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!
20% Off Vinyl - LP20
Home > Products for: '

Zoot Sims

'
  • 1
Results per page:
  • Cohn on the Saxophone Cohn on the Saxophone Quick View

    $24.99
    Buy Now
    x

    Cohn on the Saxophone

    Pressed On Blue Colored Vinyl


    Al Cohn first sprung on the national scene as one of the saxophonists on the Woody Herman hit Four Brothers, a crazy arrangement of Jeepers Creepers featuring each brother on a wild-and-crazy swingin' sax solo. Along with fellow brother Zoot Sims, Cohn became one of New York's leading sax men, forming with Sims a quintet that played in the hot beatnik jazz scene of the day, even backing up Jack Kerouac on a few poetry recordings.


    Cohn on the Saxophone finds our man Cohn taking the lead on a series of great jazz standards. Al's sax voice on this session is smooth, lyrical; almost like he's talking to you or telling a story. Dig his smooth, supple playing on We Three, or the gorgeously blue-toned notes he hits on Singing The Blues -- Cohn is very much a man at home with his instrument, and the band lays back and lets him spin his tales.


    When Cohn on the Saxophone was released, Downbeat magazine gave it the prestigious and rare five-star rating -- and almost 60 years down the pike it still sounds as vital and delicious as it did when it was released. This lost jazz classic is finally yours to enjoy again, pressed onto blue vinyl, and neatly slid into a beautifully restored package. Only on Modern Harmonic!

    1. We Three
    2. Idaho
    3. The Things I Love
    4. Singing The Blues
    5. Be Loose
    6. When Day Is Done
    7. Good Old Blues
    8. Softly As In A Morning Sunrise
    9. Abstract Of You
    10. Blue Lou
    Al Cohn
    $24.99
    Colored Vinyl LP - Sealed Buy Now
  • The Art Of Jazz The Art Of Jazz Quick View

    $13.99
    Buy Now
    x

    The Art Of Jazz

    September In The Rain
    Down At The Loft
    Ghost Of A Chance
    Not So Deep
    Them There Eyes
    Our Pad
    Dark Clouds
    One To Blow On
    Zoot Sims
    $13.99
    Vinyl LP Reissue - Sealed Buy Now
  • Zoot Zoot Quick View

    $32.99
    Buy Now
    x

    Zoot

    Limited to 300 copies


    Owner of a badge of distinction only worn in the lapels of three other men (Stan Getz, Herbie Seward, and Serge Charloff), until late 50's 'Zoot' Sims was mostly known as one of the original member of the 'Four Brothers' (the saxophone section for the Woody Herman orchestra back in 1947) and for his later prolific collaboration with Al Cohn. Recorded in Chicago in 1956, and originally issued on the 'Argo' label, Zoot is the first of his works to give him sufficient blowing room to show his qualities and merits the full rating as one of the more sustained examples of hot jazz improvisation.

    1. 920 Special
    2. The Man I Love
    3. 55th And State
    4. Blue Room
    5. Gus's Blues
    6. That Old Feelings
    7. Bohemia After Dark
    8. Woudy'n You
    Zoot Sims
    $32.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Zoot Zoot Quick View

    $27.99
    Buy Now
    x

    Zoot

    1. 9:20 Special(Earl Warren)
    2. The Man I Love (George & Ira Gershwin)
    3. 55TH Street(Zoot Sims)
    4. The Blue Room (Rodgers-Hart)
    5. Gus's Blues(Gus Johnson)
    6. That Old Feeling (Brown-Fain)
    7. Bohemia After Dark (Oscar Pettiford)
    8. Woody'n You (Dizzy Gillespie)
    Zoot Sims
    $27.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Down Home (Pure Pleasure) Down Home (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    Down Home (Pure Pleasure)

