. A very special and sonically outstanding cut from the Santa Barbara-based contemporary classical group The Robin Cox Ensemble which features a line-up including violin, cello, bass clarinet, marimba and tablas and is super dynamic!


    Recorded and cut at the Bernie Grundman Mastering Studio under the watchful eye of Bernie Grundman himself. Produced by Joe Harley and Ying Tan and the balance engineer Scott Sedillo. Scott Sedillo has been behind the board for the recently released and widely praised new jazz albums from Straight-ahead Records.

    Side A: The Larry Karush Ensemble

    1. 7 Cha Cha


    Side B: Bill Cunliffe & Paulihno Da Costa

    2. Belinda

    3. Improvisation #2


    Side C: The Robin Cox Ensemble

    4. Square Feet


    Side D: The Larry Karush Ensemble

    5. Song For The New City

    6. Country

    Various Artists
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2LPs Sealed AWAITING REPRESS Buy Now
  • NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble Quick View

    $37.99
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    NDR 60 Years Jazz Edition No. 3 - Stephane Grappelli Ensemble

    Mono


    On the 17th of May 1957 StÉphane Grappelli came to Hamburg for a recording session with a quartet in Studio 1 of the Norddeutscher Rundfunk radio broadcaster. From today's perspective the trip was a rare event for the then 49-year-old jazz musician, because from the end of the 1940s until the mid-1960s he was rarely to be found in a recording studio anywhere, even though he was already one of the world's best jazz violinists. His studio absence is particularly puzzling given that up to his death on the 1st of December 1997 he was probably one of the most recorded violinists in the history of music of the 20th century. But from this roughly 15-year period there is actually just a handful of released recordings by and with StÉphane Grappelli.


    For the jazz violinist the years before making his trip to Hamburg in 1957 were a time of upheaval and change which left a "gap" in Grappelli's CV and discography. There are several reasons for this. One of them lies in the technical developments of the time. Music became louder. Electric guitars, improved microphones and the voluminous sound, in particular of the brass section, also led to a broadening of the dynamic spectrum in jazz. With its delicate acoustics it was difficult for a violin to assert itself against the other instruments without amplification. Before coming to Hamburg, Grappelli had already started experimenting with various pick-up systems. But he was generally dissatisfied with the results because the electrification of his instrument had an excessively alienating effect on the unique timbre of the violin and the ambience was lost. This is why he often preferred a chamber music setting in the recording studio, as this gave him the best acoustic results with just a simple microphone.


    Another reason was of a personal nature. On the 16th of May 1953 the Manouche guitarist "Django" Reinhardt died. The death of his long-time friend and musical companion had deeply wounded StÉphane Grappelli. He rarely spoke about this loss. When he did, then he spoke about the years between 1934 and 1939, when they both fronted the now legendary Quintette du Hot Club de France. It was the countless recordings with this band that earned Grappelli and Reinhardt their reputation as "legends" of early European jazz. Here and in the USA: with the then so popular Hot Jazz which the pair mixed from the very beginning of their percussionless band with the Musette waltzes typical of French dance music and the music of the Manouches, the French Gypsies.


    When the Second World War broke out on the 1st of September 1939, the Quintette du Hot Club de France was on tour in England. While one, Reinhardt, returned to his homeland of France, the other, Grappelli, remained in London. In his English exile the violinist became acquainted with George Shearing. An encounter with consequences. Because Grappelli - who had taught himself to play the violin as a youth before going to study classical violin at the venerable Conservatoire de Paris, after which, like many musicians of the time, he earned his livelihood playing with dance orchestras in the French capital - was always interested in being part of new musical developments. With the blind pianist who was more than ten years younger and his concept of block chords, Grappelli was given the opportunity to learn what was for him an unknown harmonic language in jazz.


    But above all, up to the late 1950s Grappelli was still working on perfecting his instrumental skills. While his solo choruses on the violin with the Quintette du Hot Club de France mainly involved intensifying ornamentations, tension-escalating vibrati, glissandi and tremoli, short fill-ups and improvised melodic phrases, in the years after the end of the war he expanded the range of forms of expression on his instrument. He was inspired, for example, by the "Bel Canto" playing of the classical violin virtuosos, taught himself different type of bow strokes, and learned an unusual grip technique for the violin in order to be able to fly over the strings with the minimum of pressure. But above all he emotionalised his sound using a technique with which he preceded the played notes with a glissando from below.


    StÉphane Grappelli's visit to Studio 1 at the Norddeutscher Rundfunk in Hamburg in 1957 was then indeed a stroke of luck. Because on this day he had for the first time the complete repertoire of forms of expression on the violin which made him the style-forming jazz musician who earned the admiration even of instrumentalists in other genres such as the great classical violinist Yehudi Menuhin. At the same time, his tone and phrasing still had the vitality and virility of his younger years with the Quintette du Hot de France in the 1930s. And even more: In 1957 he was able to build a bridge with his violin between the swinging grandezza of the US jazz musicians and the great tradition of European music.


    A major factor in making the recording session in Studio 1 of the NDR a field of experimentation for Grappelli was his rhythm group. This included his twenty-years-younger compatriot, the pianist Maurice Vander, and the two Germans Hans Last on the contra bass (yes, you've read it correctly: years later "Hans" was to become "James" Last) and Rolf Ahrens on percussion. With delicate harmony and colourful melody the three musicians cleared the ground for their leader to experiment with his violin: with his soft and broad legato bowing technique, for example, which allowed him to achieve such naturally swinging phrasing, particularly in the ballads and mid-tempo numbers, as the great US saxophonists at the time, with his sharp pizzicato which gave his solo choruses a dynamically differentiated energy level, or with his sensational flageolet tones in preparation for the climaxes of his improvisations.


