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  • Sweet Sister Funk (Pure Pleasure) Sweet Sister Funk (Pure Pleasure) Quick View

    $34.99
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    Sweet Sister Funk (Pure Pleasure)

    From the mid to late 60's the producer Sonny Lester was at the helm of some of the period's most significant jazz music (Thad Jones-Mel Lewis Orchestra, Chick Corea, Duke Ellington's 70th birthday concert) and also some of the genre's biggest hits (mostly from organist Jimmy Mcgriff). With the folding of the Solid State label in 1971 Sonny Lester formed the aptly named Groove Merchant label (named after the tune Jerome Richardson wrote for the Jones-Lewis Orchestra). He then produced some of the periods most notable soul/jazz, jazz/fusion from the likes of McGriff, Richard Groove Holmes, Reuben Wilson, Lonnie Smith to name but a few.



    This gem of an album from Ramon Morris, and one of the hardest to find on Groove Merchant, was recorded during what many people would consider to be the classic period for this particular brand of jazz/funk/soul/fusion. It was recorded not long after he'd spent time with Art Blakey as a Jazz Messenger appearing on his 1972 Prestige album Child's Dance along with Stanley Clarke and Woody Shaw. He then also recorded on the Woody Shaw album, also from 1972, Song Of Songs.



    He now teaches at Carnegie-Mellon University in Pittsburgh, Pa.



    Musicians:



    • Ramon Morris (tenor saxophone)

    • Albert Dailey (electric piano)

    • Mickey Bass (bass)

    • Mickey Roker (drums)

    • Cecil Bridgewater (trumpet)

    • Lloyd Davis (guitar)

    • Tony Waters (conga)




    Recording: 1972

    Production: Sonny Lester



    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. First Come, First Serve
    2. Wijinia
    3. Sweet Sister Funk

    4. Sweat
    5. Don't Ask Me
    6. Lord Sideways
    7. People Make the World Go Round
    Ramon Morris
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sugar (Pure Pleasure) Sugar (Pure Pleasure) Quick View

    $34.99
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    Sugar (Pure Pleasure)

    If ever there were a record that both fit perfectly and stood outside the CTI Records' stable sound, it is Sugar by Stanley Turrentine. Turrentine, a veteran of the soul-jazz scene since the '50s, was accompanied by a who's who of groove players, including guitarist George Benson, Lonnie Liston Smith on electric piano, Freddie Hubbard on trumpet, bassist Ron Carter, organist Butch Cornell, and drummer Billy Kaye, among others. The title track is a deep soul blues workout with a swinging backbeat and the rhythm section fluidly streaming through fours and eights as Benson, Hubbard, and Turrentine begin slowly and crank up the heat, making the pace and stride of the cut simmer then pop - especially in Hubbard's solo. This is truly midnight blue, and the party's at the point of getting really serious or about to break up. By the time Benson picks up his break, full of slick, shiny, warm arpeggios, the seams are bursting and couples are edging into corners. Butch Cornell's Sunshine Alley is a solid, funky groover, paced by organ and double fours by Kaye. Turrentine and Hubbard stride into the melody and keep the vamp in the pocket, riding out past the blues line into a tag that just revs the thing up even further. But the big surprise is in the final track, one of the most solidly swinging, from-the-gut emotional rides of John Coltrane's Impressions ever taken. Turrentine is deep inside his horn, ringing out in legato with everything he has - and it is considerable. Ron Carter's bass playing flows through the modal interludes, creating a basis for some beautifully intervallic invention by Benson and Smith by building a series of harmonic bridges through the mode to solos. It's hard to believe this is Turrentine, yet is could be no one else. If jazz fans are interested in Turrentine beyond the Blue Note period - and they should be - this is a heck of a place to listen for satisfaction.



    Musicians:



    • Freddie Hubbard (trumpet)

    • Stanley Turrentine (tenor saxophone)

    • Lonnie Liston Smith (electric piano)

    • Butch Cornell (organ)

    • George Benson (guitar), Ron Carter (bass), Billy Kaye (drums)

    • Richard Pablo Landrum (conga)




    Recording: November 1970 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    Format: 1LP 33rpm / gatefold sleeve



    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. Sugar
    2. Sunshine Alley
    3. Impressions
    4. Sugar (previously unreleased, live, bonus track)
    Stanley Turrentine
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Natch'l Blues (Pure Pleasure) The Natch'l Blues (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Natch'l Blues (Pure Pleasure)

    Taj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like She Caught The Katy And Left Me A Mule To Ride and The Cuckoo -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be the two original closing numbers, You Don't Miss Your Water ('Til Your Well Runs Dry) and Ain't That A Lot Of Love, which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on You Don't Miss Your Water, which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. Ain't That a Lot of Love, by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's Gimme Some Lovin'. This LP reissue includes a trio of bonus tracks: a faster-paced rendition of The Cuckoo with a more prominent lead guitar, the slow electric lament New Stranger Blues featuring some good mandolin-style playing on the guitar, and the rocking instrumental Things Are Gonna Work Out Fine, which is a killer showcase for Davis' lead electric guitar and Taj Mahal's virtuosity on the harmonica.




