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Pure Pleasure Vinyl, CD & Tape 90 Artikel

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Clifford Jordan Quartet - Glass Bead Games
Clifford Jordan Quartet
Glass Bead Games
LP | 1973 | US | Reissue (Pure Pleasure)
44,99 €*
Release:1973 / US – Reissue
Genre:Organic Grooves
Preorder 29.03.2019
* Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London / Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70’s avant-garde and spiritual jazz, with a groove.Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.
Phil Ranelin - The Time Is Now
Phil Ranelin
The Time Is Now
LP | 1974 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1974 / UK – Reissue
Genre:Organic Grooves
Phil Ranelin's first record as a leader is worlds away from his later 1976 offering, "Vibes From the Tribe". "The Time Is Now" is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective -- Marcus Belgrave and Wendell Harrison -- as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie 'Shoo-Be Doo' Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on "The Time Is Now" were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By"). "The Time Is Now" is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music.
Wendell Harrison - An Evening With The Devil
Wendell Harrison
An Evening With The Devil
LP | 1972 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1972 / UK – Reissue
Genre:Organic Grooves
»The compositions we play are reflective of the music of our times whereby we play Jazz, Rock, and African music with its poly or many rhythms. I wrote all the tunes on this particular LP and it is written as a suite in 5 movements which means that the music can be performed along with poetry and dancers. On our last LP called “Message From The Tribe” we featured the compositions of our very talented composer, arranger, and trombonist Phil Ranelin. On one side he wrote all the compositions and on the flip side I wrote all the tunes. This album was produced by us on the Tribe record label. As far as the music on “Evening With The Devil” is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theatre group in Detroit called The Black Messengers.«Extract from the sleeve notes of this album by Wendell Harrison.
Shamek Farrah - First Impressions
John Hicks - Hells Bells
John Hicks
Hells Bells
LP | 1980 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1980 / UK – Reissue
Genre:Organic Grooves
John Hicks (1941-2006) gave much to jazz over several decades but never really received the appreciation he so richly deserved. As a pianist, he proved himself in the Art Blakey and Betty Carter universities. He was also the prototypical musician's musician, a first-call pianist for many jazz greats and a magnificent accompanist to the art's best saxists, including Pharoah Sanders, Arthur Blythe, Chico Freeman, Archie Shepp, and David Murray. He was often accused of hovering in McCoy Tyner's shadow, which is unfair and untrue. But he evinced a great fondness for Coltrane's music and was often heard on many a Coltrane tribute, showing affection for the saxophonist and his appreciation for Tyner's contribution to Coltrane's finest music.Another facet of John Hicks' career, which gets even less attention than his wondrous playing, is his ability to craft identifiable compositions that are wandering and melodic, suggestive and malleable yet memorable all at once.It would be difficult to conceive the ideal tribute to John Hicks. As a jazz contributor, he wasn't easily pigeon-holed. While he was always a (straight) jazz player, he skirted the edges of free jazz and pure romanticism that neither side ever appreciates in the other. But both camps could find moments of joyous life in all the ways Hicks chose to express himself. He was an unmistakably perfect accompanist in any mode.
Phil Ranelin - Vibes From The Tribe
Phil Ranelin
Vibes From The Tribe
LP | 1971 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
Phil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up the Tribe label with Wendell Harrison in Detroit.Like other contemporary artist run labels like Strata East and Black Jazz, Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience."Vibes From the Tribe" is a fine record. The title track is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. "Sounds From The Village" is even better (and dirtier), showcasing Ranelin's oily trombone gymnastics and a viciously fuzzed guitar solo. "Wife" features Phil's singing and is oddly reminiscent of Frank Zappa's writing on "Sleep Dirt"; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis."He The One We All Knew" is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he's not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it's good to know that Ranelin is still at work even now. Essential.
