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  • Latino Con Soul Latino Con Soul Quick View

    $13.99
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    Latino Con Soul

    Do You Dig It?
    Love You
    Trompeta Y Trombon
    Boogaloo Con Soul
    El Picor
    Lo Mismo Que A Usted
    Fuego Y Pa'Lante
    Happy Birthday Everybody
    Ray Barretto
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Barretto-Power Barretto-Power Quick View

    $14.99
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    Barretto-Power

    Oye La Noticia

    Perla Del Sur

    Right On

    De Que Te Quejas Tu

    Y Dicen

    Quitate La Mascara

    Se Que Volveras

    Power

    Ray Barretto
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • La Cuna La Cuna Quick View

    $13.99
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    La Cuna

    Tito Puente

    Charlie Palmieri

    Joe Farrell

    John Tropea

    Steve Gadd
    La Cuna
    Doloroso
    Mambotango
    The Old Castle
    Pastime Paradise
    Ray Barretto
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Hard Hands Hard Hands Quick View

    $14.99
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    Hard Hands

    1. Hard Hands
    2. Abidjan
    3. Love Beads
    4. Mi Ritmo Te Llama
    5. Got To Have You
    6. Son Con Cuero
    7. Mirame De Frente
    8. New York Soul
    9. Ahora Si
    Ray Barretto
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Senor 007 Senor 007 Quick View

    $13.99
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    Senor 007

    Mister Kiss Kiss Bang
    Search For Vulcan
    Jamaica Jump Up
    Thunderball
    From Russia With Love
    I Wanna Be a James Bond Girl
    007
    Underneath the Mango Tree
    The James Bond Theme
    Goldfinger
    Ray Barretto
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Head Sounds Head Sounds Quick View

    $14.99
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    Head Sounds

    1. Acid
    2. Tin Tin Deo
    3. Abidjan
    4. Drum Poem (Free Spirit)
    5. Espíritu Libre
    Ray Barretto
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • La Cuna (Speakers Corner) La Cuna (Speakers Corner) Quick View

    $34.99
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    La Cuna (Speakers Corner)

    Ray Barretto disliked his music being labelled 'Latin Jazz' - yet the album La Cuna is one of the most memorable of this genre, since it amalgamates the diverse moods of both Americas. In this album, the expertise of the legendary producer Creed Taylor is combined with an all-star ensemble and the supreme musicality of the skilful jazz percussionist Barretto to create a tightly-knit performance. The title-giving opening number sails along merrily with a salsa swing, but then the soaring flute melodies and the powerful piano improvisations cool down the Caribbean rhythms. How the players mingle driving patterns with delicate melodies to form beautiful song is demonstrated best in Doloroso and also in Mambotango, whereby the latter exudes controlled coolness in the somewhat electric mood.


    John Tropea leans seemingly intentionally towards Santana and his art of guitar-playing, and this is further enhanced by the late Joe Farrell's phenomenal performance.
    A further tribute is paid to one of the greatest musicians ever to combine various styles and trends with a speeded-up version of Stevie Wonder's Pastime Paradise.


    To conclude: if not Latin Jazz, then definitely Latin AND Jazz.

    Musicians:



    • Ray Barretto (conga, percussion)

    • Joe Farrell (tenor saxophone, soprano saxophone, flute)

    • John Tropea (guitar)

    • Charlie Palmieri (piano,percussion)

    • Carlos Franzetti (piano)

    • Jeremy Wall (synthesizer)

    • Francisco Centeno (bass)

    • Steve Gadd, Mark Craney (drums)

    • Willy Torres (vocal)

    • Tito Puentes (timbales)



    Recording: August 1979 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor

    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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




    1. La Cuna
    2. Doloroso
    3. Mambotango
    4. The Old Castle
    5. Pastime Paradise
    Ray Barretto
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • El Ray Criollo El Ray Criollo Quick View

