Vinyl. Our way of life since 2004 (877) 929-8729

VPI Dealer Authorized & Certified
Site Search
Menu Free shipping on domestic orders over $49.99! - We ship worldwide!
LP20 - 20% Off Vinyl
Home > Products for: '

Thad Jones

'
  • 1
Results per page:
  • Coleman Hawkins & His Orchestra (Pure Pleasure) Coleman Hawkins & His Orchestra (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Coleman Hawkins & His Orchestra (Pure Pleasure)

    The 'Hawk' Talks Of Many Things:
    Actual playing experience on the job is the best way to learn to think. Improvising is playing with a lot of thought behind it; but none of the hard work that goes into thinking should show up in your playing. Too often improvising is really copying. To really improvise, a musician needs to know everything - not only his instrument, but harmony, composition, theory, the whole works. It's more important than ever today. ('Today' being 1960)



    When you don't have control (of your instrument), you can't incorporate the ideas that you hear and feel into your style. That's what's wrong with so many of the players coming up today. Sure I was advanced for my time in those early days, for just that reason - I had studied hard since I was five, and studied classics all my life, and it gives me an advantage over the other fellows I was playing with.



    Musicians:



    • Coleman Hawkins (tenor saxophone)

    • Thad Jones (trumpet)

    • Eddie Costa (piano, vibraphone)

    • George Duvivier (bass)

    • Osie Johnson (drums)



    Recording: April - June 1973 by Glen Kolotkin

    Production: Carlos Santana, Maitreya Michael Shrieve and Tom Coster



    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. Bean In Orbit
    2. After Midnight
    3. Hassle
    4. Moodsville
    5. Stalking
    Coleman Hawkins
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Consummation (Pure Pleasure) Consummation (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Consummation (Pure Pleasure)

    Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. This set introduced Jones' best-known composition, A Child Is Born, and also has a colourful rendition of his sly Tiptoe, and finds the big band ripping the roof off during the lengthy and very exciting Fingers. The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic.




    Musicians:



    • Thad Jones (trumpet, fluegel horn, conductor)

    • Billy Harper (tenor saxophone, flute)

    • Jimmy Knepper (trombone)

    • Jerome Richardson (alto saxophone, soprano saxophone, flute)

    • Joe Farrell (basson, clarinet)

    • Roland Hanna (electric piano, piano)

    • David Spinozza (guitar)

    • Mel Lewis (drums)




    Recording: January and May 1970 at A&R Studios, New York City, by Don Hahn

    Production: Sonny Lester



    About Pure Pleasure



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



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



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



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



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



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


    1.  Dedication

    2.  It Only Happens Every Time

    3.  Tiptoe

    4.  A Child Is Born

    5.  Us


    1.  Ahunk Ahunk

    2.  Fingers

    3.  Consummation

    Thad Jones
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • God Bless The Child (Pure Pleasure) (Awaiting Repress) God Bless The Child (Pure Pleasure) (Awaiting Repress) Quick View

    $34.99
    Buy Now
    x

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

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



    Musicians:



    • Kenny Burrell (guitar)

    • Freddie Hubbard (trumpet)

    • Hubert Laws (flute)

    • Hugh Lawson, Richard Wyands (piano)

    • Ron Carter (bass)

    • Billie Cobham (drums)

    • Ray Barretto, Airto Moreira (percussion)



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

    Production: Creed Taylor



    About Pure Pleasure



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



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



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



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



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



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

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

    $19.99
    Buy Now
    x

    Speak Like A Child


    Reissued As Part Of The Blue Note 75th Anniversary Vinyl Reissue Campaign


    Originally released in 1968, Speak Like a Child is Herbie Hancock's sixth Blue Note album. Featuring Ron Carter on bass, Mickey Roker on drums, Peter Phillips on bass trombone, Jerry Dodgion on alto flute and Thad Jones on flugelhorn. Known for its provocative grace, Speak Like a Child will be reissued as part of the overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.