    Musicians:



    • Taj Mahal (harmonica, guitar)

    • Jesse Edwin (guitar, piano, arranger)

    • Al Kooper (organ, piano)

    • Gary Gilmore (bass)

    • Chuck Blackwell, Earl Palmer (drums)




    Recording: May & October 1968

    Production: David Rubinson




    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. Good Morning Miss Brown Corinna
    2. I Ain't Gonna Let Nobody Steal My Jellyroll
    3. Going Up To The Country, Paint My Mailbox Blue
    4. Done Changed My Way Of Living
    5. The Cuckoo (alternative version)
    6. She Caught The Katy And Left Me A Mule To Ride
    7. The Cuckoo
    8. You Don't Miss Your Water ('Til Your Well Runs Dry)
    9. A Lot Of Love
    10. New Stranger Blues
    11. Things Are Gonna Work Out Fine
    Taj Mahal
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Happy Trails (Pure Pleasure) (Awaiting Repress) Happy Trails (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Happy Trails (Pure Pleasure) (Awaiting Repress)

    Ranked 189/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.

    Without question, this follow-up to Quicksilver Messenger Service's self-titled debut release is the most accurate in portraying the band on vinyl in the same light as the group's critically and enthusiastically acclaimed live performances. The album is essentially centered around the extended reworkings of Bo Diddley's Who Do You Love? and Mona, as well as the lesser lauded - yet no less intense - contribution of Gary Duncan's (guitar/vocals) Calvary. This album is the last to feature the original quartet incarnation of QMS. The collective efforts of John Cipollina (guitar/vocals), Greg Elmore (percussion), David Freiberg (bass/vocals), and the aforementioned Duncan retain the uncanny ability to perform with a psychedelic looseness of spirit, without becoming boring or in the least bit pretentious. The side-long epic Who Do You Love? suite is split into an ensemble introduction and coda as well as four distinct sections for the respective bandmembers.



    Musicians:



    • John Cipollina (guitar)

    • Gary Duncan (guitar, vocals)

    • David Freiberg (bass, vocals)

    • Greg Elmore (drums, percussion)




    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. Who Do You Love - Part 1
    2. When You Love
    3. Where You Love
    4. How You Love
    5. Which Do You Love
    6. Who Do You Love - Part 2
    7. Mona
    8. Maiden of the Cancer Moon
    9. Calvary
    10. Happy Trails
    Quicksilver Messenger Service
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Chicago/The Blues/Today! (Pure Pleasure) Chicago/The Blues/Today! (Pure Pleasure) Quick View

    $99.99
    Buy Now
    x

    Chicago/The Blues/Today! (Pure Pleasure)

    In early 1966, blues history was made with the issuance of a three-volume set of new recordings produced by blues historian Samuel Charters. This series was known as Chicago/The Blues/Today! and the release sent shock waves through the world of rock & roll. Every artist on the three volumes had recorded before (some, like Otis Rush and Junior Wells, had actually seen small hits on the R&B charts), but these recordings were largely their introduction to a newer -- and predominately white -- album-oriented audience. These recordings have stayed in print and have been reasonably good sellers over the years since their original release, all coming out on compact disc. This new packaging puts all three volumes together, but with no bonus tracks, as no extras were recorded for these sessions.



    A plus in the new packaging, is that it features a nice booklet with detailed, updated notes from Charters, a nice appreciation from Ed Ward, and absolutely eye-boggling session photos taken by Charters' wife, Ann. Even if you still have the original vinyl or CDs, this is one of the times when it would be best to spend the dough and add this one to your collection, because blues records seldom come as important, innovative, or just plain pleasurable to listen to as this set. File under 'essential'.




    Musicians:



    • J.B. Hutto

    • Junior Wells

    • Otis Spann

    • Otis Rush

    • Jimmy Cotton

    • Johnny Shines Blues Band

    • Johnny Young's South Side Blues Band

    • Homesick James

    • and Big Walter Horton's Blues Harp Band with Memphis Charlie Musselwhite




    Recording: 1965 at RCA Studios, Chicago

    Production: Samuel Chartersdeutsch



    Format: 3LPs 33rpm / Box, booklet



    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



    LP1
    1. Help Me (A Tribute to Sonny Boy Williamson)
    2. It Hurts Me Too
    3. Messin' with the Kid
    4. Vietcong Blues
    5. All Night Long
    6. Going Ahead
    7. Please Help
    8. Too Much Alcohol
    9. Married Woman Blues
    10. That's the Truth
    11. Marie
    12. Burning Fire
    13. S P Blues
    14. Sometimes I Wonder
    15. Spann's Stomp