Esther Phillips - From A Whisper To A Scream
Esther Phillips
From A Whisper To A Scream
LP | 1971 | UK | Reissue (Pure Pleasure)
25,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
One of Esther Phillips finest '70s releases, From "A Whisper To A Scream" is the first of seven albums the singer recorded for CTI offshoot Kudu. Arranged and conducted by Pee Wee Ellis, the December 1971 session also involved principal players such as bassist Gordon Edwards, drummer Bernard Purdie, percussionist Airto, guitarists Cornell Dupree and Eric Gale, keyboardist Richard Tee, and saxophonists Hank Crawford and David Liebman. Setting the tone for Phillips' Kudu era, "Whisper" offers a series of spacious, yet fully arranged ballads of burning heartache, along with a handful of relatively funky numbers that do nothing to compromise her talent, dishing out loads of classy grit. It's a definite point of departure from the likes of "Esther Phillips Sings" and "And I Love Him!", her field of contemporaries closer to Al Green and Aretha Franklin than before. She grabs onto "Home Is Where The Hatred Is," Gil Scott-Heron's most harrowing rumination on drug dependency -- which, at that point, wasn't even a year old -- as if it were her very own, and it's all the more poignant given its parallels with her own life. (It’s meaning was only compounded by her death in 1984.) Though there is absolutely nothing lacking in the album's more energetic moments, it's still the ballads that shine brightest, like the alternately fragile and explosive "From A Whisper To A Scream" (Allen Toussaint) and a staggering "Baby, I'm for Real" (Marvin and Anna Gordy, made popular by the Originals) so vulnerable yet commanding that it really should've closed the album.
Weldon Irvine - Cosmic Vortex (Justice Devine)
Weldon Irvine
Cosmic Vortex (Justice Devine)
LP | 1974 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1974 / UK – Reissue
Genre:Organic Grooves
After two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to RCA for "Cosmic Vortex (Justice Divine)", exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates. This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk.
Billy Parker's Fourth World - Freedom Of Speech
Billy Parker's Fourth World
Freedom Of Speech
LP | 1975 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1975 / UK – Reissue
Genre:Organic Grooves
Most of the musicians who gathered to record this fantastic spiritual jazz record for the Strata-East label on May 24th, 1974 had crossed each other's paths in various musical pairings over the preceding few years. Husband and wife team Dee Dee Bridgewater (vocals) and Cecil Bridgewater (trumpet) had been working together on albums like Frank Foster's "Loud Minority", and Roy Ayers' "Coffy" and "Virgo Red". Ten weeks before the "Freedom Of Speech" session, the couple had been joined in Tokyo by Cecil's brother Ronald Bridgewater (tenor saxaphone) to record Dee Dee's debut album, the beautiful "Afro Blue". Also in the studio on May 24th, 1974 was Donald Smith, (piano, vocals), fresh from recording on his older brother Lonnie Liston Smith's "Cosmic Funk" - on which Ronald Bridgewater had also played percussion. Cecil McBee (bass) was also there - just two weeks before, he'd completed his own Strata East date "Mutima", and in February he'd played on Mtume's "Rebirth Cycle" - with both albums also featuring Dee Dee Bridgewater on vocals. He'd also played on Lonnie Liston Smith's "Astral Travelling".So 1974 was a huge year for all five of these people. Donald Smith and Cecil McBee were six months away from recording on Lonnie Liston Smith's massive "Expansions", with McBee fitting in a few Pharoah Sanders albums in between.AND THEN, THE MYSTERY ... So with all this fervent activity, the question has to be asked ...Who was Billy Earl Parker Jr (drums), the leader of this session?Billy Parker remains unlisted as a musician on all major jazz sites. His only other recording appears to be as a percussionist on Charles Tolliver's "Impact" in 1975.
Charles Brackeen - Rhythm X
Charles Brackeen
Rhythm X
LP | 1973 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1973 / UK – Reissue
Genre:Organic Grooves
Preorder 22.03.2019
On this record, the little-known Charles Brackeen brings his saxophone to a party with most of Ornette Coleman's band. As might be expected, while Brackeen certainly holds his own, it's Ornette's boys who bring the thunder, playing around Brackeen's muscular alto as if they were a gang jumping on a new member. Haden's bass playing provides the frantic pulse, here and there ceding the stage to Blackwell's flexible drumming and dropping out to provide rolling sheets of sound by bowing his instrument. Brackeen and Cherry wrestle across this solid bedrock, with results that are often surprising and never short of beautiful.
Bob Brookmeyer - Kansas City Revisited
John Gordon - Step By Step
John Gordon
Step By Step
LP | 1976 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1976 / UK – Reissue
Genre:Organic Grooves
John Gordon, a trombone master, brings us another gem from that most renowned of 70’s record labels, Strata-East. The trombone is a difficult instrument. In the hands of an artist like John Gordon, however, it can create vivid images and conjure up beautiful music. And when the cohort of other players includes the likes of Charles Tolliver & Stanley Cowell, you know you’re in for an extra treat.