    1. Riot
    2. Speak Like A Child
    3. First Trip
    4. Toys
    5. Goodbye To Childhood
    6. The Sorcerer
    Herbie Hancock
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Jazz Experiments of Charlie Mingus The Jazz Experiments of Charlie Mingus Quick View

    $27.99
    Buy Now
    x

    The Jazz Experiments of Charlie Mingus

    Originally released as two 10 records called Jazzical Moods, this is one of Mingus' best records from the 1950s. These 1954 sessions include the work of John LaPorta, Teo Macero, Thad Jones, Jackson Wiley and Clem De Rosa, creating a cool jazz sound that soars over 6 tracks, including a great rendition of Stormy Weather.
    1. What Is This Thing Called Love?
    2. Minor Intrusion
    3. Stormy Weather Side
    4. Four Hands
    5. Thrice Upon A Theme
    6. The Spur Of The Moment
    Charles Mingus
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Jazz Experiments of Charlie Mingus (Awaiting Repress) The Jazz Experiments of Charlie Mingus (Awaiting Repress) Quick View

    $13.99
    Buy Now
    x

    The Jazz Experiments of Charlie Mingus (Awaiting Repress)

    Originally released as two 10 records called Jazzical Moods, this is one of Mingus' best records from the 1950s. These 1954 sessions include the work of John LaPorta, Teo Macero, Thad Jones, Jackson Wiley and Clem De Rosa, creating a cool jazz sound that soars over 6 tracks, including a great rendition of Stormy Weather.
    1. What Is This Thing Called Love?
    2. Minor Intrusion
    3. Stormy Weather
    4. Four Hands
    5. Thrice Upon A Theme
    6. The Spur Of The Moment
    Charles Mingus
    $13.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Quintessence (Pre-Order) Quintessence (Pre-Order) Quick View

    $21.99
    Buy Now
    x

    Quintessence (Pre-Order)

    1976 Session Featuring Harold Land, Kenny Burrell, Ray Brown & Philly Joe Jones

    Bill Evans was such a force as a trio pianist that people tend to overlook his quintet sessions. This 1976 date was one of Evans's personal favorites within that context. Featuring longtime friend Philly Joe Jones plus Harold Land, Kenny Burrell, and Ray Brown, the ensemble is stellar to say the least; and the players strike a comfortably creative groove on a program that includes originals by trumpeters Thad Jones and Kenny Wheeler, plus Burrell's blowing tune Bass Face.

    1. Sweet Dulcinea Blue
    2. Martina

    3. Second Time Around
    4. A Child Is Born
    5. Bass Face
    Bill Evans
    $21.99
    Vinyl LP - Sealed PRE-ORDER Buy Now
  • Live On Tour Switzerland Live On Tour Switzerland Quick View

    $17.99
    Buy Now
    x

    Live On Tour Switzerland

    All the excitement of a live concert. One of the best big bands in jazz history, the Jones-
    Lewis Orchestra. This live date catches them in their prime.


    They debuted at the Village Vanguard in New York in 1966, and were quickly noticed by
    jazz insiders for their originality and virtuoso skills. Sonny Lester signed and produced
    their recordings from their beginning.


    The band had its own unique style, along the lines of big band swing, Bebop and Hard
    bop. The sound was powerful, fast, intellectual and fun to listen to. Their pieces required
    a high degree of skill to play. Thad Jones, an improvisational genius on the trumpet, led
    the group. Mel Lewis, co-leader, produced a drum style with the band that was unique
    for big bands; the extent in which he was able to incorporate the loose, open approach
    of small group playing was a major innovation. His cymbal work added a texture and
    richness that is one of the hallmarks of the band. Every big band drummer after Lewis
    has been influenced by him to some degree.


    The orchestra was the most influential Big Band since the swing era. It was also an
    unusual band; creating new styles, succeeding in an era where big bands were out of
    favor, and remaining integrated during racially tense periods. The band initially was
    made of all-stars, but over time endeavored to showcase new talent (Jon Faddis). Thad's
    arrangements proved to be highly influential upon modern composers such as Maria
    Schneider, Bob Brookmeyer (who is also an alumnus), and Bill Kirchner. His songs built
    upon the innovations previously pioneered by Jazz composition figures such as Duke
    Ellington and Charles Mingus.