    LP2
    1. Cotton Crop Blues
    2. The Blues Keep Falling
    3. Love Me or Leave
    4. Rocket 88
    5. West Helena Blues
    6. Everything's Gonna Turn Out Allright
    7. It's a Mean Old World
    8. I Can't Quit You Baby
    9. Rock
    10. It's My Own Fault
    11. Dust my Broom
    12. Somebody Been Talkin'
    13. Set a Date
    14. So Mean to Me


    LP3
    1. One More Time
    2. Kid Man Blues
    3. My Black Mare
    4. Stealin' Back
    5. I Got Mine In Time
    6. Tighten Up On It
    7. Dynaflow Blues
    8. Black Spider Blues
    9. Layin' Down My Shoes and Clothes
    10. If I Get Lucky
    11. Rockin' My Boogie
    12. Mr. Boweevil
    13. Hey Hey

    Various Artists
    $99.99
    180 Gram Audiophile Virgin Vinyl - 3 LPs Sealed Buy Now
  • The Jazz Messengers (Pure Pleasure) The Jazz Messengers (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    The Jazz Messengers (Pure Pleasure)

    The very first edition of Art Blakey's Jazz Messengers was unfortunately short-lived, and as excellent as they were collectively, it was the beginning of a trend for the members of this group to come and go. Unbeknown to Blakey at the time, he would become a champion for bringing talent from the high minor leagues to full-blown jazz-star status, starting with this band featuring Detroit trumpeter Donald Byrd, East coast tenor saxophonist Hank Mobley, and pianist Horace Silver, a jazz legend ever after. It's evident that although there is much cohesion in the group, Byrd's star was on the rise the fastest, and he would leave in a short period, replaced briefly by Clifford Brown, then Kenny Dorham. What is most remarkable in this first recording for the band is how several of these selections have become classic hard bop vehicles, revered and replayed by thousands of bands over time worldwide. Nica's Dream is the best known of them all, typical of the calypso beats Blakey favored at the time, with a singsong, hummable melody led by Byrd that is pure soul personified, and drenched in unrequited blues.


    Musicians:



    • Donald Byrd (trumpet)

    • Hank Mobley (tenor saxophone)

    • Horace Silver (piano)

    • Doug Watkins (bass)

    • Art Blakey (drums)




    Recording: April and May 1956 by Tony Janick at Columbia 30th Street Studio, New York City

    Production: George Avakiandeutsch




    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.



    Side A
    1. Infra-Rae

    2. Nica's Dream

    3. It's You or No One


    Side B
    4. Ecaroh

    5. Carol's Interlude

    6. The End of a Love Affair

    7. Hank's Symphony



    Side C
    8. Weird-O*
    9. Ill Wind*
    10. Late Show*


    Side D
    11. Deciphering The Message*
    12. Carol's Interlude


    *Bonus tracks not on original LP.

    Art Blakey
    $49.99
    180 Gram Audiophile Virgin Vinyl LP -2 LPs Sealed Buy Now
  • Lady Day (Pure Pleasure) Lady Day (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Lady Day (Pure Pleasure)

    Excerpt from George Avakian's notes on the album sleeve:



    When planning this album, I had a hellish time trying to choose what I thought were the absolute cream of Billie Holiday. In the course of this wrestling, it struck me that not only were Billie's vocals incredibly perfect, but that I could not remember a single instance of anyone playing a bad solo or even a bad phrase among the hundred or more performances I had to choose from in the golden period of her work. Checking over records (which was almost unnecessary, because I could still remember them almost note for note) was a rather beautiful and somewhat shattering experience. Jazz, a product of so many things - musical evolution, the social scene of a particular time, the economic atmosphere of the moment, what somebody had for breakfast that day - and none of those tings will ever come together again as they did when these records were made.



    Musicians:



    • Billie Holiday (vocal)

    • Ben Webster, Lester Young (tenor saxophone)

    • Johnny Hodges (alto saxophone)

    • Roy Eldridge, Buck Clayton (trumpet)

    • Benny Goodman, Art Shaw (clarinet)

    • John Truehart (guitar)

    • Teddy Wilson (piano)

    • John Kirby (bass)

    • Cozy Cole, Joe Jones (drums)




    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. Miss Brown To You
    2. I Wished On the Moon
    3. What A Little Moonlight Can Do
    4. If You Were Mine
    5. Summertime
    6. Billie's Blues
    7. I Must Have That Man
    8. Foolin' Myself
    9. Easy Living
    10. Me, Myself and I
    11. A Sailboat In the Moonlight
    12. I Cried For You
    Billie Holiday
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Blues Giant (Pure Pleasure) The Blues Giant (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Blues Giant (Pure Pleasure)

    Buddy Guy is arguably the most distinctive, electrifying guitarist in Blues history. On a good night, there is no player in the world who can match him. But for all of Guy's talent, unfortunately there are few studio recordings that document his genius. Producers have always wanted him either to sound old-fashioned (i.e., the '50s Chess Chicago Blues sound) or too modern (i.e., some abberation of Jimi or Clapton).