    $14.99
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    El Ray Criollo

    Margie
    Salsa Y Dulzura
    Rareza En Guajira
    Descarga Criolla
    Despojate
    Yo Soy La Candela
    Don Lengua
    The Shadowof Your Smile
    A Maracaibo
    Ray Barretto
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Message The Message Quick View

    $14.99
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    The Message

    Se Traba
    Con El Cimarron
    Alma Con Alma
    Flor De Los Lindos Campos
    Arrepientete
    Te Traigo Mi Son
    O Elefante
    Seguire Sin Sonar
    Ray Barretto
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Acid Acid Quick View

    $14.99
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    Acid

    El Nuevo Barretto
    Mercy Mercy Baby
    Acid
    A Deeper Shade Of Soul
    The Soul Drummers
    Sola Te Dejare
    Teacher of Love
    Espiritu Libre
    Ray Barretto
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Live At The Red Garter Vol. 2 Live At The Red Garter Vol. 2 Quick View

    $14.99
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    Live At The Red Garter Vol. 2

    From the late '60s to the mid '90s, the Fania All Stars were probably the most important and influential group in salsa, Afro-Cuban and Puerto Rican music. What began as a showcase band for a young label developed into a Latino supergroup capable of filling stadiums. The band's members were either successful bandleaders or the top musicians on their instruments at the time. As Fania Records expanded its horizons and endeavoured to reach outside its traditional Spanish speaking market in the 1970s, the All Stars became their musical ambassadors, traveling across the globe from South America to Africa to Europe spreading the salsa gospel.


    But that was the future! The Fania All Stars began at the Red Garter Club in Greenwich Village. By 1967 Fania Records was on the rise and label owner Jerry Masucci was wanting to feature a showcase of all his artists, which now included long-established bandleaders Ray Barretto and Fania co-owner Johnny Pacheco, alongside the new generation (Willie Colon, Larry Harlow, Monguito, Joe Bataan, Louie Ramirez, Ralph Robles, Bobby Valentin). The idea was to record a live session which would serve as a showcase for the label using the all star format which had already proved popular by Fania's rivals Tico and Alegre.


    In 1968, Masucci and popular Latin music/jazz DJ Symphony Sid talked Red Garter promoter Jack Hooke into putting on a series of nights with the Fania musicians, but to broaden the appeal of the concerts and records, a host of guest stars were added to the bill. The Live At the Red Garter Vol 2 album sleeve reads like a who's who of Afro-Cuban and Puerto Rican music in the late 1960s! Special guest stars include the mambo king Tito Puente, Eddie Palmieri on piano and timbalero/sonero Jimmy Sabater from the million selling Joe Cuba Sextet. A supporting cast from the bands of Puente, Palmieri, Pacheco and Barretto included vocalists Ismael Miranda, Pete Conde Rodriguez, bassist Bobby Rodriguez and timbalero Orestes Vilato. A truly staggering bill though at the time, many musicians were just starting out, Willie Colon was just 18, however, almost every player present at these sessions would go on to be a salsa star in the next decade.


    After Barretto's introduction, the band gets counted in and that unmistakable bassline starts, 8 bars of low-end heaven as smooth as Baileys on ice, the trademark riff to Son Cuero Y Boogaloo, a Barretto's signature tune of the period. It's much more than just a boogaloo, it's a son montuno with soul! An earlier version of the song had appeared on Barretto's album Hard Hands, but this live version smoked! After the coro and brass sections traded 8's the tension builds, then the band hits a break and timbalero Orestes Vilato comes in and blazes a monsterous solo.


    The next track Noche featured its composer, pianist Larry Harlow, on a slow guajira montuno. Harlow was a non-Latino but his solo is pure Cuban proving it's not where you're from but it's how you play and what you feel that matters! The last track on the opening side was a full-on soul/funk instrumental jam called Red Garter Strut, the Fania All Stars kicking like Junior Walker or the Famous Flames! Another example of the cross-cultural experiments going on at the time in New York.