    Bethlehem Records was a major jazz label in the 1950's formed by Gus Wildi with an impressive roster of artists including singers Nina Simone, Carmen MacRae, Chris Conner & Mel Torme, to name a few; arrangers: Marty Paich, Russ Garcia, Frank Hunter; and musicians including: Dexter Gordon, Roland Kirk, Charles Mingus, Frank Rosolino, Herbie Mann, Stan Levey, Art Blakey, Milt Hinton, Errol Garner, Zoot Sims, Duke Ellington, J.J. Johnson and many, many others. The label distinguished itself by giving artists creative control of their projects and presented albums of rather cutting edge graphic design. Its legacy is a lengthy discography that freshly and ambitiously captured and preserved an era of truly amazing music including West Coast Cool Jazz, East Coast Bop, and Vocalists. For many of the artists, their first or greatest recorded work happened at Bethlehem. By trusting its staff and artists to make their own creative decisions, to experiment, and thus to flourish, Bethlehem actively helped create and not just document a whole and diverse era of Jazz music.
    1960, when this album was recorded, was one of Zoot Sims' most productive years. The performances here are recognised as being the masterpieces of Sims' middle period.



    Musicians:



    • Zoot Sims (tenor saxophone)

    • Dave McKenna (piano)

    • George Tucker (bass)

    • Dannie Richmond (drums)



    Recording: June 1960 in New York City by Peter Ind

    Production: Teddy Charles



    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. Jive At Five
    2. Doggin' Around
    3. Avalon
    4. I Cried For You
    5. Bill Bailey
    6. Goodnight Sweetheart
    7. There'll Be Some Changes Made
    8. I've Heard That Blues Before
    Zoot Sims
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Down Home Down Home Quick View

    $19.99
    Buy Now
    x

    Down Home

    Bethlehem Records was a major jazz label in the 1950's formed by Gus Wildi with an impressive roster of artists including singers Nina Simone, Carmen MacRae, Chris Conner & Mel Torme, to name a few; arrangers: Marty Paich, Russ Garcia, Frank Hunter; and musicians including: Dexter Gordon, Roland Kirk, Charles Mingus, Frank Rosolino, Herbie Mann, Stan Levey, Art Blakey, Milt Hinton, Errol Garner, Zoot Sims, Duke Ellington, J.J. Johnson and many, many others. The label distinguished itself by giving artists creative control of their projects and presented albums of rather cutting edge graphic design. Its legacy is a lengthy discography that freshly and ambitiously captured and preserved an era of truly amazing music including West Coast Cool Jazz, East Coast Bop, and Vocalists. For many of the artists, their first or greatest recorded work happened at Bethlehem. By trusting its staff and artists to make their own creative decisions, to experiment, and thus to flourish, Bethlehem actively helped create and not just document a whole and diverse era of Jazz music.
    1960, when this album was recorded, was one of Zoot Sims' most productive years. The performances here are recognised as being the masterpieces of Sims' middle period.



    Musicians:



    • Zoot Sims (tenor saxophone)

    • Dave McKenna (piano)

    • George Tucker (bass)

    • Dannie Richmond (drums)


    1. Jive At Five
    2. Doggin' Around
    3. Avalon
    4. I Cried For You
    5. Bill Bailey
    6. Goodnight, Sweetheart
    7. There'll Be Some Changes made
    8. I've Heard That Blues Before
    Zoot Sims
    $19.99
    Vinyl LP - Sealed Buy Now
  • The Book Cooks The Book Cooks Quick View

    $19.99
    Buy Now
    x

    The Book Cooks

    There is nothing contrived about the kind of playing that comes jolting out of Booker Ervin's tenor saxophone and the great quality of soul reflected on the six tracks of The Book Cooks. The album is introduced by George Tucker's bass on "The Blue Book" followed by Tommy Flanagan, Booker Ervin, Tommy Turrentine and Zoot Sims in that order.
    1. The Blue Book
    2. Git It
    3. Little Jane
    4. The Book Cooks
    5. Largo
    6. Poor Butterfly
    Booker Ervin
    $19.99
    Vinyl LP Reissue - Sealed Buy Now
  • The Prestige All-Stars: Tenor Conclave (Mono) The Prestige All-Stars: Tenor Conclave (Mono) Quick View

    $34.99
    Buy Now
    x

    The Prestige All-Stars: Tenor Conclave (Mono)

    1956's Tenor Conclave collects four unique tenor saxophone greats from disparate schools of jazz including John Coltrane, Hank Mobley, Al Cohn and Zoot Sims. With the fantastic Red Garland Trio holding down the rhythm section, the one-of-a-kind collective finds common ground and then some here on two Mobley originals and a pair of old standards.


    This title is not eligible for discount.