    Even though at first glance the repertoire recorded in Hamburg with its mixture of songs from the "Great American Songbook" ("St. Louis Blues" for example, or "Lady Be Good" and "The Lady Is A Tramp") and pieces, for example, by Django Reinhardt (in particular "Manoir De Mes Rêves" and "Nuages") appeared to offer little spectacular, in its natural and self-evident way this studio session was an illustration of what was to be Grappelli's life-long guiding principle: "Jazz is all about feeling: It is a matter of the heart", as he once summarised it in simple words "It is only when you have the feeling that the music happens as if by itself."

    LP1
    1. Autumn In New York
    2. Jeepers Creepers
    3. These Foolish Things
    4. She's Funny That Way
    5. Nuages/Swing
    6. It Might As Well Be Spring
    7. Hambourg Souvenir
    8. Vours qui passez sans me voir
    9. Lady Be Good
    10. A Flower Is A Love-Some Thing


    LP2
    1. I Can't Believe That You're In Love With Me
    2. Manoir de mes reves
    3. How About You?
    4. The Lady Is A Tramp
    5. St. Louis Blues
    6. A Girl In Calico
    7. I'll Remember April
    8. Blue Moon
    9. How High The Moon
    10. Pennies From Heaven

    Stephane Grappelli
    $37.99
    Vinyl LP Mono - 2 LPs Sealed Buy Now
  • Ryonen Ryonen Quick View

    $18.99
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    Ryonen

    [Kid Millions] plays with a momentum and velocity that few can match and...a huge amount of soul. - The Quietus


    "Through a mix of consummate skill and quirky charm, [So Percussion] has helped to ignite an explosive new enthusiasm for percussion music old and new." - The New York Times


    Man Forever is an exploratory percussion project helmed by John Colpitts (aka Kid Millions), one of New York's most versitile and critically lauded collaborators and a founding member of Oneida. Since its inception in 2010, Man Forever has hosted an impressive list of guest performers, but few have been as specially qualified to perform Colpitts' technically challenging meditative workouts as So Percussion, the United States' premiere contemporary percussion ensemble. So Percussion has commissioned and premiered new compositions by Steve Reich and their interpretations of John Cage have revolutionized the legendary composer's cannon. Following a collaborative performance at the Metropolitan Museum of Art in New York in June of 2013, So and Colpitts entered the studio together to record Ryonen, two pieces that combine the former's precision and ingenuity with the latter's restless punk spirit. While previous Man Forever records were inspired by blissful, overwhelming confusion, Ryonen derives its power from its clarity and immediacy.


    The two pieces on Ryonen are rhythmically seductive and instantly exciting while retaining the experimental legacy that Man Forever has cultivated over several albums and relentless touring. "The Clear Realization" is an exploration in polyrhythm performed on two drums sets, two sets of bongos (an instrument Colpitts rediscovered while performing with Yo La Tengo on Late Night with Jimmy Fallon), a concert bass drum, snares, crash cymbals, and vocals. Each instrument is performing in a different time signature at the same tempo, creating a beat that is both propulsive and nonpredictive. "Ryonen" is more chaotic on the surface, but repetitions and rhythms hidden beneath the surface emerge with close listening. The drums are tuned to resonate with each other, creating a series of overtones that hover over the music and provide a baseline drone for the ensemble to harmonize with during the piece's dramatic climax.


    Colpitts continues to be one of the most in-demand drummers in New York. Throughout 2013 he toured as a member of Spiritualized, performed in duos with Greg Fox and Jim Sauter, recorded a record with Akron/Family, released an album with People of the North on Thrill Jockey, and performed with Rhys Chatham as a member of Oneida. So far in 2014 he has recorded an album with Rick Moody and is performing with William Basinski at the Ecstatic Music Festival in March. Man Forever will tour the US and Europe performing Ryonen.

    1. The Clear Realization
    2. Ryonen
    Man Forever with So Percussion
    $18.99
    Vinyl LP - Sealed Buy Now
  • Crouching Tiger Hidden Dragon - Soundtrack Crouching Tiger Hidden Dragon - Soundtrack Quick View

    $42.99
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    Crouching Tiger Hidden Dragon - Soundtrack

    Crouching Tiger, Hidden Dragon is the Original Soundtrack album of the 2000 Academy Award- and Golden Globe Award-winning film Crouching Tiger, Hidden Dragon starring Yun-Fat Chow, Michelle Yeoh, Ziyi Zhang and Chen Chang. The soundtrack was awarded at the Academy Awards, Grammy's and BAFTA Awards. The score was also nominated for a Golden Globe.


    The score was composed by Tan Dun, originally performed by Shanghai Symphony Orchestra, Shanghai National Orchestra, and Shanghai Percussion Ensemble. It also features many solo passages for cello played by Yo-Yo Ma. The ''last track'' (''A Love Before Time'') features Coco Lee. The orchestra's string section was accompanied by traditional Chinese instruments such as the bamboo flute and hand drum, and an ethnic Miao group.


    Dun is now a winner of today's most prestigious musical honors including the Grawemeyer Award for classical composition, a Grammy Award, an Academy Award and Musical America's ''Composer of The Year''.