Annie Ross & Zoot Sims - A Gasser
Annie Ross & Zoot Sims
A Gasser
LP | 1959 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1959 / UK – Reissue
Genre:Organic Grooves
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.
Billy Harper - Capra Black
Harold Vick - Don't Look Back
Norman Connors - Love From The Sun
Cecil Payne - Zodiac
Cecil Payne
Zodiac
LP | 1973 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1973 / UK – Reissue
Genre:Organic Grooves
It's impossible to talk about this album without acknowledging the spectre of death that hangs over it - not only is it the third entry in Strata-East Records' Dolphy Series, a collection of archival recordings from some of the label's close associates honoring the recently deceased multi-instrumentalist, but it is actually dedicated to two members of the band, Wynton Kelly and Kenny Dorham, who died in between the recording sessions and its release. The point is driven home even further by the fact that the album begins with a tribute from Payne to the fallen Martin Luther King, Jr., a piece that acts as a de facto solo for Dorham - his playing all rosy elegance and regal warmth - before shifting into the lighter (though equally coolly-paced) "I Know Love," a showcase for Payne's sax. While not the most somber jazz track ever recorded, this opening suite is a low-key and mournful way to open the affair, but thankfully the album really picks off and shows these musicians more in their element the rest of the way. "Girl, You Got a Home" is a funky piece, beginning very soulfully with some tight interplay among the rhythm section of Kelly, bassist Wilbur Ware and drummer Albert Heath. Ware is in especially fine form on this track, tying together the disparate passages of the piece by grounding the more ponderous moments in a deep funk, while Kelly's playing is especially ear catching in the way he stabs at his piano like it's an organ. After the first two tracks take up nearly twenty minutes, the four-minute "Slide Hampton" feels almost impossibly brief, a feeling that's enhanced by its quick, jittery, and infectious rhythm, driven by some really dexterous work from Kelly. The final track, "Flying Fish," may be the album's highlight, a Caribbean-inspired composition that casts the rhythm section as flighty ground for both Payne and Dorham to vamp on. The track is oddly danceable for something released on Strata-East, maybe the most fun moment ever for the label, and relentlessly uptempo. Though this release may be in part defined by the deaths that preceded it, it's clear that the recording process was actually a lot of fun for everybody, as their enthusiasm and energy jumps right out of the speakers. This is one of the first Strata East records I really got into and is still one of my favorites, a must-hear for any fans of the flightier moments of Dorham or Kelly's career, and a fitting tribute for both master musicians.
Stanley Cowell - Regeneration
Stanley Cowell
Regeneration
LP | 1976 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1976 / UK – Reissue
Genre:Organic Grooves
Around the time of this recording, Stanley Cowell had achieved a degree of prominence as the pianist for the advanced bop quartet Music Inc., which he co-led with trumpeter Charles Tolliver, as well as for unusual projects like his Piano Choir. With Regeneration he chose another path, essentially trying to produce a jazz-infused pop album with strong African roots, perhaps owing a little bit to Stevie Wonder. He assembled an extremely strong cast of musicians for the venture, including Marion Brown, Billy Higgins, and Ed Blackwell, as well as several African string and percussion masters and, by and large, succeeded conceptually if not commercially. A few songs use vocals in a fairly standard pop framework, and, while they are performed capably enough, the lyrical content leaves something to be desired in typical mid-'70s fashion. But much of the rest of the music makes up for this with, among other things, a delightful fife and drum piece by Brown and strong bass work by Bill Lee (Spike's dad). Regeneration is an interesting, often enjoyable album which, aside from its own small pleasures, provides a snapshot of some of the cross-fertilization in genres occurring at the time.
Sam Dees - The Show Must Go On
Sam Dees
The Show Must Go On
LP | 1975 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1975 / UK – Reissue
Genre:Organic Grooves
The best R&B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC & the Sunshine Band, Willie Clayton, and many others. He's also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and SSS labels, and he had a nice string of his own hits in the 1970s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like "Child of the Streets", "Troubled Child," & "What's It Gonna Be," share Mayfield's commitment to social commentary, and Dees knows his way around a love song, too. It's absolutely essential.