    The band carried its message to Japan and all of key venues in Europe. To this day their
    recordings become more sought after as the years go by. The excellence of the musicians
    and the music they played has endured.

    Second Race
    Don't Ever Leave Me
    The Waltz You Swang For Me
    A- That's Freedom
    Come Sunday
    Don't Get Sassy
    Bible Story
    Groove Merchant
    Thad Jones and Mel Lewis
    $17.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Hawk Swings The Hawk Swings Quick View

    $32.99
    Buy Now
    x

    The Hawk Swings

    Recorded in NYC, and featuring Coleman Hawkins (tenor), Thad Jones (trumpet), George Duvivier (bass), Eddie Costa (piano and vibes), and Osie Johnson (drums), this brilliant LP is proof that in 1960 Hawkins was in prime form, and still making significant contributions to the genre 35 years after making his first record! Not only was Hawkins (born in 1904) a pioneer of the tenor saxophone, transforming the instrument from an obscure novelty instrument into one of the primary instruments of jazz, he also accompanied and propelled the saxophone throughout its many stylistic changes, as jazz itself developed and changed in the ensuing decades.
    1. Cloudy
    2. Almost Dawn
    3. Stake Out
    4. Cross Town
    5. Shadows
    Coleman Hawkins
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Jazz Composers Workshop #2 Jazz Composers Workshop #2 Quick View

    $32.99
    Buy Now
    x

    Jazz Composers Workshop #2

    Originally released as two 10" albums called Jazzical Moods, Jazz Composers' Workshop #2, was the result of one of Mingus' famed Jazz Workshop sessions, held in December 1954 and featuring Thad Jones (trumpet), John LaPorta (clarinet, alto sax) Teo Macero (tenor / baritone sax), Jackson Wiley (cello), and Clem DeRosa (drums). Mingus intended the Workshop as an outlet for young jazz composers, who might otherwise not be given the opportunity to record their own material, including Mingus' own compositions which, along with one composition by Teo Macero, are given center stage here. This LP, also features Mingus' debut on piano.


    1. What Is This Thing Called Love?
    2. Four Hands
    3. The Spur Of The Moment / Echonitus
    4. Stormy Weather
    5. Minor Intrusion
    6. Abstractions
    7. Thrice Upon A Theme
    Charles Mingus
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Big Band And Quartet In Concert (Speakers Corner) Big Band And Quartet In Concert (Speakers Corner) Quick View

    $34.99
    Buy Now
    x

    Big Band And Quartet In Concert (Speakers Corner)

    Thelonious Monk could walk from his flat to New York's famous Philharmonic Hall on the corner of 64th Street and Broadway when he made his very first appearance there with his Big Band in December 1963. And the other musicians could get there on the underground: Phil Woods, Steve Lacy, Thad Jones - all of them were members of Monk's closest circle of collaborators. It is no wonder then that the well-known themes were highly agreeable and harmonious. I Mean You, Four In One and Epistrophy resounded through the auditorium, the audience was thrilled, Thelonious laughed and danced and a short while later fans could listen to parts of the concert on a recording released by Columbia Records. In a break for a smoke, Monk sat himself down at the piano and played Darkness On The Delta - nocturnal atmosphere pure.


    Does it bear the patina of times long past? Absolutely not! Thelonious Monk is as red-hot as he ever was.



    Musicians:



    • Thelonious Monk (piano)

    • Charlie Rouse (tenor saxophone)

    • Steve Lacy (soprano saxophone)

    • Phil Woods (alto saxophone, clarinet)

    • Gene Allen (bassoon, clarinet)

    • Eddie Bert (trombone)

    • Thad Jones (cornet)

    • Nick Travis (trumpet)

    • Butch Warren (bass)

    • Frank Dunlop (drums)


    Recording: December 1963 at Lincoln Center, Philharmonic Hall, New York

    Production: Teo Macero



    About Speakers Corner



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



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



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



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



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



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


    1. I Mean You
    2. Evidence
    3. (When It's) Darkness On The Delta
    4. Oska T.
    5. Played Twice
    6. Four In One
    7. Epistrophy
    Thelonious Monk
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Vocalese Vocalese Quick View

    $29.99
    Buy Now
    x

    Vocalese

    180 Gram Audiophile Vinyl Gatefold Package


    Mastered by Kevin Gray at Cohearent Audio


    Pressed at RTI


    Critically Acclaimed Album...12 Grammy Nominations!