    Side two is equally mixed, a Charlie Palmieri funky montuno salsa called Kikapoo Joy Juice opening the set. An uptempo dance tune with the vocalists singing in English, a sign of the times when boogaloo ruled everything in sight. Next up, If This World Were Mine, a Marvin Gaye cover featuring Joe Bataan and female vocalist La La doing their best Marvin and Tammi Tyrrell impression over a slow soulful latin-tinged groove.Richie's Bag closes side 2, written by and featuring pianist Richie Ray, another soul montuno dancefloor classic with the vocalists singing English lyrics quoting Joe Bataan's present and future hits , Gypsy woman, Subway Joe, "Ordinary Guy.


    And that's it! The whole album is just 6-tracks long but it serves as a historical musical document of something new and vibrant that was evolving in Latin New York in the '60s. A coming together of black, white and brown as music crossed ethnic barriers. Music, like society, was attempting to integrate. What Masucci and Pacheco succeeded to do with this recording and Fania Records in general was to bring together the older and new generations of Latin musicians, where it became the roots of what became salsa in the next decade, whilst making the first recordings of the Fania All Stars, the band that would be most associated with spreading the music to a global audience. These reasons make this album a must for any true aficionado of Puerto Rican music from New York.

    1. Son Cuero Y Boogaloo
    2. Noche
    3. Red Garter Strut
    4. Kikapooo Joy Juice
    5. If This World Were Mine
    6. Richie's Bag
    Fania All Stars
    $14.99
    Vinyl LP - Sealed Buy Now
  • Mysterious Traveller (Speakers Corner) Mysterious Traveller (Speakers Corner) Quick View

    $34.99
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    Mysterious Traveller (Speakers Corner)

    In Weather Report's fourth album the mysterious multi-instrumentalist Joe Zawinul travels once again through his virtually endless sound universe. And once again the question arises as to whether he will manage to leave his genetic fingerprint - without resorting to routine - on all the newly created sounds. The magic word here is naturalness, which makes its way safely and surely through the electronic backdrop.



    Nubian Sundance, performed with two drummers and a percussionist, twists and turns in an apparently disoriented, meditative fashion through a mix of sizzling sound and colours, leading up to the final live applause that brings this dance to a close and making it a real experience for all. Following the translucent, will-o'-the-wisp-like American Tango is Cucumber Slumber with its compact funky sound created by a cool mix of saxophone and the sucking sound of a synthesizer. The two protagonists Zawinul and Shorter seem to be on a par with one another in the dazzling title piece where the lyrical saxophone part is supported by thunderous piano chords. Warm, dreamy harmonies are heard for a short while, only to be hacked apart in Blackthorn Rose - this is no orbital music floating around in your head but sheer tension, which makes you clutch your seat until landing. Back on earth the mysterious traveller was received with open arms with the readers of Down Beat magazine voting the LP 'Album of the Year 1974'.



    Musicians:



    • Joe Zawinul (keyboards, percussion, vocals, guitar)

    • Wayne Shorter (saxophone, piano)

    • Miroslav Vitous, Alphonso Johnson (bass)

    • Ray Barretto, Dom Um Romão (percussion)

    • Skip Hadden, Ishmael Wilburn (drums)




    Recording: 1974 at Devonshire Sound, North Hollywood, USA, by Ron Malo

    Production: Josef Zawinul and Wayne Shorter





    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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

    1. Nubian Sundance
    2. American Tango
    3. Cucumber Slumber
    4. Mysterious Traveler
    5. Blackthorn Rose
    6. Scarlet Woman
    7. Jungle Book
    Weather Report
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Blue Gene Blue Gene Quick View

    $19.99
    Buy Now
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    Blue Gene

    Featuring

    Idrees Suliman

    Pepper Adams

    Mal Waldron

    Arthur Taylor

    Doug Watkins

    Ray Barretto
    1. Blue Gene
    2. Scamperin'
    3. Blue Greens 'N Beans
    4. Hip Tip
    Gene Ammons All Stars
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • Party Time Party Time Quick View

    $34.99
    Buy Now
    x

    Party Time

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    At the time he recorded this album in 1957, Arnett Cobb was in the process of rebounding from a serious automobile accident that broke both his legs. Cobb's indomitable spirit shines through in these tracks, whether he is calmly preaching on When My Dream Boat Comes Home, grooving down the Lonesome Road, or roaring through the song that is almost as closely associated with him as it is with Illinois Jacquet - Flying Home.