    1. Bob's Boys
    2. Just You, Just Me
    3. Tenor Conclave
    4. How Deep Is the Ocean
    Various Artists
    $34.99
    200 Gram Audiophile Virgin Vinyl Mono LP - Sealed Buy Now
  • Manny Albam And The Jazz Greats Of Our Time Volume 1 (On Sale) Manny Albam And The Jazz Greats Of Our Time Volume 1 (On Sale) On Sale Quick View

    $24.99 $18.74 Save $6.25 (25%)

    Buy Now
    x

    Manny Albam And The Jazz Greats Of Our Time Volume 1 (On Sale)

    In mid-1957, composer and arranger Manny Albam produced two albums under the title Manny Albam and the Jazz Greats of Our Time, each of which reunited spectacular jazz stars. The first volume, presented here, included the likes of Art Farmer, Gerry Mulligan, Bob Brookmeyer, Phil Woods, Zoot Sims, Al Cohn and Hank Jones. The second volume presented Richie Kamuca, Jack Sheldon, Bill Holman, Conte Candoli, Charlie Mariano, Herb Geller, Lou Levy, and Harry Sweets Edison.
    1. Blues From Neither Coast
    2. Latined Fracture
    3. Poor Dr. Millmoss
    4. Minor Matters
    5. My Sweetie Went Away (He Didn't Say Where, When Or Why)(Roy Turk - Lou Handman)
    6. All Too Soon (Duke Ellington - Carl Sigman)
    7. See Here, Miss Bromley
    Manny Albam
    $24.99 $18.74 Save $6.25 (25%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Chet Baker With Strings Chet Baker With Strings Quick View

    $39.99
    Buy Now
    x

    Chet Baker With Strings

    Chet Baker was one of the representatives of the West Coast Cool Jazz movement whose life and music appeals to the imagination of the people the most.


    His heroin addiction is well documented, his exploits and misadventures are wrapped in legendary anecdotes.
    But his life story never managed to overshadow his unmistakable talent.


    Chet Baker has one of the most recognizable sounds of all the jazz musicians in the cannon; his trumpet playing is intimate, simple and delicate, with a hint of melancholy that tears at the heartstrings.


    Chet Baker With Strings was recorded during three sessions in 1953 with Zoot Sims & Jack Montrose on tenor sax, Russ Freeman on piano, Shelly Manne on drums and Clifford 'Bud' Shank on alto sax.


    The players are lifted up into the air like a leaf on the breeze by Montrose's delicate string arrangements, while the Baker and Sims interplay on songs like 'Loved Walked In' are amongst the best recorded in jazz history.


    This fully instrumental album is a classic, and now available on vinyl for the first time since its original release in 1953!

    1. You Don't Know What Love Is

    2. I'm Thru With Love
    3. Love Walked In
    4. You Better Go Now
    5. I Married An Angel
    6. Love
    7. I Love You
    8. What A Difference A Day Made
    9. Why Shouldn't I?
    10. A Little Duet For Zoot And Chet
    11. The Wind
    12. Trickleydidlier
    Chet Baker
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • A Gasser (Pure Pleasure) A Gasser (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    A Gasser (Pure Pleasure)

    Although best known as a member of the vocalese supergroup Lambert, Hendricks & Ross, the great jazz singer Annie Ross's solo albums are gems unto themselves and A Gasser! from 1959 is the finest of them all. Miss Ross is in peak vocal form here and is joined by the great Zoot Sims on saxophone and much of the same band featured on the Lambert, Hendricks & Ross classic The Swingers. Don't expect any of the vocal acrobatics of the Lambert, Hendricks & Ross recordings however. This is straight-ahead jazz singing by one of the great singers in her prime. From the wry wit of Everything I've Got through the sheer perfection and beauty of You're Nearer, this set is a must-have for jazz vocal fans. Highly recommended..




    Musicians:



    • Annie Ross (vocal)

    • Zoot Sims, Bill Perkins (tenor saxophone)

    • Russ Freeman (piano)

    • Jim Hall, Billy Bean (guitar)

    • Monte Budwig (bass)

    • Mel Lewis, Frank Capp (drums)



    Recording: February & March 1959

    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.