    1. A Love Before Time* (Mandarin)
    2. Crouching Tiger, Hidden Dragon
    3. The Eternal Vow
    4. A Wedding Interrupted
    5. Night Fight
    6. Silk Road
    7. To The South
    8. Through The Bamboo Forest
    9. The Encounter
    10. Desert Capriccio
    11. In The Old Temple
    12. Yearning Of The Sword
    13. Sorrow
    14. Farewell
    15. A Love Before Time* (English)
    Yo-Yo Ma
    $42.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Musik Wie Von Einem Anderen Stern: Manger Test LP (Awaiting Repress) Musik Wie Von Einem Anderen Stern: Manger Test LP (Awaiting Repress) Quick View

    $59.99
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    Musik Wie Von Einem Anderen Stern: Manger Test LP (Awaiting Repress)

    The Manger LP test consists of 15 tracks, many of which are already known to the audiophile crowd. For example, tracks 11 and 12 are by Chesky Records, the well known Livingston Taylor selections. Track 3 is a Beethoven's Piano Sonata (# 8, C-Dur, Op. 13) by Denon/Nippon Columbia. Still from the same label is track #4 (from Denon Professional Test CD): Beethoven Ich liebe dich, Hermann Prey. Then there's something from Philips, Klavier Records, Divox Jazz etc.


    The quality of the chosen tracks is excellent, as one may expect from a test disc. The Manger LP test offers different kinds of music, from classical to jazz and light pop. Each track is meant to test a particular instrument or musical genre, so you have track no. 8 which is devoted to classical guitar (Capriccio Arabo), track no. 9 for double-bass, track 12 for an acapella choir and so on.


    The last track of the disc is devoted to a percussion ensemble (The O-Zone Percussion Group), always very useful to test rise-time, decays and macrodynamics. This audiophile test LP is very interesting, reasonably priced and with a good selection of excellently recorded tracks.
    LP 1
    1. Volles Gelaut (Gutesloher Glocken)
    2. Der Himmel Deckt Alles Mit Stille Zu (Horspiel, SWF)
    3. Sonata No. 8, C-Moll, Op. 13 (Beethoven) (Bruno-Leonardo Gelber)
    4. Ich Liebe Dich (Beethoven) (Hermann Prey)
    5. Der Winter Aus Die 4 Jahreszeiten, 3. Satz (Vivaldi) (Sonatori De La Gioiosa Marca)
    6. Sinfonie No. 67, F-Dur, 1. Satz (Haydn)(Leipziger Gewandhausorchester)
    7. Pulcinella, Tarantella (Stravinsky)(Berliner Philharmoniker)
    8.Ghazali (Renaud Garcia-Fons)


    LP 2
    1. Tarrega: Capricho Arabe (Stefano Grondona)
    2. Pavane (Faure) (The Treya Quartet)
    3. Isn't She Lovely (Livingston Taylor)
    4. Grandma's Hands (Livingston Taylor)
    5. Walking On The Moon (The Yuri Honing Trio)
    6. Jazz Variants (The O-Zone Percussion Group)
    7. The Cost Of Freedom (Marla Glen)

    Various Artists
    $59.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
  • Music For Bang, Baaroom, And Harp Music For Bang, Baaroom, And Harp Quick View

    $34.99
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    Music For Bang, Baaroom, And Harp

    Analogue Productions and Quality Record Pressings bring you this remastered and improved pressing so that a whole new generation of audiophiles and even casual music lovers can discover for themselves the wizardry, wit and wonder that is Music for Bang, Baaroom and Harp!


    Remastering and lacquer cutting by Ryan Smith at Sterling Sound from the original 3-track tapes


    200-gram pressing by Quality Record Pressings!


    Little did any of us who were involved in the planning and recording of Music for Bang, Baaroom and Harp know, back in 1958, what an impact this album would have on the record industry and how it would effect my career, writes Dick Schory, about the audiophile instrumental classic, the first stereophonic recording in the industry to be classified a Best Seller.


    Now, revel in the enhanced clarity and sonic richness of a 200-gram pressing by Quality Record Pressings, and remastering and lacquer cutting by Ryan Smith at Sterling Sound, giving this classic a fresh, vibrant appeal. The superb remastering from the original 3-track master tapes brings out subtleties of the instruments, arrangements, performance and ambiance of Chicago's Orchestra Hall lacking from the original pressing and subsequent versions.
    >[?
    The concept for this album is simple: Dozens of standard and exotic percussive instruments (re: manifold from a 1946 Chevrolet) were employed in original and standard tunes arranged by Schory, Bobby Christian, Mike Simpson, Willis Charkovsky and Skitch Henderson, who at the time was musical director for NBC's Tonight Show. Three tracks are of particular note: the quirky Tiddley Winks and the exotic Baia and Typee. The jacket, depicting Schory poking out from a pile of instruments, is a classic of LP art.


    The recording, utilizing RCA Victor Record's Red Seal Classical Division's equipment - the same used to record the Chicago, Philadelphia and Boston Symphony orchestras at the time - was recorded in Chicago's Orchestra Hall on June 2 and 3, 1958. Two custom Ampex 300-3 half-inch 3-track tape recorders, running at 15 and 30 inches a second, captured the performances by eight percussionists together with other performers from the Chicago Symphony on piano, string bass, guitar, banjo and harp.

    1. National Emblem March
    2. B aía
    3. Way Down Yonder In New Orleans
    4. Ding Dong Polka
    5. April In Paris
    6. Holiday In A Hurry
    7. Buck Dance
    8. Duel On The Skins
    9. September In The Rain
    10. Tiddley Winks
    11. The Sheik Of Araby
    12. Typee
    Dick Schory's New Percussion Ensemble
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Daxaar Daxaar Quick View

    $19.99
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    Daxaar

    This legendary jazz drummer (and former Black Panther) has played with the likes of Brown, Coltrane, Davis, Kuti, Sun Ra, and many more. He's also one of the most joyful and hopeful people on earth, still optimistic that bringing music to the people can help solve the world's problems. Daxaar is a series of improv sessions recorded with longtime collaborator and producer Kieran Hebden (Four Tet) on electronics. The ensemble also consists of keyboards, guitar, bass, trumpet, and percussion. The title is from an earlier spelling of Dakar, the Senegalese city where the album was made. ...nuanced afro-jams of hypnotic power - Q.
    1.Welcome
    2.Daxaar
    3.Jiggy Jiggy
    4.Dabronxxar
    5.Big G's Family
    6.Don't Look Back
    Steve Reid Ensemble
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Clearing The Clearing Quick View

    $19.99
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    The Clearing

    Rachel Grimes is a pianist, composer, and arranger
    based in Kentucky - most renowned for her work in
    Rachel's, the groundbreaking chamber-rock ensemble
    that introduced an entire generation of underground rock
    fans to the unexpected similarities and appeal of
    neoclassical music. Grimes has toured the world as a
    solo pianist, and as a collaborator with chamber
    ensembles such as Portland Cello Project, astrïd,
    Cicada, the Amsterdam Sinfonietta trio, and Orchestra
    Kandinskij.


