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  • Breakfast On The Morning Tram (Pure Pleasure) Breakfast On The Morning Tram (Pure Pleasure) Quick View

    $49.99
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    Breakfast On The Morning Tram (Pure Pleasure)

    Stacey Kent is what men used to call a classy broad. Her elegant fashion sense and understated vocal style make her sound like a woman from another time, an unflappable sophisticate with a warm, slightly world-weary persona. She was born in the United Sates but after a trip to France, she decided to become a jazz singer. In the early '90s she landed in Oxford where she met her husband, musical director/sax player Jim Tomlinson. Tomlinson also produces Kent's albums, and this time out, he composed several charming tunes that sound like potential standards, plus collaborations with lyricist Kazuo Ishiguro, author of Remains Of The Day. Original tunes like The Ice Hotel and I Wish I Could Go Traveling Again are full of wry humor, and Kent delivers them with her usual effortless grace.



    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (tenor saxophone, alto saxophone, soprano saxophone, flute)

    • John Parricelli (guitar)

    • Graham Harvey (piano, electric piano)

    • Dave Chamberlain (bass)

    • Matt Skelton (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. The Ice Hotel
    2. Landslide
    3. Ces Petits Riens
    4. I Wish I Could Go Traveling Again
    5. So Many Stars
    6. Samba Saravah
    7. Breakfast On the Morning Tram
    8. Never Let Me Go
    9. So Romantic
    10. Hard Hearted Hannah
    11. La Saison des Pluies
    12. What A Wonderful World
    Stacey Kent
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Changing Lights (Pure Pleasure) The Changing Lights (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    The Changing Lights (Pure Pleasure)

    Stacey Kent's latest recording again demonstrates her vocal mastery. The immaculate intonation, timing and diction are flawless to the point of sheer purity. Her voice becomes an instrument with impeccable clarity and minimal vibrato. Her focus on this album is largely Latin numbers switching English with clever changes into Portuguese, and French imperceptibly. There are covers of bossa nova numbers from Tom Jobim and two songs written by novelist and lyricist Kashou Ishiguro; namely the title song Changing Lights, a sublime number, and The Summer We Crossed Europe a story gracefully sung by Ms Kent. Waiter, Oh Waiter is a neat request for help in choosing from a foreign menu. How Insensitive is quite the opposite. The Brazilian One Note Samba is a difficult number to handle at such pace with the short-spaced almost staccato notes; Stacey effortlessly takes the scale runs in her stride.The arrangements and accompaniment of husband Jim Tomlinson are outstanding. The rhythm section is wonderfully subtle with particular praise for the percussionists, pianist Graham Harvey and the Latino guitarists' phrasing. However, this is Stacey Kent's record first and foremost; impressive and top class. Highly recommended.



    Musicians:



    • Stacey Kent (vocal, guitar)

    • Jim Tomlinson (tenor saxophone, soprano saxophone, flute)

    • Graham Harvey (piano, electric-piano)

    • Roberto Menescal, John Parricelli (guitar)

    • Jeremy Brown (bass)

    • Matt Home, Joshua Morrison (drums)

    • Raymundo Bittencourt (ganza)



    Recording: November 2012 and April 2013 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.

    This Happy Madness
    The Summer We Crossed Europe In The Rain
    One Note Samba
    Mais Uma Vez
    Waiter, Oh Waiter
    O Barquinho
    The Changing Lights
    How Insensitive
    O Bêbado E A Equilibrista / Smile
    Like A Lover
    The Face I Love
    A Tarde
    Chanson LÉgère
    Stacey Kent
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • The Boy Next Door (Pure Pleasure) The Boy Next Door (Pure Pleasure) Quick View

    $44.99
    Buy Now
    x

    The Boy Next Door (Pure Pleasure)

    Ms Kent's album, The Boy Next Door, is a heartfelt and reverent tribute to her musical heroes, which include legendary crooners Frank Sinatra and Dean Martin, octogenarian jazz master Dave Brubeck and Manhattan cabaret doyen Bobby Short. The stylish jazz chanteuse's repertoire also finds her working outside the Great American Songbook for the first time, with contributions from latter-day pop songwriters Burt Bacharach, Paul Simon and Carole King. Ms Kent puts her own indelible stamp on each number as she weaves her magic on a delectable collection of pop-jazz standards that encompass infatuation, seduction, love, loss and reminiscence.



    Ms Kent receives impeccable support from her sleek, urbane jazz quintet, whose rhythmic fluency is further enhanced by the tasteful, literate arrangements. Newton and Tomlinson, both accomplished musicians in their own right, also display hitherto unknown musical talents as they join Curtis Schwartz to provide tongue-in-cheek backing vocals for Ms Kent's deliciously bouncy rendition of Ooh-Shoo-Be-Doo-Bee.