    1. Everything I've Got Belongs to You
    2. I Was Doin' Alright
    3. You're Nearer
    4. Invitation to the Blues
    5. Nobody's Baby
    6. You Took Advantage of Me
    7. I Don't Want to Cry Anymore
    8. Lucky So and So
    9. I Didn't Know About You
    10. Lucky Day
    Annie Ross
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • Phoebe Snow (Awaiting Repress) Phoebe Snow (Awaiting Repress) Quick View

    $29.99
    Buy Now
    x

    Phoebe Snow (Awaiting Repress)

    Its not very often to witness the importance of a new artist when their debut album gets released. From time to time, these initial works will become as legendary as their lifetime careers are. The great Phoebe Snow and her self-titled debut album is undoubtedly an example of this rare phenomenon. Filled with nine extraordinary songs, seven of those written by a then 23-year-old Snow, including the smash hit single Poetry Man, truly became the catalyst for a legendary career.

    All of the radio formats fell in love with Snow and her new album. Additional album tracks like the hipster uptown blues number Harpo Blues, which features the jazz great Teddy Wilson on piano, and the equally solid and soulful I Dont Want The Night To End helped cement the album as a unequivocal classic.


    From this debut release, Snow also proved that she was a fine collaborator as heard on tracks like No Show Tonight with Traffics Dave Mason, Either Or Both with David Bromberg, and It Must Be Sunday with jazz superstars Bob James and Zoot Sims. These collaborative efforts paid off as she soon became the toast of the industry with a bevy of invitations to perform duets and guest vocals with the likes of Paul Simon, Donald Fagen, Dave Grusin, Linda Rondstat, Bonnie Raitt, Michael McDonald and many others.


    Friday Music now presents the great debut album by Phoebe Snow on 180 Gram Audiophile Vinyl. Mastered impeccably from the original Shelter/EMI tapes by Joe Reagoso at Friday Music Studios with Kevin Gray, this amazing album is fully realized in the audiophile domain. To honor this brilliant American original, they are also presenting this fine album in a rare gatefold album cover, featuring all of the original artwork and lyrics from this once in a lifetime masterpiece. Also enclosed is a poly bag to protect your LP cover and a poly lined inner sleeve to help keep your vinyl in mint shape.

    1. Let The Good Times Roll
    2. Harpos Blues
    3. Poetry Man
    4. Either Or Both
    5. San Francisco Bay Blues
    6. I Dont Want The Night To End
    7. Take Your Children Home
    8. It Must Be Sunday
    9. No Show Tonight
    Phoebe Snow
    $29.99
    180 Gram Audiophile Virgin Vinyl LP AWAITING REPRESS Buy Now
  • Chet Baker & Strings (Pure Pleasure) (On Sale) Chet Baker & Strings (Pure Pleasure) (On Sale) On Sale Quick View

    $34.99 $26.24 Save $8.75 (25%)

    Buy Now
    x

    Chet Baker & Strings (Pure Pleasure) (On Sale)

    This release offers a unique glimpse of a young Chet Baker in a quintet setting, complemented by a nine-piece string section. Utilizing the uniquely modern arrangements of Johnny Mandel, Marty Paich, Jack Montrose, and Shorty Rogers, this interaction of 'West Coast cool' with primordial elevator music escapes many - if not indeed all - of the potential sonic pitfalls such a marriage might suggest. In the truest sense of the word augmentation, the string arrangements provide the desired opulence sans the heavy-handed or syrupy residual effects. Perhaps most inspiring about this outing is the success with which Baker and crew are able to thrive in this environment, providing subtle insight into the quintet's ability to simultaneously adapt and explore. Love Walked In incorporates a trademark volley of interaction between Baker and Sims. Love contains what is arguably the most successful implementation of the string section, as well as some stellar soloing by Freeman. In fact, his contributions to this particular recording rank among his finest with Baker and company. The same enthusiasm can likewise be applied to A Little Duet for Zoot and Chet. Not only are Sims and Baker in top flight, but the string arrangement swings irresistibly as well. The easygoing and otherwise winding strings support the cool bop like a kite in a March breeze - light, airy, and conspicuous only in altitude.



    Tracks A 7 & 8 and B 7 are bonus tracks not on original release.