    Unhurried, at times fleeting, and stretching into the sky,
    The Clearing is a winding path of transient moments
    exploring personal memory, relationships, and mystery
    from a deeply internal place. The music is a wide
    spectrum of textures in strings, harp, piano, woodwinds,
    and percussion. Featuring an ensemble that includes
    Scott Morgan (LOSCIL), Scott Moore, Kyle Crabtree
    (Shipping News), Amsterdam Sinfonietta, Jacob
    Duncan (Liberation Prophecy), and Helen Money, The
    Clearing reveals a broad new chapter for Rachel
    Grimes.

    1. The Air
    2. The Clearing
    3. The Air of Place
    4. The Herald
    5. The Air in Time
    6. In the Vapor With the Air Underneath
    7. Transverse Plane Vertical
    8. Transverse Plane Horizontal
    9. The Air, Her Heart
    10. Further Foundation
    11. The Air at Night
    Rachel Grimes
    $19.99
    Vinyl LP - Sealed Buy Now
  • Stravinsky: Les Noces (Speakers Corner) Stravinsky: Les Noces (Speakers Corner) Quick View

    $34.99
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    Stravinsky: Les Noces (Speakers Corner)

    Although ten years separate the gigantic composition Le Sacre du Printemps and the dance cantata Les Noces, the more recent work has several things in common with its scandalous predecessor. Originally Stravinsky planned to use a vast orchestra of 150 musicians, but decided after numerous attempts to settle for four pianos, percussion, voices and mixed chorus.


    Concealed behind the innocuous title is not a peasant wedding but once again an archaic ritual, »which takes possession of several of the central figures, drives them on and eventually crushes them with its unrelenting movement« (AndrÉ Boucourechliev, Igor Stravinski, Fayard 1982). Ballet, rhythmic dance through and through, fuses with Russian melodic song and thereby exudes a folkloristic exoticism.


    Rarely performed yet zestful and a sheer delight for the ears is the burlesque tale Renard, a musical fable about Reynard the crafty Fox, the Cock, the Cat, and the Ram.
    Stravinsky himself conducted this recording made with a grand line-up of America's top composers at the piano keyboard - Samuel Barber, Lukas Foss, Aaron Copland and Roger Sessions. One certainly can't ask for more authenticity on record than these contemporary witnesses.


    Musicians:



    • Columbia Chamber and Percussion Ensembles

    • Igor Stravinsky (conductor)




    Recording: September 1962 at American Legion Hall, Hollywood, and January 1962 at Manhattan Center, New York, by Edwin Michalski
    Production: John McClure




    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.

    1. Les Noces ("The Wedding")
    2. Renard ("The Fox")
    3. Ragtime For Eleven Instruments
    Stravinsky
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Bartok: Concerto For Orchestra Bartok: Concerto For Orchestra Quick View

    $34.99
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    Bartok: Concerto For Orchestra

    RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!


    Remastered and cut at 33 1/3 RPM by Ryan Smith at Sterling Sound


    Lacquers plated by Gary Salstrom and pressed on 200-gram vinyl at Quality Record Pressings!


    Since its original release on LP in the mid-1950s, Fritz Reiner's rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured. Reiner's superb control of his orchestra and of Bartók's rhythms and textures is still unsurpassed, even by dozens of subsequent conductors in the digital age. Likewise, the Music for Strings, Percussion, and Celesta shows just what an incredible ensemble the Chicago Symphony was under Reiner's direction. The original 2-track session tapes were used in mastering for this LP.

    1. Introduzione: Andante non troppo: Allegro vivace
    2. Giuoco delle copple: Allegretto scherzando
    3. Elegia: Andante non troppe
    4. Intermezzo interrotto: Allegretto
    5. Pesante: Presto
    Fritz Reiner with the Chicago Symphony Orchestra
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • KC & The Sunshine Band (Awaiting Repress) (On Sale) KC & The Sunshine Band (Awaiting Repress) (On Sale) On Sale Quick View

    $24.99 $22.49 Save $2.50 (10%)

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    KC & The Sunshine Band (Awaiting Repress) (On Sale)

    Numbered Limited Edition



    Guilty Pleasure Records Don't Come Better Than This Freewheeling 1975 Set



    Party On: Smash Hits Get Down Tonight, That's the Way (I Like It), Boogie Shoes Are All Here



    Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): Wait Until You Hear How Deep and Low the Grooves Go



    It's okay to admit it. While few openly confess their love for KC and the Sunshine Band, who among us doesn't light up the instant that the super-catchy Get Down Tonight or giddy sing-a-long invitation That's the Way (I Like It) begins to play? Yeah, just by reading that last sentence, it's likely you're already humming the tune in your head, or feeling a twitch in your feet. The music is that addictive. And that universally recognized. It's time you finally enjoy it on a pressing that brings everything that's been buried in those deep grooves to the surface.



    Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (the best record plant in North America), Silver Label numbered limited edition LP presents the 1975 triple-platinum smash in the absolute best sound it's ever had. The ensemble's brassy horns, funky guitars, tropical percussion, and snappy vocals take their respective place amidst a gargantuan soundstage that, in your listening room, will double as a discotheque. Get your dancing shoes ready!



