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  • Sarah Vaughan In Hi Fi (Pure Pleasure) Sarah Vaughan In Hi Fi (Pure Pleasure) Quick View

    $49.99
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    Sarah Vaughan In Hi Fi (Pure Pleasure)

    Most of Sarah Vaughan's Columbia recordings were on the commercial side, but not the memorable selections on this wonderful vinyl reissue. She recorded eight selections in 1950 with an octet that included trumpeter Miles Davis, trombonist Benny Green, the remarkably cool clarinetist Tony Scott and tenorman Budd Johnson. This double LP adds alternate takes to seven of the numbers, none on the original single LP release. This version of Ain't Misbehavin' is a true classic (with memorable eight-bar solos by each of the four horns); Mean To Me and Nice Work If You Can Get It are gems, and the other performances are not far behind. In addition, Vaughan sings two versions of The Nearness Of You in 1949; there is also a previously unknown recording of It's All In The Mind, and three orchestra numbers from 1951 and 1953 wrap up the outstanding reissue. Sassy has rarely sounded better.




    Musicians:



    • Sarah Vaughan (vocal)

    • Stan Webb (bassoon)

    • Budd Johnson (tenor saxophone)

    • Miles Davis (trumpet)

    • Benny Green (trombone)

    • Tony Scott (clarinet)

    • Jimmy Jones (piano)

    • Freddie Green (guitar)

    • J.C. Heard (drums)




    Recording: December 1949, May 1950 and December 1952



    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. East Of The Sun (And West Of The Moon)
    2. Nice Work If You Can Get It
    3. Pinky
    4. The Nearness Of You
    5. Come Rain Or Come Shine
    6. Mean To Me
    7. It Might As Well Be Spring
    8. Cant Get Out Of this Mood
    9. Spring Will Be A Little Late This Year
    10. Ooh, What Cha Doin To Me

    11. Goodnight My Love
    12. Aint Misbehavin
    13. Its All In The Mind
    14. The Nearness Of You (alternate take)
    15. Aint Misbehavin (alternate take)
    16. Goodnight My Love (alternate take)
    17. Cant Get Out Of this Mood (alternate take)
    18. It Might As Well Be Spring (alternate take)
    19. Mean To Me (alternate take)
    20. Come Rain Or Come Shine (alternate take)
    21. East Of The Sun (And West Of The Moon) (alternate take)
    Sarah Vaughan
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sarah Sings Soulfully (Pure Pleasure) Sarah Sings Soulfully (Pure Pleasure) Quick View

    $34.99
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    Sarah Sings Soulfully (Pure Pleasure)

    Sassy's years on the Roulette label (1960-64) have been called the legendary singer's finest hour, a time when Vaughan's musicality merged exquisitely with her unbridled vocal ardor to achieve the sublime. Sarah Sings Soulfully, recorded at the close of that period, stands as a stunning testament to this claim - a divine collection of tracks that reveals an artist staking her soul on the rendering of each and every note, as well as the silences between them. Seductively spare, luxuriously poignant, and achingly honest all at the same time, Vaughan's vocals careen incandescently through the 12 standards presented here, swooping, sighing, and soaring with an intensity that remains unparalleled to this day. Listen to her reading of the Just Let Our Love Take Wing line on the version of Monk's 'Round Midnight found here: the fat, luscious drop of the word just, the long fermata on love, and the dip and swell that pulls the phrase forward on take. It's a moment of revelation - and incredibly, only one among the many that shimmer throughout this collection.




    Musicians:



    • Sarah Vaughan (vocal)

    • Gerald Wilson (arranger, conductor)

    • Teddy Edwards (tenor saxophone)

    • Ernie Freeman (organ)

    • Carmell Jones (trumpet)

    • Milt Turner (drums)




    Recording: June 1963 at United Recorders, Los Angeles, California

    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. A Taste of Honey
    2. What Kind of Fool Am I?
    3. Guess I'll Hang My Tears Out to Dry
    4. Sermonette
    5. In Love in Vain
    6. Gravy Waltz
    7. The Good Life
    8. Moanin'
    9. 'Round Midnight
    10. Easy Street
    11. Baby, Won't You Please Come Home
    12. Midnight Sun
    Sarah Vaughan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • You're Mine You You're Mine You Quick View

    $19.99
    Buy Now
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    You're Mine You