Zodiac, The - Cosmic Sounds
Zodiac, The
Cosmic Sounds
LP | 1967 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1967 / UK – Reissue
Genre:Rock / Indie
Absolutely essential Peel favourite Psych masterpiece now back on Vinyl taken from Analogue Masters and like you’ve never heard it before … A conceptual Psychedelic collaboration by MORT GARSON!This album was released on the ELEKTRA label in August 1967 in the U.K. It was heavily played by John Peel on his Perfumed Garden shows, where he used it as a basis for a competition (He had been sent a copy by Clive Selwood, the then head of Elektra’s London office and later to become Peel’s manager). The LP was extremely popular with Perfumed Garden listeners and was mentioned in the lyrics of Geoffrey Prowse’s fan tribute to the program, “The Perfumed Garden Blues, or John Peel’s lament”.'»He played the Mothers of Invention and the Velvet Underground. He played some freaky music called the Zodiac Cosmic Sounds...«The 12-track concept album featured both music and spoken narration on the theme of signs of the zodiac. Based on an initial idea by Elektra chief Jac Holzman, it was a collaborative effort with music written by Mort Garson, words by Jacques Wilson, and narration by Cyrus Faryar. The early use of the Moog synthesizer was by Paul Beaver. There was no artist called either The Zodiac or Cosmic Sounds, a fact which confused some buyers of the LP. The back sleeve informed listeners that the record "MUST BE PLAYED IN THE DARK".In 1994, Peel played the LP again in full over three months on his BBC Radio One shows in a regular spot shortly after the 5.30 news on Saturday afternoons, to follow a similar run through the ‘Astrology Songs’ album of Harvey Sid Fisher.Peel continued to broadcast selections from the 1967 LP into the 21st century, usually coupled with more contemporary tracks with similar themes. On 13 August 2002, he commented:»Hasn’t really stood the test of time terribly well, but at the same time, clutches at the heart slightly.«Recording: 1967 by Jim LockertProduction: Jac Holzman
Aretha Franklin - Yeah!
Yusef Lateef - The Doctor Is In … And Out
Yusef Lateef
The Doctor Is In … And Out
LP | 1976 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1976 / UK – Reissue
Genre:Organic Grooves
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 record.
Hermeto Pascoal - Slaves Mass
Hermeto Pascoal
Slaves Mass
LP | 1977 | UK | Reissue (Pure Pleasure)
14,99 €*
Release:1977 / UK – Reissue
Genre:Organic Grooves
Not strictly a jazz album in the strict sense, "Slaves Mass" has strong compositional themes among its seven tracks. The maestro Hermeto Pascoal plays everything from flutes, soprano saxophone, guitar, Fender Rhodes, acoustic piano and clavinet on this set, and enlists help from Ron Carter, Airto, Flora Purim, Raul DeSouza, David Maro and others. "Mixing Pot", is the opener and an anomaly in that it is a vanguard fusion tune where Pascoal really digs in and improvises. It also features the only appearance on this set of Alphonso Johnson on electric bass. In "Missa Dos Escravos", the title track, Pascoal's emblematic pig gives his first growls in a song dominated by Brazilian Indian references. Wonderfully and intricately composed, it centers around folk tropes. "Chorinho Para Ele" is a beautiful and modern choro with a somewhat challenging glissando bridge that really proposed new directions for the traditional genre. "Aquela Valsa" is a beautiful six/eight theme that turns into a samba with a beautiful trombone solo by DeSouza. "Cannon" is an utterly improvisational piece that meanders and winds around Pascoal's flute solo. Atonalism dominates the piano solo in "Escuta Meu Piano", which also presents bits and pieces of different styles (like bai?o) and folk songs. Hot samba improvisation is found in "Geléia de Cereja", that slips and slides through a variety of schema and dynamic changes without much internal focus, but it is a compelling bit of creative anarchy nonetheless in that it displays Pascoal's full range of restless musical and textural impulses -- as well as a beautiful soprano solo.