    Musicians:



    • Chet Baker (trumpet)

    • Zoot Sims (tenor saxophone)

    • Jack Montrose (tenor saxophone)

    • Bud Shank (alto saxophone)

    • Russ Freeman (piano)

    • Joe Mondragon (bass)

    • Shelly Manne (drums)



    Recording: December 1953

    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.



    1. You Don't Know What Love Is

    2. I'm Thru With Love
    3. Love Walked In
    4. You Better Go Now
    5. I Married An Angel
    6. Love
    7. I Love You
    8. What A Difference A Day Made
    9. Why Shouldn't I?
    10. A Little Duet For Zoot And Chet
    11. The Wind
    12. Trickleydidlier
    Chet Baker
    $34.99 $26.24 Save $8.75 (25%)
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Chase Is On (Pure Pleasure) The Chase Is On (Pure Pleasure) Quick View

    $34.99
    Buy Now
    x

    The Chase Is On (Pure Pleasure)

    The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie 'Lockjaw' Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. They also seem to do a hard bop jam, then a ballad, and back to hard swinging.


    The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set This Can't Be Love apart from the original and The Things I Love displays the two tenors at their conversational best, while the lone original, Knittin', is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of When The Blues Come On and the good-old basic vintage swinger You're Cheating Yourself. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy -- and now legendary -- session.


    Musicians:



    • Charlie Rouse, Paul Quinichette (tenor saxophone)

    • Wynton Kelly, Hank Jones (piano)

    • Freddie Green (guitar)

    • Wendell Marshall (bass)

    • Ed Thigpen (drums)



    Recording :August and September 1957 in New York




    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 Chase Is On
    2. When The Blues Come On
    3. This Can't Be Love
    4. Last Time For Love
    5. You're Cheating Yourself
    6. Knittin'
    7. Tender Trap
    8. The Things I Love
    Paul Quinichette & Charlie Rouse
    $34.99
    180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
  • The Jazz Workshop (Speakers Corner) The Jazz Workshop (Speakers Corner) Quick View

    $37.99
    Buy Now
    x

    The Jazz Workshop (Speakers Corner)

    As a soloist, Al Cohn was not such an inspired tenor sax player as his colleague Zoot Sims. But he was a superb arranger, an unprofitable yet highly important function when it comes to such workshops. And though Manny Albam also played the baritone sax, his real instrument was the pen. He arranged not only jazz, but also film music and musicals. His arrangements were multi-faceted and tailor-made to suit the accomplishments of the individual instrumentalists.

    For this particular Jazz Workshop, the record company RCA-Victor could afford the services of excellent session musicians: Joe Newman and Freddie Green came from the Basie Band, Al Cohn, Bernie Glow, and Nick Travis from the Woody Herman Band, and the studio musicians Dick Katz, Buddy Jones, and Osie Johnson were present at all times of day and night anyway.

    As long as you don't expect fierce battles between five tenors, or six tweeters on the trumpet, then you will enjoy this LP with its swinging, relaxed improvisations on such works as Rosetta, Linger Awhile, and I'm Coming Virginia - and you will realise that Lester Young's sound has been heard, cultivated and further developed by these musicians.

    Four trumpets, a tenor sax, and then a piano, guitar, bass, and drums into the bargain - that's certainly no common ensemble, but it certainly is a good reason to purchase this LP. And for certain, this album has been missing in your collection to this day.

    This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

    Musicians:
    Al Cohn (tenor saxophone, arranger)
    Manny Albam (arranger)
    Joe Newman, Bart Valve, Bernie Glow, Joe Wilder, Phil Sunkel (trumpet)
    Nick Travis (trumper, trombone)
    Dick Katz (piano)
    Freddie Green (guitar)
    Buddy Jones (bass)
    Osie Johnson (drums)

    Recording: May 1955 in Webster Hall, New York City, in mono
    Production: Jack Lewis

    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. Rosetta
    2. The Song Is Ended
    3. Linger Awhile
    4. Every Time
    5. Haroosh
    6. Just Plain Sam
    7. I'm Coming Virginia
    8. Cohn Not Cohen
    9. Foggy Water
    11. Sugar Cohn
    12. Alone Together
    Al Cohn
    $37.99
    180 Gram Audiophile Virgin Vinyl LP Mono - Sealed Buy Now
  • 1
Go to top