    Vocalese is second only to Michael Jackson's Thriller as the most nominated individual album. The album's title refers to a style of music that sets lyrics to previously recorded jazz instrumental pieces. The vocals then reproduce the sound and feel of the original instrumentation. Jon Hendricks, proficient in this art, composed all of the lyrics for this album.


    Grammy Awards: Best Jazz Vocal Performance - Duo or Group, Best Vocal Arrangements For Voices for Cheryl Bentyne and Bobby McFerrin for their arrangement of Another Night In Tunisia.


    Many of the Manhattan Transfer's recordings up to the point of Vocalese showed off their diversity and covered a wide variety of music, including jazz. This set was quite a bit different, for it is dedicated to the vocalese of the great Jon Hendricks. the Manhattan Transfer (singers Cheryl Bentyne, Tim Hauser, Alan Paul and Janis Siegel) perform a dozen songs using Hendricks' lyrics, including That's Killer Joe, Rambo, Ray's Rockhouse and Sing Joy Spring. Utilizing their regular band of the period (which includes guitarist Wayne Johnson), the Count Basie Orchestra (directed at the time by Thad Jones), the Four Freshmen (on To You), tenorman James Moody, Bobby McFerrin (guesting on Night in Tunisia), McCoy Tyner, Dizzy Gillespie (on Sing Joy Spring), altoist Richie Cole, and Hendricks himself, among many others, the Transfer give these boppish tunes definitive vocal treatments. This is one of their finest jazz recordings and a classic of its kind. - Scott Yanow, allmusic.com

    1. That's Killer Joe
    2. Rambo
    3. Airegin
    4. To You
    5. Meet Benny Bailey
    6. Another Night in Tunisia
    7. Ray's Rockhouse
    8. Blee Blop Blues
    9. Oh Yes, I Remember Clifford
    10. Sing Joy Spring
    11. Move
    The Manhattan Transfer
    $29.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • On My Way and Shoutin' Again On My Way and Shoutin' Again Quick View

    $27.99
    Buy Now
    x

    On My Way and Shoutin' Again

    Import


    When Count Basie returned to Verve Records in 1962, Neal Hefti was contracted to write the tunes and arrangements, a revival of their partnership from the 1958 Roulette LP Basie Plays Hefti. While none of these selections is as famous as his songs like Cute, Little Pony, Splanky, Li'l Darlin', and Repetition, the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There's also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head.


    This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-April in Paris. The band is atypically bold and brazen on the opener, I'm Shoutin' Again, with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of Jump for Johnny is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti's best work is showcased during Together Again, as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track The Long Night, a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of C Jam Blues/Duke's Place in the low-key then blasted-out Eee Dee, Shiny Stockings sprinkled about during the more typical laid-back Rose Bud, and Groove Merchant or Hallelujah, I Just Love Him So in the easy-swinging soul groove of Ain't That Right. Hefti's movie soundtrack experience comes to the fore on Shanghaied, definite spy music with Cohn's muted trumpet masking phobias and paranoia. There are two cute tunes: Skippin' with Skitch, led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting Ducky Bumps, featuring Henry Coker's trombone, with brief solos from Basie's piano and bassist Buddy Catlett.


    A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover's collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.


    - Michael G. Nastos (All Music Guide)

    1. I'm Shoutin' Again
    2. Ducky Bumps
    3. The Long Night
    4. Jump For Johnny
    5. Ain't That Right
    6. Together Again
    7. Shanghaied
    8. Skippin' With Skitch
    9. Eee Dee
    10. Rose Bud
    11. Lester Leaps In
    Count Basie
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • First Time!: Count Meets The Duke (Pure Pleasure) First Time!: Count Meets The Duke (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    First Time!: Count Meets The Duke (Pure Pleasure)

    The musical event which is presented in this album is without precedent in the history of jazz. History largely consists of chronicling momentous occasions, and it was such an occaision when the full orchestras of Duke Ellington and Count Basie recorded together on 6th July 1961. The result is almost an embarrassment of riches. It is great in significance, great in musical content and, above all, great in demonstrating the two famous leaders' mutual appreciation and understanding of each other.



