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  • Psychicemotus Psychicemotus Quick View

    $24.99
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    Psychicemotus

    Psychicemotus was released in 1965 and features Yusef Lateef on various flutes and tenor saxophone, Georges Arvanitas on piano, bassist Reggie Workman, and drummer James Black. And while the Coltrane era of modal and free jazz was in full swing, Lateef always followed his own muse, and continued looking forward while looking back to ancient music.
    1. Psychicemotus
    2. Bamboo Flute Blues
    3. Semiocto
    4. Why Do I Love You?
    5. First Gymnopedie
    6. Medula Sonata
    7. I'll Always Be In Love With You
    8. Ain't Misbehavin'
    Yusef Lateef
    $24.99
    Vinyl LP - Sealed Buy Now
  • Jazz Workshop Revisited Jazz Workshop Revisited Quick View

    $27.99
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    Jazz Workshop Revisited

    Jazz Workshop Revisited is a live album by jazz saxophonist Cannonball Adderley recorded at the Jazz Workshop in San Francisco and featuring performances by Adderley with Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones and Louis Hayes.
    1. An Opening Comment by Cannonball
    2. Primitivo (Cannonball Adderley)
    3. Jessica's Day (Quincy Jones)
    4. Marney (Donald Byrd)
    5. Another Few Words...
    6. The Jive Samba (Nat Adderley)
    7. Lillie (Sam Jones)
    8. Mellow Bruno (Yusef Lateef )
    9. Time to go now -really!
    Cannonball Adderley
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - LP Sealed Buy Now
  • Black Fire! New Spirit! Black Fire! New Spirit! Quick View

    $31.99
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    Black Fire! New Spirit!

    Soul Jazz Records' new release Black Fire! New Spirits! Explores deep, radical and spiritual jazz in the USA in the period between 1957-75. In the 1960s and into the 1970s, jazz music in the USA was in an almost constant state of revolution, with the music and lives of African-American artists radicalised by the advent of the civil rights movement, Black Power, and a new spiritual awakening. For over 20 years now Soul Jazz Records have been exploring this rich area of deep and spiritual jazz music with an array of albums such as Freedom, Rhythm and Sound, Universal Sounds of America, New Thing, Soul Jazz Love Strata East and more. Soul Jazz Records have also released a steady stream of reissues of lost and classic deep jazz releases over the years from artists such as Art Ensemble of Chicago, Steve Reid, Pharaoh Sanders and others. This new album features groundbreaking and revolutionary artists such as Don Cherry, Archie Shepp, The Last Poets and Yusef Lateef as well as many rare and deep lost tracks from lesser known artists such as Creative Artists Ensemble, Granchan Moncur, Lloyd McNeill, Tyrone Washington and others.
    1. Yusef Lateef - Chang, Chang, Chang
    2. The Last Poets - It's A Trip
    3. Don Cherry - Utopia And Visions
    4. Richard Davis - Dealin'
    5. Archie Shepp And Jeanne Lee - Blase
    6. Harold McKinney And The Creative Profile - In The Moog
    7. Grachan Moncur III And The Jazz Composers Orchestra - Angela's Angel
    8. Creative Arts Ensemble - Flashback Of Time
    9. David Lee Jr - Second Line March
    10. Lloyd McNeill And Marshall Hawkins - The Banjo Lesson
    11. Tyrone Washington - Universal Spiritual Revolt
    12. Pheeroan Ak Laff - Tzaddi Vau (Part 1)
    13. Joe Henderson - Black Narcissus
    14. Doug Hammond - Spaces And Things
    Various Artists
    $31.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Eastern Sounds Eastern Sounds Quick View

    $21.99
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    Eastern Sounds

    The Plum Blossom
    Blues For The Orient
    Chinq Miau
    Don't Blame Me
    Love Theme from 'Spartacus'
    Snafu
    Purple Flower
    Love Theme From 'The Robe'
    The Three Faces of Balal
    Yusef Lateef
    $21.99
    Vinyl LP Reissue - Sealed Buy Now
  • Into Something Into Something Quick View

    $13.99
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    Into Something

    1. Rasheed
    2. When You're Smiling (The Whole World Smiles With You)
    3. Water Pistol
    4. You've Changed
    5. I'll Remember April
    6. Koko's Tune
    7. P. Bouk
    Yusef Lateef
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Yusef Lateef: Live at Ronnie Scott's Yusef Lateef: Live at Ronnie Scott's Quick View

    $25.99
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    Yusef Lateef: Live at Ronnie Scott's

    Live at Ronnie Scott's January 15th 1966


    This is a previously unreleased live club performance from Yusef Lateef, the brilliant multi-instrumentalist whose mixing of jazz and Eastern music was a great influence on some of the finest musicians of the era including John Coltrane and Pharaoh Sanders.


    Accompanied at Ronnie Scott's by the house band of pianist Stan Tracey, double bassist Rick Laird and drummer Bill Eyden, most of the repertoire played comes from Lateef's earlier recordings for Savoy and Prestige such as Jazz Moods and Eastern Sounds. Lateef plays flute on The Dreamer and Last Night Blues (it was the last night of the run). He plays the shenai - a kind of oboe - on Blues from The Orient, the xun - a Chinese flute - on Song of Delilah, and tenor saxophone on Yusef's Mood.