Cesaria Evora - Cafe Atlantico
Cesaria Evora
Cafe Atlantico
2LP | 1999 | UK | Reissue (Pure Pleasure)
37,99 €*
Release:1999 / UK – Reissue
Genre:Organic Grooves
The glorious "Café Atlantico" finds Césaria Évora venturing into more Latin American musical landscapes, as opposed to Portuguese, which dominated her previous albums. Évora draws from traditional Cuban and Brazilian music to mesmerizing effect. The album is also a tribute to her home town of Mindelo, on the Cape Verdean island of Sao Vicente, which was once a busy port with sailors cruising between South America, the Caribbean, and Portugal. Therefore, the music is heartbreaking and nostalgic, warm and tragic all at once. The masterful "Carnaval de Săo Vicente" is one of the most joyous, bittersweet party songs ever put on wax (and was even issued as a maxi-single with fantastic remixes). "Roma Criola" is tragic, lonely, destitute, and always interesting, making for an undiscovered masterpiece of a ballad, and her rendition of the Spanish language standard "Maria Elena" is absolutely heartbreaking. The album evokes a moody elegance rarely found in modern music, from the sweeping opener "Flôr Di Nha Esperança" to the summery "Amor Di Mundo", and the picture she paints of this café at the end of the world is a gorgeous, multi-colored, and emotion-stirring palate. This album is nothing short of world class and will be enjoyed by generations to come.
Milt Jackson - Sunflower
Milt Jackson
Sunflower
LP | 1973 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1973 / UK – Reissue
Genre:Organic Grooves
Recorded over two days in December of 1972 at Rudy Van Gelder's Englewood, New Jersey home studio, vibraphonist Milt Jackson's "Sunflower" is the first -- and best -- of his three albums for Creed Taylor's CTI imprint. (And one of the finest offerings on the label.) With a core band consisting of Herbie Hancock (playing electric and acoustic piano), bassist Ron Carter, drummer Billy Cobham, trumpeter Freddie Hubbard, drummer/percussionist Ralph McDonald, and guitarist Jay Berliner. A chamber orchestra exquisitely arranged and conducted by Don Sebesky adorns the session as well. Jackson's "For Someone I Love", opens the five-tune set, with Berliner playing solo flamenco guitar before the vibes, trumpet, and elements from the chamber orchestra delicately, impressionistically color the background. It gradually moves into a languid, bluesy ballad that slowly gains in both texture and dynamic until the strings trill tensely. Hubbard and Hancock engage them in solos that gently swing out the tune. The reading of Michel Legrand's "What Are You Doing for the Rest of Your Life" is a gorgeous showcase for Jackson; his solo dominates the arrangement. Carter gets downright funky on his upright to introduce Thom Bell's "People Make The World Go Round," and Hancock follows him on Rhodes. Jackson takes the melody, striking a layered contrast as Hubbard slips around all three playing an extension of the melody with requisite taste, fluidity, and taut phrasing. Hancock gets funky to the bone in his brief solo, as the vibes soar around and through his phrases. The title track is a Hubbard composition that floats and hovers with a Latin backbeat before shifting tempos as the solos begin. The expanded harmonic palette of trumpet with the reeds, woodwinds, and strings on the melody add an exotic textural palette for his solo. Jackson's "SKJ" closes the set with an old-school, swinging hard bop blues with barely detectable embellishments by Sebesky. While "Sunflower" sometimes feels more like a group session rather than a Jackson-led one, that's part of its exquisite beauty.
Canned Heat - Boogie With Canned Heat
Charles Tolliver - All Stars
Charles Tolliver
All Stars
LP | 2019 | US | Original (Pure Pleasure)
29,99 €*
Release:2019 / US – Original
Genre:Organic Grooves
Preorder 29.03.2019
* Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London / This was Charles Tolliver’s first album as a leader. The setting is unique only because his second Freedom-Black Lion album “The Ringer” and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean’s leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.There is also a previously unreleased bonus track of the song, "Repetition", recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker's LP With Strings.This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to.
Cab Calloway - Cab Calloway
Cab Calloway
Cab Calloway
LP | 1956 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1956 / UK – Reissue
Genre:Organic Grooves
From 1932 to the late 1940’s the period covered by this set, Cab had an orchestra that was about as swinging a band of solid senders as you’d find on the big-band circuit.Cab projects, in his singing on records, something of the vital magic of his stage presence, a boundless exuberance and enthusiasm. His orchestral backing during the Thirties and Forties included many well-known names in jazz. At various times, Milt Hinton, Danny Barker and Cozy Cole were in his rhythm section.The reeds included the late, great Chu Berry as well as Ben Webster. Dizzy Gillespie was in the band, some members of which, at odd moments, served as a laboratory for the style to be called Bop. »This whole new chord structure idea was interesting to me,« Milt Hinton recalled, »and I would walk the new chords behind his playing.« Cab wasn’t the least enthusiastic. Danny Barker quoted him as saying, »I don’t want you playing that Chinese music in my band.«The main attraction, however, was always Cab—showman, singer, entertainer. Most audiences didn’t even know that some of his sidemen were candidates for the jazz hall of fame. And that was as it should be. The musicians’ first function was to provide musical backing and a musical setting for the man who was being called 'King of the Hipsters', and this they did, wonderfully well. It was as Barry Ulanov noted in Metronome (January, 1943) a band extraordinary in every respect, hailed for its »clean musicianship, its jazz kicks, its brilliant showmanship«.