    Sarah Vaughan & Quincy Jones present You're Mine You. Features exclusive cover by photographer Jean-Pierre Leloir.
    1. You're Mine You
    2. The Best Is Yet to Come
    3. Witchcraft
    4. So Long
    5. The Second Time Around
    6. I Could Write a Book
    7. One Mint Julep
    8. Maria
    9. Baubles, Bangles and Beads
    10. In Other Words (Fly Me to the Moon)
    11. Moonglow
    12. Invitation
    13. On Green Dolphin Street
    14. Mama, He Treats Your Daughter Mean
    Sarah Vaughan & Quincy Jones
    $19.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • I Remember (Pure Pleasure) I Remember (Pure Pleasure) Quick View

    $34.99
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    x

    I Remember (Pure Pleasure)

    Jazz singer Dianne Reeves was born into a family rich in musical background. Her uncle, Charles Burrell, a bass player with the Denver Symphony Orchestra, introduced her to the music of jazz singers such as Ella Fitzgerald, Billie Holiday, and, especially impressive to Reeves, Sarah Vaughan.



    Her musical career includes a tour with Eduardo del Barrio's group Caldera; singing with Billy Childs' jazz band Night Flight; touring with Sergio Mendes; from 1983-86 touring with Harry Belafonte as a lead singer. She also sang at the closing ceremony of the 2002 Winter Olympic Games in Salt Lake City.



    Reeves has been awarded four Grammys for Best Jazz Vocal Performances for the albums In the Moment - Live In Concert (2001), The Calling: Celebrating Sarah Vaughan (2002), A Little Moonlight (2003), and Good Night and Good Luck (soundtrack) (2006).


    Recorded at Madhatter Studios, Los Angeles, California on September 10-11, 1990 and The Van Gelder Studio, Englewood Cliffs, New Jersey on April 27-28 and May 9, 1988.


    Features:



    • 180g Vinyl

    • Re-mastered by Ron McMaster at Capitol Studios


    Musicians:



    • Dianne Reeves, vocals

    • Kevin Eubanks, acoustic guitar

    • Bobby Hutcherson, vibraphone

    • Greg Osby, alto saxophone

    • Justo Almario, saxophone

    • Charles Mims, piano

    • Billy Childs, piano

    • Donald Brown, piano

    • Mulgrew Miller, piano

    • Chris Severin, bass

    • Charnett Moffett, bass

    • Billy Kilson, drums

    • Marvin Smitty Smith, drums

    • Terri Lyne Carrington, drums

    • Ron Powell, percussion, wind chimes

    • Bill Summers, percussion

    • Luis Conte, 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. Afro Blue
    2. The Nearness Of You / Misty
    3. I Remember Sky
    4. Love For Sale
    5. Softly As In The Morning Sunrise
    6. Like A Lover
    7. How High The Moon
    8. You Taught My Heart To Sing
    9. For All We Know
    Dianne Reeves
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • After Hours (Pure Pleasure) (Awaiting Repress) After Hours (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

    After Hours (Pure Pleasure) (Awaiting Repress)

    This Roulette Records' 1961 Birdland Series LP of Sarah Vaughan's After Hours was the first ever album by 'Sassy' to feature just her voice with bass (George Duvivier) and guitar (Mundell Lowe) in a program of mostly ballads, with Miss Vaughan crooning quietly in a rarely used style. Her voice is at its peak on these intimate, relaxed, almost spontaneous sessions. A true jazz classic of considerable beauty, with George and Mundell perfectly complementing 'the Divine Sarah' as she runs through a set of carefully chosen (yet unrehearsed) favorites, all songs one might've heard her perform in a smoky club well After Hours.