    Coming from a musical strain then known as the Miami Sound, KC and the Sunshine Band perfected its mix of boisterous rhythms, disco-floor grooves, slick funk riffs, R&B hooks, carefree choruses, and dance commands on this self-titled release. The world immediately took notice. Focused on nothing but fun, letting go, and channeling feel-good emotions, the group revolutionized pop music by getting even the most hardened, resistant rock purists to embrace its appeal.



    There isn't a better record with which to start or continue a party. Synonymous with celebrations, commemorations, and just blowing off steam, mega-hits That's the Way (I Like It) and Get Down Tonight transcend boundaries and generations. If youâre within earshot, you will get up and dance. In addition to being utterly irresistible songs, guilty pleasure or not, the fare on KC and the Sunshine Band qualifies as simply great pop, the arrangements, playing, and consistency as good as it gets. As for the grooves? Man, keep 'em flowing.



    Rather than live in secrecy or settle for an inferior version, go ahead, indulge yourself, and grab this 70s classic on remastered, audiophile-grade vinyl. You'll be surprised at the amount of new information that's revealed, whether it's the depth of the low frequencies or timbrel properties of the horns.


    This title is not eligible for further discount.

    1. Let It Go (Part One)
    2. That's the Way (I Like It)
    3. Get Down Tonight
    4. Boogie Shoes
    5. Ain't Nothin' Wrong
    6. I'm So Crazy ('Bout You)(Casey, Finch, Willie Clarke)
    7. What Makes You Happy
    8. I Get Lifted
    9. Let It Go (Part Two)
    KC & the Sunshine Band
    $24.99 $22.49 Save $2.50 (10%)
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Dreamland Dreamland Quick View

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    Dreamland

    Natalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.


    Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.


    I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'


    The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.


    Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.


    The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.


    Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.


    They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.


    Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.

    1. Mississippi River
    2. Losing You
    3. Dreamland
    4. Coyotes
    5. Cannonball
    6. Giving Up On You
    7. It Was You
    8. Throw Down Your Guns
    9. The One That Got Away
    10. Our Love Will Survive
    11. Rock & Roll Angel
    Wild Belle
    $19.99
    Vinyl LP - Sealed Buy Now
  • Convivencia Convivencia Quick View

    $18.99
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    Convivencia

    A Southern Californian garage-band influenced by music of the Latin American diaspora? Forty years ago that might have described a psych outfit, or an ensemble that emulated Santana. In 2009 it describes a wondrous little combo who has returned to Latin jazz's raw, minimalist roots and have recorded an album drenched in history, yet defiantly modern: Convivencia.


    Triorganico - Pablo Calogero on saxophones and woodwinds, Ricardo Tiki Pasillas on percussion and Fabiano do Nascimento on guitar - formed in Calogero's garage. We would simply get together to listen to music, write music, share ideas the Rio de Janeiro bred do Nascimento states.


    The band set up a weekly residency in Downtown LA, playing a variety of original compositions and cover songs from their favorite musicians. Songs by Brazilian legends featured prominently. The idea to record happened organically and using what the group describes as guerrilla tactics. The result is wholesome album that rambles purposefully through the wonders of Brazilian bossa nova influenced jazz and spreads into the musical melting pots at the center of its creator's multi-cultures.

    1. El Commendante
    2. Correndo
    3. Kathy
    4. Ginga Carioca
    5. Tempo De Amor
    6. Amphibious
    7. 25 De Octobro Nostalgia
    8. Tiki's Take
    9. January 11th
    10. December 23rd
    11. Nana
    12. After Thought
    13. Balloons
    14. Cosita One
    15. Cosita Two
    16. Cosita Three
    17. Cosita Four
    18. Cosita Five
    Triorganico
    $18.99
    Vinyl LP - Sealed Buy Now
  • The Edge Of Forever The Edge Of Forever Quick View

    $19.99
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    The Edge Of Forever

    Limited To 500


    The Edge of Forever is a chamber opera in five
    scenes, with 38 minutes of music scored for a single
    tenor singer, a chorus of four female voices, and
    an eclectic ensemble comprised of two conch shell
    trumpets, woodwinds, strings, various standard and
    non-traditional percussion, and features eight sine tone
    oscillators played through a mixing board. The musical
    influences for The Edge of Forever include the avantgarde
    New Music tradition, ancient music and tuning
    systems, sound healing practices of the Californian New
    Age movement, and Spiritual/Free jazz from the 1960s
    and 1970s.


    The release is the second collaboration between
    composer Lewis Pesacov and librettist Elizabeth Cline.


    The recording will be in a limited edition series of 500
    vinyl records. Included is a booklet insert with synopsis,
    libretto, photo documentation, and text by the librettist,
    composer and The Industry's Artistic Director Yuval
    Sharon.

    1. Scene 1: Procession of Scribes "Heart of Sky, Heart of Earth"
    2. Scene 2: Entre'acte
    3. Scene 3: "Expanse of Time"
    4. Scene 4: "Ripples, Murmurs, Ripples, Sighs, Ripples, Hums"
    5. Scene 5: "From Stone and To Forever"
    Lewis Pesacov
    $19.99
    Vinyl LP - Sealed Buy Now
  • Planetarium Planetarium Quick View

    $29.99
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    Planetarium

    Planetarium is a concept album that occasionally gives way to ambient interludes and majestic brass chorales, buttressed by a percussive drive that keeps the momentum skyward. In spite of all the experimentation in sound and style, Sufjan's vocals provide a clear and coherent center of gravity. The album includes some of his most diverse vocal performances to date (from soft hush to guttural scream), and whether he's singing through effects pedals, vocoders, auto-tune or not, his voice delivers an ambitious flight map through the cosmos. Planetarium is an album co-composed by four musicians: Bryce Dessner, James McAlister, Nico Muhly, and Sufjan Stevens.


