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  • Birthday In Britain (Awaiting Repress) Birthday In Britain (Awaiting Repress) Quick View

    $9.99
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    Birthday In Britain (Awaiting Repress)

    Happy Birthday To You
    The Daily Dance
    Street Of Dreams
    Of Space And Time
    For Better And For Worster
    No Harmful Side Effects
    Ambivalence
    Blues, Between, And Betwixt
    Stan Kenton
    $9.99
    Vinyl LP Reissue - Sealed AWAITING REPRESS Buy Now
  • Painted Rhythm Painted Rhythm Quick View

    $6.99
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    Painted Rhythm

    Intermission Riff
    Painted Rhythm
    Pef O' My Heart
    No Baby, Nobody But You
    I Never Thought I'd Sing The Blues

    On The Sunny Side Of The Street
    Easy Street
    I Got The Sun In The Morning
    Come Rain Or Come Shine
    Tampico
    Jolly Rogers
    Dynaflow
    Sambo
    Portrait Of A Count
    Swing house
    Taboo
    Invention For Guitar And Trumpet
    Stan Kenton
    $6.99
    Vinyl LP - Sealed Buy Now
  • Grand Stan (Pure Pleasure) Grand Stan (Pure Pleasure) Quick View

    $34.99
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    Grand Stan (Pure Pleasure)

    Mr. Levey worked with Peggy Lee, Ella Fitzgerald, Bobby Darin and many other singers, and with the big bands of Benny Goodman, Woody Herman and Stan Kenton. He was also a ubiquitous presence in Los Angeles recording studios for many years. But he earned his place in jazz history primarily through his work with Charlie Parker and Dizzy Gillespie, the leading lights of bebop.



    A self-taught drummer who played left-handed even though he was naturally right-handed, Mr. Levey was still a teenager when he began attracting attention for the ease with which he handled the breakneck tempos and tricky accents of the modern style. Working with Gillespie and Parker, he also attracted attention for being one of two white musicians (the pianist Al Haig was the other) in an otherwise all-black group, by no means a common sight in the 1940's.



    Stan Levey was born in Philadelphia on April 5, 1926. The son of a prizefight promoter, he took up boxing about the same time he took up drums, and for a few years pursued both careers. But boxing, at which he was never exceptional, soon lost out to drumming, at which he was.



    His work with Gillespie and Parker in 1945, when bebop was new and controversial, won him the admiration of his peers but not much of a living. Greater success came a few years later when he began working with big bands.



    In 1954, after two years with Kenton, he settled in Los Angeles, where he spent five years with the Lighthouse All-Stars, the group in residence at a popular local nightclub. He was also in great demand for studio work, recording with many of the best-known musicians in jazz and playing on hit records like Peggy Lee's Fever. In addition, his drumming was heard on the soundtracks of hundreds of movies and television shows, including five Disney documentaries for which he wrote the music.



    Musicians:



    • Conte Candoli (trumpet)

    • Frank Rosolino (trombone)

    • Richie Kamuca (tenor saxophone)

    • Sonny Clark (piano)

    • Leroy Vinnegar (bass)

    • Stan Levey (drums)



    Recording: August 1955 in New York City



    About Pure Pleasure



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



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



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



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



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



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

    1. Yesterdays
    2. Angel Cake
    3. Why Do I Love You
    4. Grand Stan
    5. Hit That Thing
    6. Blues At Sunrise
    7. A Gal In Calico
    8. Tiny's Tune
    Stan Levey
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • You Get More Bounce With Curtis Counce! You Get More Bounce With Curtis Counce! Quick View

    $21.99
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    You Get More Bounce With Curtis Counce!

    A busy bassist on the Los Angeles jazz scene, Curtis Counce performed with many of the greats: Stan Kenton, Gerald Wilson, Jack Sheldon, Harold Land, Al Perkins, and Frank Butler, and could be heard on recordings with Maynard Ferguson, Art Pepper, and Chet Baker, displaying his fine technique and admirable sense of time.
    On one of his few albums as a leader, Counce is presented in the kind of buoyant company that was not often associated with the phrase West Coast Jazz. The album features two originals, "Counceltation" and "Complete" as well as a handful of standards. With Jack Sheldon, Harold Land, Carl Perkins and Frank Butler.
    1. Complete
    2. How Deep Is the Ocean?
    3. Too Close for Comfort
    4. Mean to Me
    5. Stranger in Paradise
    6. Counceltation
    7. Big Foot
    Curtis Counce
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Something Cool Something Cool Quick View

    $24.99
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    Something Cool

    Although it was June Christy's youthfully exuberant vocals that helped to make Stan Kenton's 1945 juke box classic Tampico a swinging hit, it was her 1954 song about a lonely girl looking for a cool drink on a hot summer day that brought the name June Christy to the attention of jazz lovers. June didn't exactly invent cool jazz, just as Elvis didn't exactly invent rockabilly, but with a song perfectly crafted to her seductive and unique style, she will always be remembered for the song and the album with the same name. She wasn't the first lady to sing a cool song, but she was the best!