    Just one gorgeous track after another here. On Wonder Why Vaughan plumbs the depths of her vocal range. Easy To Love features an outstanding walking bass line. They swing it so well, Sarah is moved to finger-snap. Her exquisite enunciation and vocal sliding are most noticeable on a mellow cover of Duke Ellington's Sophisticated Lady. The LP's most energetic song, Great Day again spotlights George's amazing bass work. A mere fragment, it fades out much too soon. On an impressive Sentimental Mood, Sassy utilizes sharp, flat and quarter tones, and a few notes perhaps never heard before. The facáde of aloofness that shields a broken heart in Vanity makes for a melancholy, yet apropos, set closer. - Annie Van Auken


    Musicians:



    • Sarah Vaughan (vocal)
    • Mundell Lowe (guitar)
    • George Duvivier (bass)



    Recording: 1961



    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 Favorite Things
    2. Ev'ry Time We Say Goodbye
    3. Wonder Why
    4. Easy To Love
    5. Sophisticated Lady
    6. Great Day
    7. Ill Wind
    8. If Love Is Good To Me
    9. In A Sentimental Mood
    10. Vanity
    Sarah Vaughan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • The Divine One (Pure Pleasure) The Divine One (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Divine One (Pure Pleasure)

    Recorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers -- and no less a strong and clear voice than trumpeter Harry Sweets Edison (the perfect accompaniment for Vaughan). The Divine One is mostly a ballads collection, and it includes a few songs that were new to her repertoire -- good choices like Have You Met Miss Jones? (aka Old Jones), When Your Lover Has Gone, Wrap Your Troubles In Dreams, and Jump for Joy. One great left-field choice is Ain't No Use, the R&B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simone didn't record it until several years later). Roulette would soon push Vaughan in many different directions -- releasing over a dozen LPs in just a few short years -- but this small-group date is a gem.




    Recording: October 1960

    Production: Jimmy Jones



    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. Have You Met Miss Jones?
    2. Ain't No Use
    3. Everytime I See You
    4. You Stepped Out Of A Dream
    5. Gloomy Sunday
    6. What Do You See In Her
    7. Jump For Joy
    8. When Your Lover Has Gone
    9. I'm Gonna Laugh You Out Of My Life
    10. Wrap Your Troubles In Dreams
    11. Somebody Else's Dream
    12. Trouble Is A Man
    Sarah Vaughan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sing The Best Of Irving Berlin Sing The Best Of Irving Berlin Quick View

    $22.99
    Buy Now
    x

    Sing The Best Of Irving Berlin

    Original Album Plus Bonus Tracks - Original Recordings Remastered
    1. Alexander's Ragtime Band
    2. Isn't This A Lovely Day
    3. I've Got My Love To Keep Me Warm
    4. All Of My Life
    5. Cheek To Cheek
    6. You're Just In Love
    7. Remember
    8. Always
    9. Easter Parade
    10. The Girl That I Marry
    11. Now It Can Be Told
    12. Passing Strangers (Bonus Track, NYC April 26, 1957)
    13. The Door Is Open (Bonus Track, NYC April 26, 1957)
    14. I Love You (Bonus Track, NYC December 22, 1949)
    15. You're All I Need (Bonus Track, NYC December 22, 1949)
    16. Dedicated To You (Bonus Track, NYC December 22, 1949)
    Sarah Vaughan & Billy Eckstein
    $22.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Womanchild Womanchild Quick View

    $35.99
    Buy Now
    x

    Womanchild

    When CÉcile McLorin Salvant arrived at the Kennedy Center in Washington, DC to compete in the finals of the 2010 Thelonious Monk International Jazz Competition, she was not only the youngest finalist, but also a mystery woman with the most unusual background of any of the participants. When she walked away with first place in the jazz world's most prestigious contest, the buzz began almost immediately. If anything, it has intensified in the months leading up to the launch of her Mack Avenue Records debut, WomanChild.


    "She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace," Wynton Marsalis asserts. "I've never heard a singer of her generation who has such a command of styles," remarks pianist Aaron Diehl. "She radiates authority," critic Ben Ratliff wrote in The New York Times in response to one of her post-competition performances, and a few weeks later his colleague Stephen Holden announced that "Ms. McLorin Salvant has it all.... If anyone can extend the lineage of the Big Three-Billie Holiday, Sarah Vaughan and Ella Fitzgerald-it is this 23-year-old virtuoso."