    Flanked by a string quartet and a consort of seven trombones, this unique collaborative ensemble has assembled an expansive song cycle that explores the Sun, the Moon, the planets and other celestial bodies of our solar system (and beyond) through soundscape, song, science and myth. The result of this creative alliance is a musical and aesthetic journey as far-reaching as its subject: from lush piano ballads to prog-rock political anthems, curious electronic back-beats to classical cadenzas, the vast musical styles seek to explore the diversity and mystery of our cosmos. The subject of the album is not just the wilderness of outer space, but the interior space of human consciousness and how it engages.

    LP 1
    1. Neptune
    2. Jupiter
    3. Halley's Comet
    4. Venus
    5. Uranus
    6. Mars
    7. Black Energy


    LP 2
    1. Sun
    2. Tides
    3. Moon
    4. Pluto
    5. Kuiper Belt
    6. Black Hole
    7. Saturn
    8. In The Beginning
    9. Earth
    10. Mercury

    Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister
    $29.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Last Ex Last Ex Quick View

    $25.99
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    Last Ex


    180 Gram Audiophile Pressing Includes Art Print
    Poster


    Last Ex is the new instrumental rock ensemble led by Simon Trottier and
    Olivier Fairfield, long active in Quebec's experimental/punk scene, though
    perhaps best known as core members of Timber Timbre, which spawned the
    Last Ex project.


    Last Ex is the new instrumental rock ensemble led by Simon Trottier and
    Olivier Fairfield, long active in Quebec's experimental/punk scene, though
    perhaps best known as core members of Timber Timbre, which spawned the
    Last Ex project.


    Constellation knew nothing of this back story when the label received the
    Last Ex demos in spring 2014; we just heard a compelling, compact, coherent,
    highly evocative instrumental album that kept worming its way into our ears.
    By the tenth time someone in the office said Let's play that Last Ex stuff
    again - and everyone enthusiastically agreed - it was time to contact the
    band. This music belonged in the Constellation catalogue: an instrumental
    rock album of superb compositional and melodic sensibility, balancing
    minimalism and restraint with atmosphere and tone, bound by a refreshingly
    original approach to production.


    Last Ex makes ample use of the electric guitar as both lead instrument and
    textural sound source, structuring most of the pieces around deliberate
    melodic and contrapuntal deployments of Spaghetti Western twang, while
    distressing, degrading and redeploying those sonics through Fairfield's analog
    tape-based manipulations. Trottier takes on most of the guitar duties, with
    Timbre Timber's Taylor Kirk contributing on a couple of tunes as well. Tight
    bursts of trap set rhythms played by Fairfield, and usually captured with just a
    couple of microphones, along with consistently excellent basslines laid down
    by both Simon and Olivier, propel the album and make this anything but an
    ambient listen. Strings appear on several pieces, courtesy Mika Posen (also of
    Timber Timbre), in a wide range of textures and treatments.


    With its combination of assured lyricism, cinematic guitars, dusky analog
    atmospherics and taut percussion, this is a vivid, concise and expressive
    instrumental album that sits snugly between fellow label acts Do Make Say
    Think and Exhaust on the one hand, Hrsta, Tindersticks and Evangelista on the
    other. Fans of early Trans Am, early/mid Tortoise, Calexico and (obviously)
    Timbre Timber should appreciate this as a very satisfying grower of an album
    as well. Thanks for listening.

    1. Hotel Blues
    2. Girl Seizure
    3. Flûte magique
    4. It's Not Chris
    5. Resurrection Drive Part I
    6. Nell's Theme
    7. Trop tard
    8. Cape Fear
    9. CitÉ d'or
    10. Hotel Blues Returns
    11. Hotel Kiss

    Last Ex
    $25.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Obscure Department The Obscure Department Quick View

    $40.99
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    The Obscure Department

    In the follow-up to his acclaimed debut "Woodland
    Conspiracy", the guitarist and singer-songwriter Robert
    Coyne has now released his second album on the Meyer
    Records label, entitled The Obscure Department.


    Featured on the cover next to Robert Coyne is Jaki Liebezeit, the legendary
    Can drummer and percussionist, who has collaborated with the son of the
    British multitalent Kevin Coyne on this latest 12-track offering. Supported by
    Liebezeit's subtle, yet incisive drumming, the simplicity and intimacy of
    Coyne's lyricism, together with his mellifluous and sophisticated vocals,
    combine to conjure a compelling and evocative sound. A fascinating and
    highly successful experiment.


    Jaki Liebezeit is a drummer probably best known as a founding member of
    Can who has been called one of the few drummers to convincingly meld
    the funky and the cerebral. ,,In the mid-1960s, he was part of Manfred
    Schoof's quintet, who were early exponents of European Free Jazz.


    He subsequently moved towards the new possibilities being opened by
    psychedelic music as a member of Can. His drumming was prominent in the
    band's sound, particularly in his much-admired contribution to the side-long
    Halleluhwah on Tago Mago. Liebezeit is best known for his exceptional
    metronome style of playing; other members of Can have suggested that
    he sounds as though he is half man, half machine.


    In 1980, he became a member of Phantomband, and has formed drum
    ensembles such as Drums off Chaos and Club off Chaos. Later he recorded
    with numerous musicians, such as Jah Wobble and Philip Jeck, with whom
    he produced an album for Jah Wobble's 30 Hertz Records, and has
    contributed drums and percussion to many albums as a guest throughout
    the years, such as the Depeche Mode album Ultra and Brian Eno's album
    Before and After Science. Recently, he has worked with Burnt Friedman on
    the Secret Rhythms albums and with Schiller on the Atemlos album.