    If you are one of the cats who bought this record in the 50's the sound of Cisco's new record will jar your senses. With all the benefits of state-of-the-art mastering and the improved pressing on silent HQ 180 vinyl, the new Something Cool is truly something special!

    1. I'm Thrilled
    2. The Night We Called It a Day
    3. This Time the Dream's On Me
    4. Softly, As In a Morning Sunrise
    5. Midnight Sun
    6. Something Cool
    7. I Should Care
    8. Lonely House
    9. It Could Happen to You
    10. A Stranger Called the Blues
    11. I'll Take Romance
    June Christy
    $24.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Konitz Meets Mulligan (Pure Pleasure) Konitz Meets Mulligan (Pure Pleasure) Quick View

    $34.99
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    Konitz Meets Mulligan (Pure Pleasure)

    O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and - yes - Chet Baker on trumpet. How can you pass this up?



    But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way - challenge each other.



    And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.



    Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.
    Mono - so what? This is a treasure from the vaults of Pacific Jazz.



    Musicians:



    • Lee Konitz (alto saxophone)

    • Gerry Mulligan (bassoon)

    • Chet Baker (trumpet)

    • Carson Smith (bass)

    • Joe Mandragon (bass)

    • Larry Bunker (drums)



    Recording: January 1953 at The Haig, Los Angeles, by Richard Bock

    Production: Richard Bock



    About Pure Pleasure



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



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



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



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



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



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



    Side One


    1. I Can't Believe That You're In Love With Me
    2. Broadway
    3. Almost Like Being In Love
    4. Sextet
    5. Oh, Lady Be Good
    6. Bernie's Tune
    7. Oh, Lady Be Good (alternative version)


    Side Two


    1. Too Marvelous For Words
    2. Lover Man
    3. I'll Remember April
    4. These Foolish Things
    5. All The Things You Are

    Lee Konitz & Gerry Mulligan
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Neon Art (Out Of Stock) Neon Art (Out Of Stock) Quick View

    $18.99
    x

    Neon Art (Out Of Stock)

    Red Colored Vinyl!


    Previously Unreleased Performances from January 28, 1981 at Parnell's Seattle, WA!


    Cut at Capitol Records by Ron McMaster!


    Just in time for what would have been jazz great Art Pepper's 87th birthday (September 1st) and in cooperation with Art's widow, Laurie Pepper and her label, Widow's Taste Music, Omnivore Recordings is pleased to release the first volume in a series of previously unissued live recordings by Art Pepper called Neon Art.


    From his early recordings with Stan Kenton's and Shorty Rogers' bands and sessions with Chet Baker, Henry Mancini or Quincy Jones, to his own recordings like classics made for Contemporary and Galaxy Records (The Art Pepper Quartet and Art Pepper Meets the Rhythm Section) Art Pepper built a legacy of recordings that can only be described as legendary. Thankfully, he also left us a narrative, tracing the history of his life and the roadmap with details of his great recordings in the shape of the book, Straight Life, which Art and Laurie authored together.


    The first volume of Neon Art features two tunes drawn from the unissued performances at Parnell's in Seattle, WA on January 28, 1981. Side one features a workout on Art's composition, "Red Car," while side two features "Blues For Blanche," also a Pepper-composed track. Cut at Capitol Records by Ron McMaster and pressed on red vinyl in a see-through jacket, this first volume is aimed at both the longtime Art Pepper aficionado and collector, and to those just coming to know Art's work. It's an entry point into the multifaceted colorful world of Art Pepper. Download card included.