    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (vocal, saxophone)

    • Colin Oxley (guitar)

    • David Newton (piano, keyboards, vocal)

    • Dave Chamberlain (bass)

    • Matt Home (drum)

    • Curtis Schwartz (backing vocal)




    Recording: February 2003 at Curtis Schwartz Studios in 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. The Best Is Yet To Come

    2. The Boy Next Door

    3. The Trolley Song

    4. Say It Isn't So
    5. Too Darn Hot

    6. Makin' Whoopee

    7. What The World Needs Now Is Love

    8. You've Got A Friend

    9. I Got It Bad
    10. Ooh-Shoo-Be-Doo-Bee
    11. People Will Say We're In Love

    12. 'Tis Autumn

    13. All I Do Is Dream Of You

    14. I Get Along Without You Very Well

    15. You're The Top
    16. Bookends
    Stacey Kent
    $44.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Let Yourself Go (Pure Pleasure) Let Yourself Go (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Let Yourself Go (Pure Pleasure)

    Let Yourself Go is an exceptional collection of 13 tunes written by the cream of popular song writers -- Berlin, Gershwin Brothers, and others -- honoring Fred Astaire's contributions to the vocal art. With his low key, narrow ranged voice, Astaire probably introduced and/or made popular more songs that were destined to become standard entries in the Great American Songbook than any other artist. Kent delivers this selective play list with one of three musical combinations, just piano, with piano plus rhythm, and with a larger aggregation which includes sax and guitar. Irrespective of the instrumental context, all of the tunes are delivered with Stacey's pleasant nasal twang to help her create the impression that the lyrics she's singing are part of an intimate one on one conversation with each listener. There's nothing over dramatic on this album. No gimmicks, just a voice as engaging as any on the scene conveying the meaning of a melody in the tradition of the person she is honoring, the inestimable Astaire.


    Kent's pianist, David Newton, is one of the premiere accompanists in the U.K., having worked with such top flight singers as Tina May. He and Kent display their musical attraction to each other on a relaxed, suave rendition of Isn't This a Lovely Day and They Can't Take That Away From Me, where Kent and Newton gently joust as they deliver an elegant rendition of this tune. 'Relaxed' is as good a word as any to describe the atmosphere for this session. There's nothing frenetic here. S'Wonderful, usually performed at a fast pace, gets a languid, medium tempo treatment with Newton's piano, an effortlessly lilting Colin Oxley guitar and Jim Tomlinson's tenor sharing the mike with Kent. A Fine Romance is about as upbeat as it gets, with Oxley's cleaned line guitar setting the pace. Newton engages in a bit of Erroll Garner-like humming during his solo on this tune. Tomlinson's romantic tenor is featured on Let Yourself Go and They All Laughed. On One for My Baby, he brings out his clarinet, using the middle register to help create the proper melancholy mood for this definitive 'drowning my sorrows in booze' tune.


    This is another excellent album by American born, U.K.-based singer Stacey Kent, and is happily recommended.

    Musicians:



    • Stacey Kent (vocal)

    • Jim Tomlinson (tenor saxophone, alto saxophone, clarinet)

    • Colin Oxley (guitar)

    • David Newton (piano, keyboards)

    • Simon Thorpe (bass)

    • Steve Brown (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.

    LP 1
    1. Let Yourself Go
    2. They Can't Take That Away From Me
    3. I Won't Dance
    4. Isn't This A Lovely Day?
    5. They All Laughed
    6. He Loves And She Loves


    LP 2
    1. Shall We Dance?
    2. One For My Baby (And One More For The Road)
    3. S' Wonderful
    4. A Fine Romance
    5. I Guess I'll Have To Change My Plan
    6. I'm Putting All My Eggs In One Basket
    7. By Myself

    Stacey Kent
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs 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
  • Ao Vivo (Pure Pleasure) Ao Vivo (Pure Pleasure) Quick View

    $49.99
    Buy Now
    x

    Ao Vivo (Pure Pleasure)

    Marcos Valle celebrates his 50th career anniversary as a songwriter, arranger, instrumentalist and singer with Stacey Kent's sweet American voice. Recorded at Miranda, in Rio de Janeiro, the performances here also have the special participation of Jim Tomlinson on saxophone. Each track on this LP presents an aspect of Marcos Valle's various musical facets, mixing genres and rhythms, placing Pop, Jazz, Bossa Nova, World Music, and MPB music side by side. Stacey Kent, one of the most prominent jazz singers in the world, lends her voice to songs like "Summer Samba (Samba de Vero)", "If You Went Away (Preciso Aprender a Ser Só)", "The Face I Love (Seu Encanto)", "Look Who's Mine (Dia de Vitória)" and many other of Marcos' classics. Highly recommended.



    Musicians:



    • Marcos Valle (vocals, piano)

    • Stacey Kent (vocals)

    • JessÉ Sadoc (trumpet, fluegel horn)

    • Marcelo Martins (saxophone, flute)

    • Jim Tomlinson (saxophone)

    • Aldivas Ayres (trombone)

    • Luiz Brasil (guitar)

    • Alberto Continentino (bass)

    • Renato 'Massa' Calmon (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.

    LP1
    1. The White Puma (Puma Branco)
    2. Look Who's Mine (Dia de Victoria)
    3. The Face I Love (Seu Encanto)
    4. The Answer (A Resposta)
    5. Drift Away
    6. Summer Samba (Samba de Verao)
    7. Gente
    8. Passa por Mim


    LP2
    1. Batucada Surgiu
    2. La Petite Valse
    3. If You Went Away (Preciso Aprender a Ser So)
    4. Pigmaliao
    5. The Crickets (Os Grilos)
    6. She Told Me, She Told Me (Sonho de Lugar)
    7. My Nightmare

    Marcos Valle & Stacey Kent
    $49.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
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