    Buddy was only produced properly one time: and the result is this album. After several mediocre albums in the '60s and '70s, someone finally let Buddy play in the studio with the creative, reckless abandon that, when playing live, has ignited every building in which he has ever played. This IS Buddy Guy!



    Musicians:



    • Buddy Guy (guitar, vocal)

    • Phil Guy (guitar)

    • J. Williams (bass)

    • Ray Allison (drums)



    Recording: October 1979 at Condorcet Studio, Toulouse (France) by Francois Porterie

    Production: Didier Tricard




    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. I Smell a Rat
    2. Are You Losing In Your Mind
    3. You've Been Gone Too Long
    4. She Is Out There
    5. Outskirts of Town
    6. When I Left Home
    Buddy Guy
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Dreamsville (Pure Pleasure) Dreamsville (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Dreamsville (Pure Pleasure)

    Vocalist Stacey Kent may or may not be »the greatest ballad singer in half a century«, as her PR claims, but her straightforward renditions of these by-request ballads are not at all generic. What makes them consistently delightful is her unique sound and delivery. There's a certain brassiness, a trumpet-like pointedness, in her voice, as well as a host of endearing idiosyncrasies. Kent knows how to make every tune fit her own musical persona. Dreamsville includes a number of seldom-heard gems, particularly You Are There by Johnny Mandel and Dave Frishberg, You're Looking at Me by Bobby Troup, and the ever-stunning title track by Henry Mancini. She also presents perennial favorites like Polka Dots and Moonbeams and Thanks for the Memory (the latter not exactly a ballad). And although this is Kent's hour all the way, her band provides expert backing and more than a few surprises. The singer's husband, Jim Tomlinson, takes a break from tenor sax to play a sumptuous clarinet solo on Polka Dots. And in the midst of Rodgers & Hart's Little Girl Blue, pianist David Newton, bassist Simon Thorpe, and drummer Jasper Kviberg fall away, entering again only after Tomlinson and Colin Oxley perform a hushed tenor/guitar duet chorus.




    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (tenor saxophone, clarinet, flute)

    • Colin Oxley (guitar)

    • David Newton (piano)

    • Simon Thorpe (bass)

    • Jasper Kviberg (drums)




    Recording: June 2000 at Curtis Schwartz Studios, Ardingly, UK, by Curtis Schwartz

    Production: Jim Tomlinson



    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. I've Got A Crush On You
    2. When Your Lover Has Gone
    3. Isn't It A Pity?
    4. You Are There
    5. Under A Blanket Of Blue

    6. Dreamsville
    7. Polka Dots And Moonbeams

    8. Hushabye Mountain
    9. Little Girl Blue
    10. You're Looking At Me

    11. Violets For Your Furs

    12. Thanks For The Memory
    Stacey Kent
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Western Suite (Pure Pleasure) Western Suite (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    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
  • Sweetenings (Pure Pleasure) Sweetenings (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sweetenings (Pure Pleasure)

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


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


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


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


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



    Musicians:



    • Harry Edison (trumpet)

    • Jimmy Forrest (tenor saxophone)

    • Jimmy Jones (piano)

    • Joe Benjamint (bass)

    • John Simmons (bass)

    • Charlie Persip (drums)



    Recording: November 1958 in New York
    Production: Teddy Reig




    About Pure Pleasure



    At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.



    During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.



    A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.



    We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.



    We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.



    To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.



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

    $34.99
    Buy Now
    x

    Sounds Of Synanon (Pure Pleasure)

    A significant recording, as this is Joe Pass' debut on vinyl. It was recorded while Pass was still a patient at the Synanon Drug Center in California. Made with fellow patients, Pass proved to be a star. It is interesting to note that Pass played an electric solid body Rock guitar, as he did not even own a guitar at this time. His legendary chops are especially evident on Projections and Hang Tough, featuring some of his cleanest playing ever recorded. His accompanists prove to be adequate, but hardly approach the genius of Pass. A landmark recording in the history of Jazz Guitar.