    At first glance this collaboration should not have worked. The Duke Ellington and Count Basie Orchestras had already been competitors for 25 years but the leaders' mutual admiration (Ellington was one of Basie's main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing. Segue in C is the highpoint but versions of Until I Met You, Battle Royal and Jumpin' at the Woodside are not far behind.




    Musicians:



    • Count Basie, Duke Ellington (piano, arranger)

    • Johnny Hodges (alto saxophone)

    • Thad Jones (trumpet)

    • Ray Nance (trumpet, violin)

    • Russell Procope (reeds, alto saxophone)

    • Jimmy Hamilton (clarinet)

    • Freddie Green (guitar)

    • Billy Strayhorn (piano)

    • Eddie Jones (bass)

    • Sam Woodyard (drums)




    Recording: July 1961

    Production: Teo Macero



    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. Battle Royal
    2. To You
    3. Take the A Train
    4. Corner Pocker (aka Until I Met You)
    5. Wild Man (aka Moore)
    6. Seque in C
    7. Jumpin' at the Woodside
    8. One More Once
    9. Take the A Train
    10. Jumpin' at the Woodside
    11. B D B
    12. Blues in Hoss' Flat
    13. Wild Man
    14. Battle Royal
    Duke Ellington
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Kansas City Suite: The Music Of Benny Carter (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Kansas City Suite: The Music Of Benny Carter (Pure Pleasure)

    A session from 1960 with Basie and his Orchestra on absolute top form. It's hardly surprising when you see the line up of star players and also the fact that every single selection was written by Benny Carter.



    The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions.It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to. He has written an original modern jazz suite that is flavored with the elements of Kansas City stomp jazz, and tailored for the big brash sound of the Basie band of today. To Benny Carter, the different streets and places in Kansas City, where so many of these jazz greats lived and worked, and where so much of jazz history was written, evokes a mood, a rememberance of things past. He has, for this reason, titled the selections of this suite after these very same streets and places. The Kansas City of the '20s and 30s is now a legend, and the music that saw it's beginnings there has since developed and moved into the mainstream of today's jazz. It has reached its full maturity and greatness in the music of Benny Carter, and through the dynamic force of the great Basie band!




    Musicians:



    • Sonny Cohn (trumpet)

    • Thad Jones (trumpet)

    • Henry Coker (trombone)

    • Benny Powell (trombone)

    • Marshall Royal (alto saxophone,clarinet)

    • Billy Mitcheel (tenor saxophone, clarinet)

    • Charles Fowlkes (bassoon, bass clarinet, flute)

    • Count Basie (piano)

    • Freddie Green (guitar)

    • Eddie Jones (bass)

    • Sonny Payne (drums)




    Recording: September 1960 at United Recorders, Los Angeles, by Wally Heider

    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. Vine Street Rumble
    2. Katy-Do
    3. Miss Missouri
    4. Jackson County Jubilee
    5. Sunset Glow
    6. The Wiggle Walk
    7. Meetin' Time
    8. Paseo Promenade
    9. Blue Five Jive
    10. Rompin' At The Reno
    Count Basie And His Orchestra
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Sweet Sister Funk (Pure Pleasure) Sweet Sister Funk (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Sweet Sister Funk (Pure Pleasure)

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



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



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



    Musicians:



    • Ramon Morris (tenor saxophone)

    • Albert Dailey (electric piano)

    • Mickey Bass (bass)

    • Mickey Roker (drums)

    • Cecil Bridgewater (trumpet)

    • Lloyd Davis (guitar)

    • Tony Waters (conga)




    Recording: 1972

    Production: Sonny Lester



    About Pure Pleasure



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



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



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



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



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



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



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

    4. Sweat
    5. Don't Ask Me
    6. Lord Sideways
    7. People Make the World Go Round
    Ramon Morris
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Count Basie and the Kansas City 7 (Out Of Stock) Count Basie and the Kansas City 7 (Out Of Stock) Quick View