    1. Red Car
    2. Blues For Blanche
    Art Pepper
    $18.99
    180 Gram Audiophile Virgin Vinyl LP -Sealed Temporarily out of stock
  • Images 13 (Out of Stock) Images 13 (Out of Stock) Quick View

    $16.99
    x

    Images 13 (Out of Stock)


    "Dex Romweber was and is a huge influence on my music. I owned all of his records as a teenager, and was thrilled at the fact that we were able to play together recently on tour. [He is] is one of the best kept secrets of the rock n roll underground." -Jack White, White Stripes


    For a quarter century, Dex Romweber has trolled the dark corners and back shelves of the haunted thrift store of Americana ephemera and honed an extraordinarily idiomatic sound, a particular and readily identifiable DEXness for those in the know. It's a creepy doll collection of surf, proto-rockabilly, garage, dark and vengeful blues, and nobody, but nobody, plays it like Dex. First with the legendary Flat Duo Jets and now with his Duo, Dex distilled the punk ethos of less-is-more to the essential guitar/drums template. Left in the wake of his lecherous and slithery Silvertone were early acolytes like Jack White, Neko Case, and the Reigning Sound as well as a current crop of the indie pack like Ty Segall, No Age, Japandroids, and The Black Keys. All owe an unclaimed pawn ticket of debt to his sublime and spine-tingling sound. He is a live wire back to the murky, sometimes dangerous and always unpredictable headwaters of real rock and roll.


    Dex, with his whip-wristed sister Sara Romweber on drums, take Images 13 through neon-lit alleys, full of pulp fiction juvey rock, sci-fi theme songs and greasy denim hipster jive. Effortlessly versatile and raucously dismissive of genre constraints, exciting and darkly romantic, Images 13 would make everyone from Duane Eddy to Stan Kenton to Lenny Bruce crack a smile, a joke or the seal on a fifth of rye and head for the Naugahyde ice bucket.


    Recorded at Rick Miller's (Southern Culture on the Skids) Kudzu Ranch studio in North Carolina, the album bristles with a sense of drama, of tension, of release, of mystery. "Roll On" and "Long Battle Coming" display the cinematic sleaze nestled between The Cramps and West Side Story. Eerie ballads "Baby I Know What It's Like to be Alone" and "I Don't Want to Listen" reveal the crooning, bruised romantic, the harsh morning light of a strange hotel room, a Raymond Chandler novel on the bedside table. "Beyond the Moonlight" is part sea shanty longing and part campfire revival. Then, just as easily, the instrumentals take center stage. "Blackout!" updates Henry Mancini's Peter Gunn theme with a dynamic tension and sly cool, and Dex and Sara attack the big waves off Maui with a chaotic rush on "Blue Surf" - his guitar guiding you into the sweet spot of the pipeline and her drums pounding you into the sand. Hey Tarantino, wake up!


    Digging into the skeleton-filled rock 'n' roll closet, Dex Romweber Duo comes up with some obscure and wonderful gems. The early Who track "So Sad About Us," featuring Mary Huff (SCOTS) on vocals, hits an uncharacteristically sunny power pop vibe. The hopeful "We'll Be Together Again" written by Eddie Cochran's girlfriend Sharon Sheeley about his death in a car accident (that she and Gene Vincent survived). The song was never released formally but recorded by Jackie DeShannon in the early '60s. Finishing up the album is the music of Harry Lubin, who did theme music for shows like The Outer Limits and One Step Beyond. "Weird (Aurora Borealis)" is the music from the latter when ghosts, UFO's, or odd paranormal experiences begin to rear their strange heads, complete with tribal drums and Melissa Swingle (Trailer Bride, The Moaners) on the saw.


    Flat Duo Jets - so often emulated, so rarely duplicated - released the first of nine albums in 1990 to rave reviews worldwide. They starred, alongside R.E.M. and The B-52s, in the 1987 cult classic film Athens, GA: Inside/Out. Their first national tour in 1990 was as opening act for The Cramps and they made a stunning impression on Late Night with David Letterman. Dex Romweber Duo's first record Ruins of Berlin featured guest appearances by Neko Case, Cat Power, and Exene Cervenka. Dex was name-checked by Jack White in the guitar superstar documentary It Might Get Loud, and the Duo recorded a single and live album with White for his label Third Man Records in 2009. Subsequently, the Duo has shared the stage with dozens of rock icons including Wanda Jackson, Cat Power, Neko Case, and The White Stripes. In 2012, the documentary about Dex's sometimes harrowing career Two Headed Cow was released.

    1. Roll On
    2. Long Battle Coming
    3. Baby I Know What It's Like To Be Alone
    4. So Sad About Us
    5. Prelude in G Minor
    6. Blackout!
    7. I Don't Want To Listen
    8. Beyond The Moonlight
    9. We'll Be Together Again
    10. Blue Surf
    11. One Sided Love Affair
    12. Weird (Aurora Borealis)
    Dex Romweber Duo
    $16.99
    Vinyl LP - Sealed Temporarily out of stock
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