    Yet at almost every step of the way, McLorin Salvant has followed a different path from her peers. Born in Miami to a French mother and Haitian father, McLorin Salvant's first language was French. She immersed herself in the classical music tradition, long before she turned to jazz-starting on piano at age five and joining the Miami Choral Society at age eight. When it came time for college, McLorin Salvant bypassed all the US conservatories and jazz schools, heading instead to Aix-en-Provence in France, where she continued to develop as a singer, but with an emphasis on classical and baroque vocal music as well as jazz.
    There, thousands of miles away from jazz's land of origin, McLorin Salvant entered into a fruitful partnership with reed player and teacher Jean-François Bonnel, first as a student and soon as a performer. Before returning to the US, she gave concerts in Paris, recorded with Bonnel's quintet, and immersed herself in the early jazz and blues vocal tradition. By the time she returned to her home country to take the stage in the Monk Competition, she had drawn on this unusual set of formative experiences in shaping a personal style of jazz singing, surprising and dramatic by turns, and very much in contrast to that of the other participants and McLorin Salvant's contemporaries.


    In the aftermath of McLorin Salvant's triumph at the Monk Competition, the jazz world eagerly awaited the winner's first US recording. Answering that call with WomanChild, McLorin Salvant draws on songs spanning three centuries of American music. "I like to choose songs that are a little unknown or have been recorded very few times," McLorin Salvant notes. "While these songs aren't recognized as standards, many should be because they are so beautifully crafted."


    On the album, her repertoire ranges from the 19th century ballad "John Henry," refreshed in a spirited up-to- date arrangement, to McLorin Salvant's own 21st century waltz "Le Front CachÉ Sur Tes Genoux" which draws on a poem by Haitian writer Ida Salomon Faubert for its lyric. She is joined by a world class band who share her concern for creating jazz of today by drawing on vibrant traditions of the past: pianist Aaron Diehl and bassist Rodney Whitaker (both of whom are Mack Avenue label mates), guitarist James Chirillo and master drummer Herlin Riley.


    The old and new rub shoulders throughout this album, but this singer's attitude is neither beholden to the past nor trying to anticipate the trends of the future. Her captivating singing is immersed in the immediacy of the present moment. So much so, that those who have seen McLorin Salvant in concert marvel at how she radiates the confidence and poise of a mature artist even though she is just at the dawn of her own career.


    McLorin Salvant may have the deepest roots of any singer of her generation. She knows the sounds and styles of modern jazz but also possesses complete command of the classic blues and early American vocal tradition. She has studied the entire recorded legacy of the great Bessie Smith (1894-1937), often called the Empress of the Blues, and also has deep familiarity with Valaida Snow, Bert Williams and other early masters of American music. For her, these musicians are exponents of living traditions that she has drawn into the orbit of her own work.


    However, McLorin Salvant can't be pinned down as a jazz traditionalist. Alongside fellow Monk Competition winner Jacky Terrasson, she has recorded works by John Lennon/Yoko Ono and Erik Satie, and can sing in French, Spanish or English as the mood and situation warrant. Knowledgeable jazz fans will identify the influence and inspiration from some of the most distinctive modern jazz stylists, such as Betty Carter, Carmen McRae and Abbey Lincoln. She is also currently continuing her studies of the classical and baroque tradition. In short, McLorin Salvant is a seeker and a creative spirit who is determined to push ahead, even while she shows an extraordinary command of the tradition that has preceded her.


    In his article in The New York Times, critic Stephen Holden listed some of the virtues of McLorin Salvant's singing: "perfect pitch and enunciation, a playful sense of humor, a rich and varied tonal palette, a supple sense of swing, exquisite taste in songs and phrasing, and a deep connection to lyrics." Her musical skills are considerable, but they are matched by an interpretive ability that is almost more akin to an actor's than a singer's. She draws out the story hidden inside the song, and can draw on the elements of her own personality and a full gamut of emotional stances-from the darkly troubling to the richly comic-in bringing lyrics to life.


    "I want to get as close to the center of the song as I can," McLorin Salvant explains. "When I find something beautiful and touching I try to get close to it, and share that with the audience."


    On WomanChild, McLorin Salvant gives music lovers the chance to hear why the illustrious judges at the Monk Competition gave her top honors. McLorin Salvant is still a bit of a mystery, but she will hardly be a secret any longer.