    Musicians:



    • Joe Pass (guitar)

    • Dave Allan (trumpet)

    • Greg Dykes (bassoon)

    • Arnold Ross (piano)

    • Ronald Clark (bass)

    • Bill Crawford (drums)

    • Candy Latson (bongo)




    Recording: 1961

    Production: Richard Bock



    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. C.E.D.
    2. Aarons Song
    3. Stay Loose
    4. Projections
    5. Hang Tough
    6. Self-Image
    7. Last Call For Coffee
    Joe Pass
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Yeah!!! (Pure Pleasure) (Awaiting Repress) Yeah!!! (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    Yeah!!! (Pure Pleasure) (Awaiting Repress)

    This 'live' nightclub date with a jazz trio, revealed to be a faked on the Columbia compilations that have since come out, is nonetheless a great LP, maybe the best single Columbia LP from Aretha. John Hammond discovered her and just wanted great music, but the label couldn't decide if she was a show tune singer, jazz or R&B and never figured out she was all of the above and deserved her own category. This is the most jazzy Aretha ever and if she'd wanted to concentrate on this one area of her talent, she would still be ruling it. Worth the buy just for the track "Without The One You Love".


    -J. Ellis



    Musicians:



    • Aretha Franklin (vocal, piano)

    • Kenny Burrell (guitar)

    • Teddy Harris (piano)

    • James 'Beans' Richardson (bass)

    • Hindel Butts (drums)



    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. This Could Be The Start Of Something
    2. Once In A Lifetime
    3. Misty
    4. More
    5. There Is No Greater Love
    6. Muddy Water
    7. If I Had A Hammer
    8. Impossible
    9. Today I Love Ev'rybody
    10. Without The One You Love
    11. Trouble In Mind
    12. Love for Sale
    Aretha Franklin
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Blue Rose (Pure Pleasure) Blue Rose (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Blue Rose (Pure Pleasure)

    One of Rosemary Clooney's best records, and one of Duke's more accessible offerings, combined on one LP. The recorded output of the 1950's didn't get much more satisfying than this. Duke's music was always very sophisticated and this time it's even more obvious with a presence of such a talented singer as Rosemary Clooney. The songs are marvelous and she sounds young, fresh and sexy (ladylike sexy). In Blue Rose, not only are Clooney's vocals outstanding, but the arrangements are some of the prettiest of jazz.



    The band swings simply and sweetly, though still thoroughly in the Duke style. As if to make the point that the band is the 'other' star of this recording, there's one instrumental here - Passion Flower (Johnny Hodges on sax never sounded more sure of himself). Its inclusion in the program, without a vocal from Clooney, is at first bizarre - but seems to make sense within the context of the album.



    The fascinating album notes explain why and how separate tracks for Rosemary Clooney and Duke Ellington's orchestra had to be laid down. One would never realize that singer and orchestra were not together. They are totally in sync. This is not big, belting jazz; this is sophisticated, late night, intimate singing and playing. This is one of the most memorable pairings of a 'popular' singer with a jazz giant; ranking with the first Sinatra-Basie album and the Coltrane-Hartman session.




    Musicians:



    • Rosemary Clooney (vocal)

    • Duke Ellington (piano, arranger)

    • Billy Strayhorn (arranger)

    • Johnny Hodges, Russell Procope (alto saxophone)

    • Clark Terry, Cat Anderson (trumpet)

    • Gordon Jackson (trombone)

    • Jimmy Woode (bass)

    • Sam Woodyard (drums)




    Recording: January and February 1956




    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. Hey Baby
    2. Sophisticated Lady

    3. Me and You
    4. Passion Flower
    5. I Let A Song Go Out Of My Heart
    6. Grievin
    7. Blue Rose
    8. Im Checkin OutGoombye

    9. I Got It Bad
    10. Mood Indigo
    Rosemary Clooney & Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Mr. Bechet (Pure Pleasure) Mr. Bechet (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Mr. Bechet (Pure Pleasure)

    Budd Johnson didn't do much recording as a leader, so this French studio date is particularly valuable. He's reunited with Earl Hines, with whom he played during three stints between 1932-1942; they're joined by drummer Panama Francis and bassist Jimmy Leary. The title track is an original tribute to the king of soprano saxophonists, Sidney Bechet. Though it was his second instrument, Johnson delivers a powerful solo with his own unique tone. He's back to tenor sax for the bluesy Am I Wasting My Time? and clearly enjoys himself on Hines' romping Linger Awhile. Like all of Budd Johnson's releases, this LP is strongly recommended.