    The evening's performance was recorded by Les Tomkins at the request of Ronnie Scott. The musicians were unaware they were being recorded as Scott believed they would be at their best and most unselfconscious this way. This record was mastered at Gearbox Records directly from the original 1/4" tapes.


    Cut on Haeco Scully lathe with Westrex RA1700 series amps, Westrex 3DIIA cutting head and Telefunken U73B tube limiter; Maselec master control and equalisation.

    1. Angel Eyes
    2. Blues From The Orient
    3. Song Of Delilah
    4. Last Night Blues
    5. Yusef's Mood
    Yusef Lateef
    $25.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • The Doctor Is In   And Out (Pure Pleasure) The Doctor Is In And Out (Pure Pleasure) Quick View

    $34.99
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    The Doctor Is In And Out (Pure Pleasure)

    In 1976, Yusef Lateef's as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as Eastern Sounds, Cry!/Tender, and Other Sounds, brought to bear in much more sophisticated, complex, and grooved-out ways -- after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef's interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary.


    For this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways. There's the deep minor-key meditation on blues and evolving thematic variations on Hellbound that becomes a Latin funk tune; the airy, contemplative, and skeletal Mystique, which may use a repeating rhythmic phrase but explores every inch of its margins via a string section and Lateef's flute solo; the smooth, urban, bluesy funk of Mississippi Mud; the completely out electronic musique of Technological Homosapien that becomes a series of synth squeals and an erratically tumbling bassline; and the wonderfully warped mariachi variation (sung in white-boy English) that featured the band playing bluesy hard bop over an age-old recorded track on In A Little Spanish Town. It's a weird way to end a record, but then, it's a weird and wonderful


    Musicians:



    • Yusef Lateef (alto saxophone, tenor saxophone, flute, oboe)
    • Jack Jeffers (trombone)
    • Joseph Wilder, Leonard Goines (trumpet)
    • Jonathan Dorn (tuba)
    • Billy Butler (guitar)
    • Ron Carter (bass)
    • Kenneth Barron (keyboards)
    • Al Foster (drums)
    • Dom Um Romao (percussion)



    Recording: 1976 at Regent Sound Studios, New York, by Bob Liftin


    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 Improvisers
    2. Hellbound
    3. Mystique
    4. Mississipi Mud
    5. Mushmouth
    6. Technological Homosapien
    7. Street Musicians
    8. In A Little Spanish Town (T'was On A Night Like This)
    Yusef Lateef
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • In New York In New York Quick View

    $21.99
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    In New York

    An exceedingly excellent live date from the legendary Village Vanguard, In New York captures the recording debut of the Adderley Sextet and finds
    Cannonball gliding through seven tunes with swinging ease on alto saxophone. Joined by brother Nat on cornet, and the versatile Yusef Lateef on tenor,
    flute, and oboe, Cannonball and his crew turn in what All About Jazz calls perhaps the single most indispensable recording by the Adderley Brothers. In
    New York is also the first recorded appearance of pianist Joe Zawinul who would go on to jazz prominence as a pioneer of the jazz-fusion genre and a
    founding member of the seminal group Weather Report. This special vinyl reissue is a must-have for fans of straight-ahead, classic jazz with an
    adventurous twist.
    1. Introduction - By Cannonball
    2. Gemini
    3. Planet Earth
    4. Dizzy's Business
    5. Syn-Anthesia
    6. Scotch And Water
    7. Cannon's Theme
    The Cannonball Adderley Sextet
    $21.99
    Vinyl LP - LP Sealed Buy Now
  • Color Changes (Pure Pleasure) Color Changes (Pure Pleasure) Quick View

    $34.99
    Buy Now
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    Color Changes (Pure Pleasure)

    Possessor of the happiest sound in jazz, flÜgelhornist Clark Terry always plays music that is exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, he gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flÜgelhorn in the mid-'50s, had many features with Ellington (including Perdido) and started leading his own record dates during that era. He recorded regularly in the 1960s including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer.



    This is one of flÜgelhornist Clark Terry's finest albums. Terry had complete control over the music and, rather than have the usual jam session, he utilized an octet and arrangements by Yusef Lateef, Budd Johnson, and Al Cohn. The lineup of musicians lives up to its potential, and the charts make good use of the sounds of these very individual stylists. The material, which consists of originals by Terry, Duke Jordan, Lateef, and Bob Wilber, is both rare and fresh, and the interpretations always swing.




    Musicians:



    • Clark Terry (trumpet, fluegel horn)

    • Jimmy Knepper (trombone)

    • Julius Watkins (french horn)

    • Yusef Lateef (tenor saxophone, flute; english horn, oboe)

    • Seldon Powell (tenor saxophone, flute)

    • Tommy Flanagan, Budd Johnson (piano)

    • Joe Benjamin (bass)

    • Ed Shaughnessy (drums)




    Recording: November 1960 at Nola Penthouse Studios, New York City, by Bob d'Orleans

    Production: Nat Hentoff




    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. Blue Waltz (la Valse Bleue)
    2. Brother Terry
    3. Flutin and Fluglin

    4. No Problem
    5. La Rive Gauche
    6. Nahstye Blues
    7. Chat Qui Peche (A Cat That Fishes)
    Clark Terry
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
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