Charles Lloyd Quartet, The - Love-In
Charles Lloyd Quartet, The
Love-In
LP | 1967 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1967 / UK – Reissue
Genre:Organic Grooves
Four-and-a-half decades after the event, saxophonist Charles Lloyd's "Love-In", recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance", "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There And Everywhere", "Love-In's" semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.It is likely that more joints were rolled on "Love-In's" cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's "A Love Supreme" (Impulse!, 1965) and Pharoah Sanders's "Tauhid" (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as »the first psychedelic jazz group«. It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East.So "Love-In" comes with a load of baggage, some of it less than fragrant. But as 45 minutes of music, it still has legs. Lloyd's vocalized tenor (and flute on two tracks) has Coltrane-derived muscle; the young Jarrett's lyrical and funky solos, particularly on his 07:55 showcase, the gospel-ish "Sunday Morning", his two featured originals ("Sunday Morning" and the soul jazz-ish "Is It Really the Same?"), and his playing the strings of the piano directly with his hands, all remain compelling; McClure and DeJohnette are solid and inventive.
Tito Rodriguez And His Orchestra - Three Loves Have I
Carmen McRae - Lover Man & Other Billie Holiday Classics
Descendants Of Mike And Phoebe, The - A Spirit Speaks
Descendants Of Mike And Phoebe, The
A Spirit Speaks
LP | 1974 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1974 / UK – Reissue
Genre:Organic Grooves
One of the most unique albums on the Strata East label – and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! "Descendents Of Mike & Phoebe" is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) – working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers – recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time – and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins – all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace – singing wordlessly and with a really heavenly sort of quality – and together, the whole group have an undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. Titles include a great version of Lee's "Coltrane", which was more famously recorded with Clifford Jordan.
Modern Jazz Quartet - Pyramid
Modern Jazz Quartet
Pyramid
LP | 1960 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1960 / UK – Reissue
Genre:Organic Grooves
With such a tight group as the MJQ is is impossible to single out individual musicians which probably accounts for their long lived success.This is a strong recording from the Modern Jazz Quartet, with inventive versions of John Lewis' "Vendome". Ray Brown's "Pyramid", Jim Hall's "Romaine", and Lewis' famous "Django", along with cooking jams on "How High The Moon" and "It Don't Mean A Thing". The MJQ had become a jazz institution by this time, but they never lost their creative edge, and their performances (even on the remakes) are quite stimulating, enthusiastic, and fresh. Scott Yanow/AMG
George Benson - In Flight
George Benson
In Flight
LP | 1977 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1977 / UK – Reissue
Genre:Organic Grooves
Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format. Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole -- a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace -- but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.In the wake of "This Masquerade", the balance of power shifted for the first time toward George Benson's suddenly marketable voice; four of the six tracks on "In Flight" are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as "Nature Boy" and "The World Is a Ghetto", and the unison scatting with the guitar that caught fire with the public on "Masquerade" is now pulled out whenever possible. Benson's backing band from "Breezin'", still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's "Valdez In The Country", prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star. By Richard S. Ginell/AMGRecording: 1977 at Capitol Studios, Hollywood, by Al SchmittProduction: Tommy Lipuma
Modern Jazz Quartet, The - Lonely Woman
Modern Jazz Quartet, The
Lonely Woman
LP | 1962 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1962 / UK – Reissue
Genre:Organic Grooves
Having sponsored Ornette Coleman at the School Of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis' support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman's radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop's Parker, Gillespie, and Monk, but put pay to the praise with the MJQ's 1962 rendition of one of Coleman's most famous numbers, "Lonely Woman". (Along with Art Pepper's 1960 version of "Tears Inside", this was one of the earliest of Coleman covers done.) The 1962 Atlantic album of the same name turns out to be one of the band's best efforts. Lewis and fellow MJQ members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of "Lonely Woman" while adding a bit of chamber music complexity to the mix. The quartet doesn't take Coleman's free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the MJQ further plies its knack for involved pieces on Lewis originals like "Fugato" and "Trieste", the group also balances out the set with looser material more in tune with Jackson's blues and swing sensibilities. A great record that's perfect for the curious jazz lover.