    1. Signature Song
    2. Delicate Flower
    3. Dove Of Peace
    4. The Wonder Of Me
    5. Why Would I Remember You
    6. Interlude
    7. 21st Century Magic
    8. White Residue
    9. Masterclass
    10. Laugh Now
    11. Coda
    12. The Obscure Department
    Robert Coyne With Jaki Liebezeit
    $40.99
    Vinyl LP - Sealed Buy Now
  • Sorcerer (On Sale) Sorcerer (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    Sorcerer (On Sale)


    1967 Post-Bop Classic the Third of Five Albums from Miles' Prized Second Quintet


    Mastered from the Original Master Tapes: Sorcerer Has Never Sounded More Dynamic, Present, Warm, or Tonally Rich


    Mood, Inflection, and Nuance Take Center Stage on Compositions Steeped in Sophisticated Expressionism


    Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis' legendary second quintet-and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz-the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity's definitive 45RPM pressing.


    Mastered from the original master tapes and pressed on 180g 45RPM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set's warm compositions together are rendered with utmost realism.


    This is a reference-standard reissue. You'll hear poetic lyricism pouring out of Wayne Shorter's horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams' rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock's piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer.


    Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad "Pee Wee," an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another's moves with guile and purpose. The opening "Prince of Darkness" showcases the ensemble's reach and communication, every musician going in seemingly different directions yet ending up on the same page.


    A lasting example of Davis' visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing "Nothing Like You"-a brief tribute to Davis' eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough-the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history. Mobile Fidelity is proud to give the record the treatment it's long deserved.


    This title is not eligible for further discount.

    1. Prince of Darkness
    2. Pee Wee
    3. Masqualero
    4. The Sorcerer
    5. Limbo
    6. Vonetta
    7. Nothing Like You
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45 RPM - Sealed Buy Now
  • Fleetwood Mac (45 RPM) Fleetwood Mac (45 RPM) Quick View

    $44.99
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    Fleetwood Mac (45 RPM)

    Ranked 183/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    Sonic Sensation: Cut from the Original Analog Master Tapes at Bernie Grundman Mastering


    1975 Set Fleetwood Mac's Commercial and Creative Breakthrough: 1st Album With Stevie Nicks and Lindsey Buckingham


    Includes Hits Over My Head, Rhiannon, Say You Love Me and Staples Landslide and Monday Morning


    An Audiophile Blockbuster: Don't Pass Up One of the Most Essential Rock-Pop Albums Ever Recorded on this Absolutely Lifelike-Sounding Pressing


    The Chain, for all intents and purposes, starts here. Few, if any bands in history, experienced a rebirth on par with that of Fleetwood Mac, which partially accounts for why this 1975 set is self-titled. With the addition of Stevie Nicks and Lindsey Buckingham finally solidifying the ensemble's rotating lineup, the record signifies a new beginning, a rejuvenated sound, and a melodic purpose that quickly helped the co-ed group become the biggest band in the world.


    Recorded in three months and aided by a surfeit of material brought to the fold by Nicks and Buckingham, Fleetwood Mac is a monster album, a five-million-plus-selling effort that set a new record for the amount of weeks spent on the Billboard charts before finally hitting number one and the home to Top 40 singles Over My Head, Rhiannon, and Say You Love Me. Moreover, it marks the introduction to the chemistry, interplay, and connectivity established by a quintet whose singing, songwriting, and harmonizing abilities at the time hadn't a peer.


    The first of three consecutive landmark Fleetwood Mac recordings, this refreshing rock-pop landmark opened the floodgates of commercial success, crossing over to both AM and FM radio and steadily winning coverts all across the world. The reasons relate to the impeccable selection of songs and heartfelt performances, whether it's Nicks' unforgettable reflectiveness on Landslide, Buckingham's warm pleas on Say You Love Me, or the cozy romp of Monday Morning, fittingly a lead-off number that related to the emotional games and pain that would characterize so much of the band's iconic work.


    Cut at Bernie Grundman Mastering from the original analog tapes and pressed at 45RPM, this version presents the music in the absolute best fidelity it's ever (and ever will) enjoyed. As realistic, dynamic, wide-open, organic, and airy as the critically acclaimed pressing of Rumours, this deluxe set portrays the fingerpicked acoustic guitars, swelling choral voices, jazzy percussion, and every last breath of the lead singing turns with utmost transparency.


    Nostalgia for albums recorded in the mid-70s will immediately come to light, as this pressing simply glows and presents the listeners with scads of information that even those that have heard this masterpiece hundreds of times have never noticed.

    1. Monday Morning
    2. Warm Ways
    3. Blue Letter
    4. Rhiannon
    5. Over My Head
    6. Crystal
    7. Say You Love Me
    8. Landslide
    9. World Turning
    10. Sugar Daddy
    11. I'm So Afraid
    Fleetwood Mac
    $44.99
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
  • Ben Sollee And Kentucky Native (Pre-Order) Ben Sollee And Kentucky Native (Pre-Order) Quick View

    $19.99
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    Ben Sollee And Kentucky Native (Pre-Order)

    Acclaimed cellist, composer, songwriter and activist Ben Sollee announces the release of Ben Sollee And Kentucky Native via Soundly Music. Tracing the origins of a traditional American genre back to early immigrants, Sollee takes a nontraditional approach, blending the influences of early Irish and Scottish musicians with the rhythms of Mexico, Africa, and India. This album is Sollee's most personally revealing work and a reflection of his native Kentucky, a place like many others, that's still helping refine the ever-changing Bluegrass genre.