    Musicians:



    • Budd Johnson (tenor saxophone, soprano saxophone)

    • Earl Hines (piano)

    • Jimmy Leary (bass)

    • Panama Francis (drums)



    Recording: July 1974 at the Seed Studio in Vallauris, France, by Gerhard Lehner




    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. Blues For Sale
    2. Gone With The Wind
    3. If You were Mine
    4. Am I Waisting My Time
    5. The Dirty Old Man
    6. Linger Awhile
    7. Mr Bechet
    Budd Johnson & Earl Hines
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Cosmic Scene (Pure Pleasure) The Cosmic Scene (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Cosmic Scene (Pure Pleasure)

    Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed the Spacemen, and recorded this lone project with them for the Columbia label. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them to even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble's trombonists Quentin 'Butter' Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton's features Avalon and Early Autumn, the slinky stripper pole blues version of St. Louis Blues with Ellington's piano taking the lead, and a version of Body & Soul, with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the tune. There's a modified Perdido, an animated and perky Midnight Sun that deviates from any other slow and lugubrious version of the ballad, and Jones a real good swinger. There are two originals; the blues bass of Jimmy Woode and the 'bones with plentiful piano from Duke infusing Bass-Ment, and one of the more delightful of all of Ellington's book, the poppin' and boppin' Spacemen, a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. It comes highly recommended.



    Musicians:



    • Paul Gonsalves (tenor saxophone)

    • Clark Terry (fluegel horn)

    • Britt Woodman, John Sanders, Quentin Jackson (trombone)

    • Jimmy Hamilton (clarinet)

    • Duke Ellington (piano)

    • Jimmy Wood (bass)

    • Sam Woodyard (drums)



    Recording: April 1958 at Columbia 30th Street Studio, New York




    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. Avalon
    2. Body And Soul
    3. Bass-ment
    4. Early Autumn
    5. Jones
    6. Perdido
    7. St. Louis Blues
    8. Spacemen
    9. Midnight Sun
    10. Take The A Train
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • After Midnight (Pure Pleasure) After Midnight (Pure Pleasure) Quick View

    $44.99
    Buy Now
    x

    After Midnight (Pure Pleasure)

    Nat 'King' Cole's music is the perfect combination of romantic charm and musical invention. Cole is renowned for his big production numbers and pop hits such as Stardust, but he was also an accomplished and unique jazz pianist and excelled in a small-group setting. After Midnight's album cover states that this is a 'trio' release. However, Cole is actually paired up with his trio plus five guest soloists (saxophone, trombone, trumpet, percussion, and violin). The dubious credits don't matter much though. This is precious music and, without a doubt, one of Cole's best records. Included here are wonderful and intimate renditions of Cole favorites Sweet Lorraine, (Get Your Kicks on) Route 66, and many others. Trombonist Juan Tizol performs a beautiful version of his Afro-Cuban tune Caravan, and Cole and violinist Stuff Smith trade some hot licks on the up-tempo I Know That You Know. For anybody looking to understand the depth and breadth of Cole's jazz roots, this disc is an excellent point of departure.




    Musicians:



    • Nat 'King' Cole (piano, vocal)

    • Willie Smith (alto saxophone)

    • Harry 'Sweets' Edison (trumpet)

    • Juan Tizol (trombone)

    • John Collins (guitar)

    • Charlie Harris (bass)

    • Stuff Smith (violin)

    • Lee Young (drums)

    • Jack Costanza (conga, bongo)




    Recording: August and September 1956 at Capitol Studios, Los Angeles, California

    Production: Lee Gillettedeutsch



    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. Just You, Just Me
    2. Sweet Lorraine
    3. Sometimes I'm Happy
    4. Caravan
    5. It's Only a Paper Moon
    6. You're Looking at Me

    7. The Lonely One
    8. Don't Let it Go to Your Head
    9. I Know That You Know
    10. Blame it on my Youth
    11. When I Grow too Old to Dream
    12. Route 66

    13. I Was a Little too Lonely (and You Were a Little too Late)
    14. Your Can Depend on Me
    15. What is There to Say
    16. Two Loves Have I
    17. andy
    18. You're Looking at Me (alternate take)
    Nat King Cole
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Son Of A Preacher Man (Pure Pleasure) Son Of A Preacher Man (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Son Of A Preacher Man (Pure Pleasure)

    Nancy Wilson, one of the most stylish and sultry singers in jazz. Here we have an exciting mix of influences from the music of Nat King Cole, the romanticism of Billy Eckstine, the emotional delivery of Dinah Washington and the genius of Little Jimmy Scott.



    Nancy Wilson signed with Capitol Records in 1959, and recorded 37 albums over a period of 20 years, a period in which many of her album sales were second only to the Beatles, surpassing even Sinatra, Peggy Lee, the Beach Boys and Nat King Cole.



    This exhilarating album features the legendary bassist Chuck Rainey on this previously hard to find gem of an album. Produced by David Cavanaugh and with musical arrangements from Jimmy Jones, Phil Wright and Joe Parnello. Of Jimmy Jones, Nancy Wilson says one of the greatest arrangers there ever was. Very sparse, nothing overdone.