    1. St. Louis Gal
    2. I Didn't Know What Time It Was
    3. Nobody
    4. WomanChild
    5. Prelude/There's A Lull In My Life
    6. You Bring Out The Savage In Me
    7. Baby Have Pity On Me
    8. John Henry
    9. Jitterbug Waltz
    10. What A Little Moonlight Can Do
    11. Deep Dark Blue
    Cecile McLorin Salvant
    $35.99
    Vinyl LP - Sealed Buy Now
  • Snowbound (Pure Pleasure) Snowbound (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Snowbound (Pure Pleasure)

    Wrapped in the soothing strings of arranger Don Costa, Sarah Vaughan recorded an unsurprisingly dreamy ballads collection titled Snowbound. Despite the peaceful atmosphere and strolling tempo, Vaughan hardly treats the material as a cinch for her voice; all of these 11 songs find her searching for different ways to present timeworn standards. The opening title track is one of the warmest, most romantic songs on the LP, Vaughan plumbing the depths of her alto and nearly perfecting her humming vibrato. She also selects an obscure tune from the Gershwins (Blah, Blah, Blah, understandably overlooked but fun nevertheless) and, near the end, turns from cozy ballads into a mini-suite of forlorn material: I Fall in Love Too Easily, Glad to Be Unhappy, and Spring Can Really Hang You Up the Most. Snowbound is an overlooked gem from Sarah Vaughan's Roulette years.




    Musicians:



    • Sarah Vaughan (vocal)

    • Orchestra

    • Don Costa (arranger, conductor)




    Recording: July 1962 in New York City

    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. Snowbound
    2. I Hadn't Anyone 'Til You
    3. What's Good About Goodbye
    4. Stella By Starlight
    5. Look To Your Heart
    6. Oh You Crazy Moon
    7. Blah, Blah, Blah
    8. I Remember You
    9. I Fall In Love Too Easily
    10. Glad To Be Unhappy
    11. Spring Can Really Hang You Up the Most
    Sarah Vaughan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Studio Rio Presents: The Brazil Connection Studio Rio Presents: The Brazil Connection Quick View

    $19.99
    Buy Now
    x

    Studio Rio Presents: The Brazil Connection

    Legacy Recordings, the catalog division of Sony Music Entertainment, will release Studio Rio Presents: The Brazil Connection, an innovative new collection of 12 beloved vocal recordings re-experienced through new samba and bossa nova arrangements created by iconic Brazilian musicians and The Berman Brothers.


    Embracing the All In One Rhythm™ Theme of the 2014 FIFA World Cup, Studio Rio Presents: The Brazil Connection blends 12 iconic performances--from Bill Withers, Aretha Franklin, Marvin Gaye, Billie Holiday, Sly & The Family Stone, The Isley Brothers, Mel TormÉ, Nina Simone, Johnny Nash, Dave Brubeck with Carmen McRae, Andy Williams and Sarah Vaughan--with new, samba and bossa nova arrangements and production inspired by the spirit of Brazilian music.


    Working on Studio Rio Presents: The Brazil Connection project, the Berman Brothers sought out the original multi-track masters and utilized an all-new, state-of-the-art separation technology from Science of Sounds to extract exquisitely pristine and detailed vocals. The newly isolated vocals were then melded with brand-new, authentic backing arrangements played by Studio Rio, an all-star cast of Brazilian musical pioneers from the bossa nova and samba genres, including Latin Grammy Lifetime Achievement Award winner Roberto Menescal and Brazilian musical legend Marcos Valle.


    Studio Rio Presents: The Brazil Connection is the latest innovative musical project from the Berman Brothers (Frank and Christian), a production team whose previous work includes Rhythms Del Mundo (2006), a cross-cultural album summit which which fused an all-star cast of Cuban musicians including Ibrahim Ferrer and Omara Portuondo of the Buena Vista Social Club with US and UK artists and superstars such as U2, Coldplay, Sting, Jack Johnson, Maroon5, Arctic Monkeys, Franz Ferdinand, Kaiser Chiefs and others. Rhythms del Mundo was released in more than 61 countries and received multiple sales awards worldwide.


    During the past 20 years, the Berman Brothers have received more than 90 gold and platinum awards, two BMI Awards, a Golden Globe nomination, a Grammy nomination (for Love One Another, recorded by Cher) and a place in history for their production and remix of the Baha Men's colossal hit, Who Let the Dogs Out. As producers, writers and publishers, the Bermans have worked with an array of international superstars including Coldplay, Sting, Cher, Real McCoy, Dido, Maroon5, Sophie B Hawkins, Reamonn and members of the legendary Buena Vista Social Club.