    There are plenty of good blues, too, and pianist Ray Bryant's eloquence in this idiom is well exposed. Ray Barretto's conga adds another flavor to the rhythm section, especially on Cocktails for Two. With Ray Bryant, Wendell Marshall, Arthur Taylor and Ray Barretto.

    1. When My Dreamboat Comes Home
    2. Lonesome Road
    3. Blues in the Closet
    4. Party Time
    5. Flying Home
    6. The Slow Poke
    7. Cocktails for Two
    Arnett Cobb
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Pilon Pilon Quick View

    $19.99
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    Pilon

    Since joining forces in 2011, Los Hacheros have been setting dance floors aflame with their astounding live shows. Now with the release of their debut album, Pilon, they are ready to introduce to the world their revelatory new sound. Recorded live onto a classic 388 Tascam tape machine, Pilon captures a gritty soulfulness that has been absent far too long from modern latin music. Combining the raw emotion of Papote Jimenez's vocals, Eddie Venegas and Itai Kriss' powerful mambos, and Jacob Plasse's psychedelic tres guitar, Los Hacheros have a created a sound that is both unique and timeless. On Pilon one hears echoes of legends such as Ray Barretto, Fania, and Arsenio Rodriguez, but with an immediacy and power that is unmistakably New York now.
    1. Azucar
    2. Desastrer
    3. Chano
    4. Papote's Guajira
    5. Convergencia
    6. Toma Tu Pilon
    7. Tintorera
    8. Mami Me Gusto
    9. Cha-Cha Herzlia
    Los Hacheros
    $19.99
    Vinyl LP - Sealed Buy Now
  • Boss Tenor Boss Tenor Quick View

    $34.99
    Buy Now
    x

    Boss Tenor

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    For nearly a quarter-century, beginning in 1950, tenor saxophonist Gene Ammons (1925-1974) was among the brightest stars in the Prestige Records firmament. Whether leading, or partaking in, one of Prestige's jam sessions, immersing himself in the organ-dominated blues and gospel grooves that in the 1950s came to be called "soul jazz," or digging deep for heart-rending ballads, Ammons was multiply masterful. And in 1960, leading a quintet featuring the impeccable pianist Tommy Flanagan, plus Ray Barretto's piquant congas, he produced the insuperable Boss Tenor.


    From the blues that drips from "Hittin' the Jug" and "Blue Ammons" to the infectious medium bounce of the standards "Close Your Eyes" and "Canadian Sunset," and from the sophisticated swing of "Stompin' at the Savoy" to the finger-poppin' bop of "Confirmation" and the after-hours balladry of "My Romance," Boss Tenor has something for everyone claiming to be a fan of modern jazz.

    1. Hittin' The Jug
    2. Close Your Eyes
    3. My Romance
    4. Canadian Sunset
    5. Blue Ammons
    6. Confirmation
    7. Savoy
    Gene Ammons
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Together Together Quick View

    $14.99
    Buy Now
    x

    Together

    Together
    Adiviname Y Olvidate
    Hipocresia Y Falsedad
    No Olvido a Caracas
    De Donde Vengo
    Vive Y Vacila
    Invitacion Al Son
    Tin Tin Deo
    Ray Barretto
    $14.99
    Vinyl LP Reissue - Sealed Buy Now
  • Backlash (Speakers Corner) Backlash (Speakers Corner) Quick View

    $34.99
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    Backlash (Speakers Corner)

    After his great success as a new discovery through playing on tour and in the studio with Art Blakey's creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.
    It was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled Backlash, is still until today the best of the bunch.


    Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is Little Sunflower. The sound colouring of the flute harmonizes particularly well with Hubbard's brass, and Ray Barretto's contribution is more than mere decoration. You're certainly on the right track with this LP, no matter whether it's the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.


    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:



    • Freddie Hubbard (fluegel horn, trumpet)
    • James Spaulding (alto saxophone, flute)
    • Albert Dailey (piano)
    • Bob Cunningham (bass)
    • Ray Appleton (drums)
    • Ray Barretto (percussion)



    Recording: 1967 by Tom Dowd, Phil Jehle and Adrian Barber

    Production: Arif Mardin




    About Speakers Corner



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



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



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



    We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.



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



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


    1. Backlash
    2. The Return Of The Prodigal Son
    3. Little Sunflower
    4. On The Que-Tee
    5. Up Jumped Spring
    6. Echoes Of Blue
    Freddie Hubbard
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    God Bless The Child (Pure Pleasure) (Awaiting Repress)

    Kenny Burrell's guitar artistry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless The Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalogue. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them. Sebesky built a moody, atmospheric soundscape behind him, one that was as impressionistic as it was illuminating of a player who could dig in and chop it up -- as he does on his own composition Love Is the Answer and Do What You Gotta Do -- and stroke it smooth and mellow as on the title track, the truly sublime Be Yourself, and Thad Jones' A Child Is Born. This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



    Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USA

    Production: Creed Taylor



    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. Be Yourself
    2. Love Is The Answer
    3. Do What You Gotta Do
    4. A Child Is Born
    5. God Bless The Child
    Kenny Burrell
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Bluesy Burrell (Out Of Stock) Bluesy Burrell (Out Of Stock) Quick View

    $34.99
    x

    Bluesy Burrell (Out Of Stock)

    Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.


    All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at Acoustic Sounds' state-of-the-art pressing plant, Quality Record Pressings, plated by Gary Salstrom


    Deep groove label pressings, tip-on jackets on thick cardboard stock


    This session is a model of the emotionally intense ballad programs featured on Prestige's Moodsville subsidiary. The great Kenny Burrell receives a major assist from saxophone patriarch Coleman Hawkins (who is in exemplary early-Sixties form), Hawkins's rhythm section of the time (made up exclusively of natives of Burrell's hometown Detroit) and conga drummer Ray Barretto. The choice of material and variety of settings are inspired, with Burrell heard solo on No More, over just bass and drums on Guilty, in two different quintet settings and on three titles by the full sextet. Each soloist is fully engaged throughout, with things shifting into even higher gear when Burrell and Hawkins converse on Montono Blues and I Thought About You. With Coleman Hawkins, Tommy Flanagan, Major Holley, Eddie Locke and Ray Barretto.

    1. Tres Palabras
    2. No More
    3. Guilty
    4. Montono Blues
    5. I Thought About You
    6. Out of this World
    7. It's Getting Dark
    Kenny Burrell
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • Blue Gene (Out Of Stock) Blue Gene (Out Of Stock) Quick View

    $49.99
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    Blue Gene (Out Of Stock)

    Another of the mid-1950s Ammons studio jam sessions for Prestige, Blue Gene lives up to its title by utilizing blues changes as the basis for three of its four selections. Pianist Mal Waldron wrote all these lines and the minor-key ballad, Hip Tip. Ammons was one of the most expressive saxophonists and, in Idrees Sulieman and Pepper Adams, he found soulmates among the other horns. Each man had jammed with Gene on Prestige previously.


    Featuring

    Idrees Suliman

    Pepper Adams

    Mal Waldron

    Arthur Taylor

    Doug Watkins

    Ray Barretto

    1. Blue Gene
    2. Scamperin'
    3. Blue Greens 'N Beans
    4. Hip Tip

    Gene Ammons
    $49.99
    45 RPM 180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
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