    $49.99
    x

    Count Basie and the Kansas City 7 (Out Of Stock)

    Although for many fans the equation Count Basie = Big Band Jazz is quite undisputable, one has to agree that when one listens to these eight numbers: less is more when it comes to swing. Bob Thiele, Impulse producer, came to the conclusion that even with a meager budget a whole lot of music with a terrific sound could be squeezed into the grooves. As always, the great soloists of the Basie big band are on top form: first and foremost Frank Wess who demonstrates how rightly popular the flute is for its sound-coloring and as a solo instrument. Thad Jones on the trumpet is quite outstanding in all the numbers and is equally important as composer and arranger. The All American Rhythm Group Number 1 consisting of the Count, Freddie Green, Eddie Jones and Sonny Payne deliver one adrenaline-like thrill after another without ever neglecting the jazz beat. All in all this is an important LP from the Impulse label, whose quality is greatly enhanced by the transparent sound.


    Count Basie, piano, organ

    Eric Dixon, flute, tenor saxophone

    Frank Foster, clarinet, tenor saxophone

    Freddie Green, guitar

    Ed Jones, bass

    Thad Jones, trumpet

    Sonny Payne, drums

    Frank Wess, flute, tenor saxophone

    1. Oh Lady Be Good
    2. Secrets
    3. I Want a Little Girl
    4. Shoe Shine Boy
    5. Count's Place
    6. Senator Whitehead
    7. Tally Ho, Mr. Basie!
    8. What'cha Talkin?
    Count Basie
    $49.99
    180 Gram Audiophile Virgin Vinyl 45RPM LP - 2 LPs Sealed Temporarily out of stock
  • Genius + Soul = Jazz (200 Gram) (Out Of Stock) Genius + Soul = Jazz (200 Gram) (Out Of Stock) Quick View

    $34.99
    x

    Genius + Soul = Jazz (200 Gram) (Out Of Stock)

    Legendary Rudy Van Gelder Recording

    Cut From The Original Analog Masters - Tape Boxes Included Notes In Braille


    This is the second title in the Impulse catalog.


    Ray Charles was best known for his work in the idioms of R&B, rock 'n' roll and even successful forays into country. But he also recorded influential jazz albums, including the groundbreaking Genius + Soul = Jazz originally released in 1961. Recorded at the Van Gelder Studios in Englewood Cliffs, New Jersey, in late 1960, Genius + Soul = Jazz was produced by Creed Taylor and includes arrangements by Quincy Jones and Ralph Burns. Ray Charles played the organ with three vocals (I've Got News For You, I'm Gonna Move To The Outskirts Of Town and One Mint Julep) and band members included members of the Count Basie Orchestra: Thad Jones, Joe Newman, Billy Mitchell, Frank Wess, Freddie Green and Sonny Payne among others.


    The record ascended to the No. 4 spot on Billboard's pop album chart and spawned the very first singles on Impulse. I've Got News For You rose to No. 8 R&B and No. 66 on the Hot 100. In addition, Charles' version of One Mint Julep charted No. 1 R&B and No. 8 pop and his rendition of the blues standard I'm Gonna Move To The Outskirts Of Town reached No. 25 R&B and No. 84 pop.


    Although Basie himself does not appear on the album, the Count was a major model as Charles assembled a full-scale, working orchestra. Basie also influenced his use of organ in a jazz context, and Charles was happy to record at the Van Gelder studio, where Jimmy Smith had recorded his classic Blue Note albums. Truly, as Dick Katz wrote in his original January 1961 liner notes, The combination here of rare talent plus uncommon craftsmanship has produced a record that showcases the timeless quality an innate taste that is uniquely that of Ray Charles.

    1. From The Heart
    2. I've Got News For You
    3. Moanin'
    4. Let's Go
    5. One Mint Julep
    6. I'm Gonna Move To The Outskirts Of Town
    7. Stompin' Room Only
    8. Mister C
    9. Strike Up The Band
    10. Birth Of The Blues
    Ray Charles
    $34.99
    200 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock
  • 1
Go to top