    Music is the heart and soul of Brazil, celebrating with syncopated beats and beautifully expressive melodies. It's the life force of the entire culture, wrote the Berman Brothers in their notes for Studio Rio Presents: The Brazil Connection. We have always had a huge appreciation of Brazilian music. Between us, we have a massive collection of bossa nova and samba recordings, new and old, a lot which we found in flea markets in Amsterdam, Paris, and London.... Once you get into this music, there really is no way to stop. It was this joyful and timeless music that inspired the idea for this collection. Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known American artists like Billie Holiday, Aretha Franklin, Marvin Gaye, The Isley Brothers, and many others. What would these classic songs sound like had they been recorded in the studios of Rio De Janeiro in the first place, with the best Brazilian musicians and arrangers?"


    "It was an amazing journey-bringing together these American classics and the vibrancy of Brazilian music with the help of so many talented musicians, arrangers and a dedicated production team. We learned many things putting together this music including what was the most important, and least surprising lesson of all: Brazil is the most musical place we have ever been in our lives.

    1. Lovely Day (Studio Rio Version) - Bill Withers with Studio Rio
    2. Walk on By (Studio Rio Version) - Aretha Franklin with Studio Rio
    3. Sexual Healing (Studio Rio Version) - Marvin Gaye with Studio Rio
    4. You've Changed (Rio Music Collective Version) - Billie Holiday with Studio Rio
    5. Family Affair (Rio Music Collective Version) - Sly & The Family Stone with Studio Rio
    6. It's Your Thing (Rio Music Collective Version) - The Isley Brothers with Studio Rio
    7. I've Got You Under My Skin (Studio Rio Version) - Mel TormÉ witb Studio Rio
    8. I Can See Clearly Now (Studio Rio Version) - Johnny Nash with Studio Rio
    9. Take Five (Studio Rio Version) - Dave Brubeck & Carmen McRae with Studio Rio
    10. Music to Watch Girls By (Studio Rio Version) - Andy Williams with Studio Rio
    11. Summertime (Studio Rio Version) - Sarah Vaughan with Studio Rio
    Studio Rio
    $19.99
    Vinyl LP - Sealed Buy Now
  • Pirates (On Sale) Pirates (On Sale) On Sale Quick View

    $34.99 $31.49 Save $3.50 (10%)

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    Pirates (On Sale)

    Rickie Lee Jones Pirates On Numbered Limited-Edition 180-gram LP From Mobile Fidelity. Singer-Songwriters gorgeous-sounding 1981 album finally remastered!


    Rickie Lee Jones' Pirates arrives like a cloudburst in the desert of Eighties formula pop music and recycled heavy-metal rock. So wrote Stephen Holden in Rolling Stone in his five-star review of the eclectic artists sophomore album, a set that continues to defy eras and styles. While less-well known than her 1979 self-titled debut, the ambitious 1981 record remains Jones definitive statementan effort steeped in biographical details, fictional circumstances, and classic literary elements.


    Narratively blending West Side Story and Romeo and Juliet while also exploring spirit worlds and her breakup with Tom Waits, Pirates is at its core an idiosyncratic fusion of possibilities. And does Jones deliver! Accompanied by an all-star lineup that includes trumpeter Randy Brecker, Steely Dan icon Donald Fagen, drumming colossus Steve Gadd, session pro Victor Feldman, and legendary jazz arranger Ralph Burns, the singer-songwriter achieves a musical nirvana that encompasses post-bop, coffeehouse folk, bohemian pop, romantic soul, Beat poetry, and Broadway showtunes.


    Harmonized vocals and jive talking bring the piano-based records rich characters to life, making it seem as if listeners are overhearing conversations between strangers. In more than one way, Pirates is a self-contained theatrical production in which Jones singing is the star attraction. Her moody whispers, cries, and coos are the voices of spurned lovers, alienated outcasts, and unlikely heroines. Albums with this kind of stylistic magnitude, close-up intimacy, and emotional intensity come around only once or so a decade.


    Mobile Fidelity is proud to have had the opportunity to remaster Pirates from the original analog master tapes and produce a version that captures every nuance of this great-sounding studio masterpiece. Co-produced by Russ Titelman and Lenny Waronker (whose long list of credits include Randy Newman, James Taylor, and Eric Clapton records), trust us when we say that this 180-gram LP is one of the finest-sounding pop records youll hear. Fans of Steely Dan, Joni Mitchell, Randy Newman, Carole King, and Sarah Vaughan should consider this requisite listening. MoFis mini-LP style packaging only adds to the allure.