    Musicians:



    • Nancy Wilson (vocal)

    • Jimmy Jones (piano, arranger, conductor)

    • Phil Wright, Joe Parnello (arranger, conductor)

    • Chuck Rainey (bass)




    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. Son of a Preacher Man
    2. By the Time I Get to Phoenix
    3. Mr. Walker It's All Over
    4. I Made You This Way
    5. Almost Persuaded
    6. Got It Together
    7. Make the World Go Away
    8. Husbands and Wives
    9. Little Green Apples
    10. Trouble in Mind
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • American Folk Blues Festival 1964 (Pure Pleasure) American Folk Blues Festival 1964 (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    American Folk Blues Festival 1964 (Pure Pleasure)

    German jazz publicist Joachim-Ernst Berendt first had the idea of bringing original African-American blues performers to Europe. Jazz had become very popular, and rock and roll was just gaining a foothold, and both genres drew influences directly back to the blues. Berendt thought that European audiences would flock to concert halls to see them in person.



    Promoters Horst Lippmann and Fritz Rau brought this idea to reality. By contacting Willie Dixon, an influential blues composer and bassist from Chicago, they were given access to the blues culture of the southern United States. The first festival was held in 1962, and they continued almost annually until 1972, after an eight-year hiatus reviving the festival in 1980 until its final performance in 1985.
    The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters, Howlin' Wolf, Willie Dixon, John Lee Hooker and Sonny Boy Williamson along with blues legends from an earlier period such as Sleepy John Estes, John Henry Barbee & Lightnin' Hopkins.



    Attendees at Manchester in 1962, the first ever venue for the festival in Britain, included Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. Subsequent attendees at the first London festivals are believed to have also included such influential musicians as Eric Burdon, Eric Clapton, and Steve Winwood. Collectively these were the primary movers in the blues explosion that would lead to the British Invasion.



    Musicians:



    • Sonny Boy Williamson (vocal, harpsichord)

    • Hubert Sumlin (guitar)

    • Willie Dixon (bass)

    • Clifton James (drums)

    • Sunnyland Slim (vocal, piano)

    • Sam Lightnin' Hopkins, Howlin' Wolf (guitar, vocal)

    • Hammie Nixon (harpsichord, jug)




    Recording: October 1964 live at Musikhalle Hamburg, Germany, by Peter Kramper

    Production: Siegfried E. Loch



    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. I'm Trying To Make London My Home
    2. Dissatisfied
    3. Everytime I Get To Drinkin'
    4. Ain't It A Pity
    5. Baby Please Don't Go
    6. I'm A Tearing Little Daddy
    7. Cotton Pickin' Blues
    8. No Title Boogie
    9. Slip In Mules
    10. Dust My Broom
    Various Artists
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • East Coasting (Pure Pleasure) East Coasting (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    East Coasting (Pure Pleasure)

    Charles Mingus is usually known for his wild, soulful and avant-garde compositions. East Coasting is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as 'soulful' in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on West Coast Ghost (the album's stand-out track) and Celia are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.East Coasting sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel On The Road and have become interested in exploring Jazz. East Coasting will allow them to get a taste of lost creative America.



    Musicians:



    • Charles Mingus (bass)

    • Clarence Shaw (trumpet)

    • Jimmy Knepper (trombone)

    • Shafi Hadi (tenor saxophone, alto saxophone)

    • Bill Evans (piano)

    • Dannie Richmond (drums)




    Recording: August 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. Memories Of You
    2. East Coasting
    3. West Coast Ghost
    4. Celia
    5. Conversation
    6. Fifty-First Street Blues
    Charles Mingus
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I'm Ready (Pure Pleasure) I'm Ready (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    I'm Ready (Pure Pleasure)

    For the middle album of his Johnny Winter-produced, late-'70s musical trilogy, blues giant Muddy Waters brought a new spirit to some familiar material. Starting with members of Waters' touring band - pianist Pinetop Perkins, bassist Bob Margolin, and drummer Willie Big Eyes Smith - Winter added underrated guitarist (and longtime Waters foil) Jimmy Rogers and extraordinary harp player Big Walter Horton to the mix. The songs recorded for I'm Ready offer a mix of new material and vintage hit singles like the title cut, the mid-'60s jewel Screamin' and Cryin', or the Willie Dixon-penned I'm Your Hoochie Coochie Man. Waters and band provide these well-worn gems with a little new studio polish, but it is with the newer songs that the performers really shine.