    Inspired by the interactions and collaborations of string musicians from all walks of life, Sollee and his bandmates recorded twelve songs in a cabin at the Bernheim Arboretum and Research Forest in Clermont, KY. Each song was captured live as an ensemble with a mobile, analog studio and with just a few overdubs. Together, they thoughtfully reimagined a revered style with world music characteristics. The moving arrangement of Carrie Bell features syncopated African-influenced rhythms, which contrast Sollee's melodic cello. Drawing inspiration from this side of the globe, Mechanical Advantage is built on the foundations of the Huapango musical-dance genre in Mexico. Sollee's vision, influenced by the people, culture, and environment around him, is elevated by lyrics reflecting life and human nature.

    Pieces Of You is a compelling and idealistic composition inspired by Sollee's friendship with conceptual artist Louis Zoellar Bickett II and his art exhibit 'The Archive.' The piece, which shows no distinction between personal mementos and trash, reminds Sollee of everyday artifacts in his life. Objects like a U.S. Postal name badge given to him by his grandfather and the marked-up sheet music from his first cello teacher could be considered worthless, but to Sollee, each has a story. In Presence which is perhaps the most poetic and personal, he shares a personal affinity for lying on his back in the deep end of a pool finding solace in the peacefulness of the water, before the need to come back to the surface. Just like that, he is thrown back into the frenetic pace of the real world and existence.

    Ben Sollee and Kentucky Native was produced by Alex Krispin. Musicians on the album include Jordon Ellis (Percussion), Bennett Sullivan (Banjo), Julian Pinelli (Fiddle), Jonathan Estes (Bass), Josh Hari (Bass) and Jonah Smith (Background Vocals). Sollee wrote all but two songs on the album (Emily's Song and Carrie Bell).

    1. Carrie Bell
    2. Presence
    3. Mechanical Advantage
    4. Eva Kelley
    5. The Holdout / Speed Breaker
    6. Pieces of You
    7. Two Tone Gal
    8. Well Worn Man
    9. Emily's Song
    10. Moon Miner
    11. The Wires
    Ben Sollee
    $19.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Pronounced Leh-nerd Skin-nerd (On Sale) Pronounced Leh-nerd Skin-nerd (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Pronounced Leh-nerd Skin-nerd (On Sale)

    Ranked 401/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.


    The South Rises Again: Bluesy, Hard-Rocking 1973 Debut Raised Southern Rock Flag


    Landmark Release Includes Ageless "Free Bird," "Tuesday's Gone," "Gimme Three Steps," "Simple Man"


    Rawness Never Felt So Real: Mobile Fidelity LP Affords Triple-Guitar Array, Gritty Lead Vocals Plentiful Space and Rich Tonalities


    Forget, for a moment, "Free Bird." Consider, instead, the authentic down-home rowdiness, distinctive first-person narratives, searing triple-guitar front, gritty vocals, and bluesy boogie bluster. And the undeniable youthful hunger pumping through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, Pronounced Leh-nerd Skin-nerd bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock.


    Half-speed mastered from the original master tapes and pressed on 180g LP at RTI, Mobile Fidelity's vinyl edition of the Floridian group's ground-shaking debut is the equivalent of having access to the band's amplifiers and producer Al Kooper's control boards in the studio. Affording palpable spaciousness to each of the instruments, expanding the dynamic range, and clearing away previous tonal congestion, this version presents the septet's raw, honest tunes in the most direct, hard-hitting sound they've ever enjoyed. It lays waste to all prior reissues-none of which on LP went back to the master tapes.


    Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group's rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973.


    It's at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches-twinkling piano notes, soaring mellotrons, a one-off harmonica-provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant's comfortable gruffness and way of expressing local customs.


    Whether it's the them's-fightin'-words edginess of the humorous albeit entirely believable Southern-etched yarn "Gimme Three Steps," which sails on a triple mast of six-string exchanges and clicks heels to a trotting percussive beat that doubles as the sound of cowboy-boot heels, or the spiritual pleas and lived-in wisdom echoed on the barbed-wire balladry of "Simple Man," Pronounced Leh-nerd Skin-nerd burns with forthright and freewheeling desire, rebellious and sincere earnestness. Seen from either a lyrical, musical, or performance perspective, there's not a wasted second or awkward moment to be found.


    Then, of course, there's the sugary drip of Van Zant's political ragtime-referencing affair "Things Goin' On," bluegrass-tinted swing of "Mississippi Kid," and swampy get-go of "Poison Whiskey." They all lead up to the epic "Free Bird," a greasy slide-guitar anthem that no matter how many times it's played or requested in jest, never loses its power to grip the listener's emotions like an iron vice. What a record.


    This title is not eligible for further discount.

    1. I Ain't the One
    2. Tuesday's Gone
    3. Gimme Three Steps
    4. Simple Man
    5. Things Goin' On
    6. Mississippi Kid
    7. Poison Whiskey
    8. Free Bird
    Lynyrd Skynyrd
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • E.S.P. (On Sale) E.S.P. (On Sale) On Sale Quick View

    $49.99 $44.99 Save $5.00 (10%)

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    E.S.P. (On Sale)

    Numbered, Limited Edition


    Pressed At RTI


    A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.


    Pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.


    For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here - notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time - and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.


    As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.


    Interlocking lines drive Little One, alternating rhythms pulse through the funky Eighty-One, melodies soar on the balladic Iris, the aptly titled Mood broods over minor-key structures, and Agitation - goosed by a two-minute percussive introduction by Williams - delivers on its promise. No record - and no group of musicians - have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.


    This title is not eligible for further discount.

    1. E.S.P.
    2. Eighty-One
    3. Little One
    4. R.J.
    5. Agitation
    6. Iris
    7. Mood
    Miles Davis
    $49.99 $44.99 Save $5.00 (10%)
    180 Gram Audiophile Virgin Vinyl LP 45RPM - 2 LPs Sealed Buy Now
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