    So dont hesitate: Be the Lucky Guy that Jones sings about on the record by securing your lowest-numbered copy of Mobile Fidelitys half-speed mastered LP of Pirates today!


    This title is not eligible for further discount.

    1. We Belong Together
    2. Living It Up
    3. Skeletons
    4. Woody and Dutch on the Slow Train to Peking
    5. Pirates (So Long Lonely Avenue)
    6. A Lucky Guy
    7. Traces of the Western Slopes
    8. The Returns
    Rickie Lee Jones
    $34.99 $31.49 Save $3.50 (10%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Now It's My Turn (Pure Pleasure) Now It's My Turn (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Now It's My Turn (Pure Pleasure)

    Arguably the most adventurous female jazz singer of all time, Betty Carter was an idiosyncratic stylist and a restless improviser who pushed the limits of melody and harmony as much as any bebop horn player. The husky-voiced Carter was capable of radical, off-the-cuff re-workings of whatever she sang, abruptly changing tempos and dynamics, or rearranging the lyrics into distinctive, off-the-beat rhythmic patterns. She could solo for 20 minutes, scat at lightning speed, or drive home an emotion with wordless, bluesy moans and sighs. She wasn't quite avant-garde, but she was definitely 'out'. Yet as much as Carter was fascinated by pure, abstract sound, she was also a sensitive lyric interpreter when she chose, a tender and sensual ballad singer sometimes given to suggestive asides. Her wild unpredictability kept her marginalized for much of her career, and she never achieved the renown of peers like Ella Fitzgerald, Sarah Vaughan, or Carmen McRae. What was more, her exacting musical standards and assertive independence limited her recorded output somewhat. But Carter stuck around long enough to receive her proper due; her unwillingness to compromise eventually earned her the respect of the wider jazz audience, and many critics regarded her as perhaps the purest jazz singer active in the '80s and '90s.



    Musicians:



    • Betty Carter (vocal)

    • John Hicks (piano)

    • Walter Booker (bass)

    • Unknown (drums)



    Recording: March and June 1976 at Sound Ideas Studio C by Joe Ferla

    Production: Fred Bailin




    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. Music Maestro, Please
    2. Swing Brother Swing
    3. I Was Telling Him About You
    4. Wagon Wheels
    5. New Blues (You Purr)
    6. Most Gentlemen Don't Like Love
    7. Making Dreams Come True

    8. Open the Door
    9. Just Friends
    10. Star Eyes
    11. No More Words
    Betty Carter
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • But Beautiful (Pure Pleasure) But Beautiful (Pure Pleasure) Quick View

    $34.99
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    But Beautiful (Pure Pleasure)

    A highly successful and respected jazz and soul singer, Nancy Wilson bridges the gap between the classic pop vocal era of Peggy Lee, Frank Sinatra and Ella Fitzgerald and the belting R&B divas of today. Though Nancy Wilson has always cited the emotionally naked, androgynous vocal style of Jimmy Scott as her primary influence, her voice carries definite echoes of Dinah Washington and Sarah Vaughan. Yet Wilson also has always had a strong feeling for post-Sam Cooke soul and the tartness of her delivery carries more than an echo of the sometimes-icy Lena Horne. Young and heart-stoppingly beautiful, Wilson was discovered singing in a N.Y.C. jazz club in the late 1950s by Cannonball Adderley, who told his management at Capitol Records that they needed to scoop her up before another label did. Wilson was immediately signed and started recording for Capitol, the premier vocal label of the 1950s and '60s.




    Musicians:



    • Nancy Wilson (vocal)

    • Hank Jones (piano)

    • Gino Bertachini (guitar)

    • Ron Carter (bass)

    • Grady Tate (drums)




    Recording: November 1969 in New York City

    Production: David Cavanaughdeutsch




    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. Happiness Is A Thing Called Joe
    2. Oh! Look At Me Now
    3. Glad To Be Unhappy
    4. Do It Again
    5. But Beautiful
    6. Easy Living
    7. Prelude To A Kiss
    8. I Thought About You
    9. For Heaven's Sake
    10. Supper Time
    11. I'll Walk Alone
    12. Darn That Dream
    13. In A Sentimental
    Nancy Wilson
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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