    Musicians:



    • Muddy Waters (guitar, vocal)

    • Johnny Winter, Jimmy Rogers (guitar)

    • Walter Horton, Jerry Portnoy (harmonica)

    • "Pine Top" Perkins (piano)

    • Bob Margolin (bass)

    • Willie "Big Eyes" Smith (drums)





    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. I'm Ready
    2. 33 Years
    3. Who Do You Trust
    4. Copper Brown
    5. (I'm Your) Hoochie Coochie Man
    6. Mamie
    7. Rock Me
    8. Screamin' and Cryin'
    9. Good Morning Little Schoolgirl
    Muddy Waters
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Manhattan Symphonie (Pure Pleasure) Manhattan Symphonie (Pure Pleasure) Quick View

    $44.99
    Buy Now
    x

    Manhattan Symphonie (Pure Pleasure)

    During the autumn of his illustrious career, Dexter Gordon (1923-1990) was on a winning streak. In 1976, the sophisticated giant of the tenor saxophone had returned to America after 14 successful years in Europe (with occasional visits to his native country); when he played a homecoming engagement at New York's fabled Village Vanguard, the seats were filled each night with adoring fans and enraptured critics. Two years later, Gordon recorded Manhattan Symphonie, his third album for Columbia and the first with his exceptional working rhythm section of pianist George Cables, bassist Rufus Reid, and drummer Eddie Gladden.



    From the opening notes of the classic ballad As Time Goes By, we are fully aware that we're in the presence of a master. The tone is luminous; the placement of the notes, impeccable; the feeling profoundly affecting. More than almost any other improviser of his caliber, Gordon understands exactly why »the fundamental things apply«. The rest of the set combines bright new material, such as Gordon's jauntily bopping blues LTD (which stands for Long Tall Dexter) and Cables' samba I Told You So with updates of two post-bop staples: Donald Byrd's Tanya (which Gordon had recorded for Blue Note in 1964) and John Coltrane's propulsive Moment's Notice. But the masterpiece herein - indeed one of Gordon's all-time surpassing performances - is Body and Soul, in which Gordon, an early crucial influence on Coltrane's approach to the tenor, returns the favour by taking a page out of Coltrane's (and McCoy Tyner's) harmonic book.



    This expanded issue of Manhattan Symphonie includes two bonus tracks, also from 1978: Thelonius Monk's lustrous "Ruby My Dear", and a previously unreleased on vinyl rendition of "Secret Love", a Dexter favourite. In addition to the acclaimed writer Pete Hamill's wonderful original liner notes, there is a lovely reminiscence from pianist George Cables.



    Musicians:



    • Dexter Gordon (tenor saxophone)

    • George Cables (piano)

    • Rufus Reid (bass)

    • Eddie Gladden (drums)



    Format: 2LPs 33rpm / gatefold sleeve



    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.



    As Time Goes By/ Moments Notice
    Tanya/ Body and Soul
    I Told You So / Ltd
    Ruby, My Dear/ Secret Love*
    Dexter Gordon
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • New Groove (Pure Pleasure) New Groove (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    New Groove (Pure Pleasure)

    Clarinetist Pee Wee Russell's career on record stretched all the way from the 1920s, when he played with musicians such as Jack Teagarden and Bix Beiderbecke, to the 1960s, when he appeared with Thelonious Monk at Newport and made albums that included compositions by modernists such as Ornette Coleman and John Coltrane.



    Although he was pegged as being Dixieland by some and trumpeted as an elder hero of the 60s avant-garde by others, Russell remained a school unto himself. Jazz writer Whitney Balliett said that Russell played with an incomparable daring and nakedness and intuition. He had discovered some of the secrets of life and his improvisations were generally successful attempts to tell those secrets in a new, funny, gentle way.



    After Russell died, his friend and musical cohort Ruby Braff, told Nat Hentoff, »Like Louis Armstrong, Pee Wee will always be contemporary.«




    Musicians:



    • Pee Wee Russell (cl)

    • Marshall Brown (tb)

    • Russell George (b)

    • Ron Lundberg (dr)




    Recording: December 1962

    Production: Frank Driggs




    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. My Mother's Eyes
    2. Chelsea Bridge
    3. Red Planet
    4. Pee Wee's Blues
    5. Moten Swing
    6. 'Round Midnight
    7. Good Bait
    8. Old Folks
    9. Taps Miller
    The Pee Wee Russell Quartet
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Something In Blue (Pure Pleasure) Something In Blue (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Something In Blue (Pure Pleasure)

    Alan Bates took Thelonious Monk into the studio for his first trio recording in fifteen years with his old sidekick Art Blakey. It has been said often enough that Blakey is the ideal drummer for Monk, and one has only to hear them together again after all this time to realize the truth of the statement. If Blakey at times seems to push the pianist almost too hard, that is in fact the nature of their musical relationship. And, throughout the session, Blakey appeared to be vying with the producer in alternately cajoling and coercing Monk into fulfilling various requests from the small invited audience.



    Musicians:



    • Thelonious Monk (piano)

    • Al McKibbon (bass)

    • Art Blakey (drums)




    Recording: November 1971 at Chappell Studios, London, by John Timperley

    Production: Alan Bates



    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. Blue Sphere
    2. Hackensack
    3. Nice Work If You Can Get It
    4. Criss Cross
    5. Something in Blue
    6. Evidence
    7. Jackie-ing
    8. Nutty
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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