Ben Webster - The Warm Moods
Mose Allison - Takes To The Hills
Mose Allison
Takes To The Hills
LP | 1962 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1962 / UK – Reissue
Genre:Organic Grooves
The incomparable and profoundly influential pianist/singer-songwriter Mose Allison – who’s inspired everyone from Georgie Fame, The Who and The Clash to Van Morrison and Pixies – developed his own unique, idiosyncratic style that melded an ironic sense of wit and humour with country-blues inflections and a bebop-esque vocabulary. Besides cool playing and his uniquely smoky singing, has great taste in material. "Hey Good Lookin'" fits right in with revisited versions of "I Love the Life I Live", "I Ain't Got Nobody" and "Baby Please Don't Go", complete with what the singer himself calls his distinctive 'involuntary groan' during the piano solo. Teo Macero's intimate production makes it feel like you're right there in the studio.
Kenny Burrell - God Bless The Child
Kenny Burrell
God Bless The Child
LP | 1971 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
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. Recording: April & May 1971 at Rudy Van Gelder Studio, Englewood Cliffs, NJ, USAProduction: Creed Taylor
Melvin Taylor - Plays The Blues For You
Melvin Taylor
Plays The Blues For You
LP | 1984 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1984 / UK – Reissue
Genre:Organic Grooves
Guitarist Melvin Taylor's fluid, smartly constructed solos and understated yet winning vocals are surprises on this 1984 nine-track set recorded for Isabel. Taylor is not a fancy or arresting singer but succeeds through his simple, effective delivery of lyrics, slight inflections, and vocal nuances. His guitar work is impressive, with skittering riffs, shifting runs, and dashing solos. Organist/pianist Lucky Peterson is an excellent second soloist, adding cute background phrases at times, then stepping forward and challenging or buttressing Taylor's playing with his own dazzling lines.
George Benson - Give Me The Night
George Benson
Give Me The Night
LP | 1980 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1980 / UK – Reissue
Genre:Organic Grooves
This is the peak of George Benson's courtship of the mass market -- a superbly crafted and performed pop album with a large supporting cast -- and wouldn't you know that Quincy Jones, the master catalyst, is the producer. Q's regular team, including the prolific songwriter Rod Temperton and the brilliant engineer Bruce Swedien, is in control, and Benson's voice, caught beautifully in the rich, floating sound, had never before been put to such versatile use. On "Moody's Mood", Benson really exercises his vocalese chops and proves that he is technically as fluid as just about any jazz vocalist, and he become a credible rival to Al Jarreau on the joyous title track. Benson's guitar now plays a subsidiary role -- only two of the ten tracks are instrumentals -- but Q has him play terrific fills behind the vocals and in the gaps, and the engineering gives his tone a variety of striking, new, full-sounding timbres. The instrumentals themselves are marvelous: "Off Broadway" is driving and danceable, and Ivan Lins' "Dinorah, Dinorah" grows increasingly seductive with each play. Benson should have worked with Jones from this point on, but this would be their only album together.
Oscar Pettiford - Volume 2
Count Basie & His Orchestra - Kansas City Suite
Jamie Cullum - Pointless Nostalgic
Nina Simone - Little Girl Blue
Otis Rush - Right Place Wrong Place
Duke Ellington - The Nutcracker Suite
Duke Ellington
The Nutcracker Suite
LP | UK | Reissue (Pure Pleasure)
27,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Charles Mingus - Let My Children Hear Music
Charles Mingus
Let My Children Hear Music
LP | UK | Reissue (Pure Pleasure)
27,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Music Inc. - Music Inc.
Music Inc.
Music Inc.
LP | 1971 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1971 / UK – Reissue
Genre:Organic Grooves
The remarkable Music, Inc. Big Band remains the apotheosis of trumpeter Charles Tolliver's singular creative vision. Rarely if ever has a big band exhibited so much freedom or finesse, while at the same time never overwhelming the virtuoso soloists on whom the performances pivot. Built around the core of Tolliver, pianist Stanley Cowell, bassist Cecil McBee, and drummer Jimmy Hopps, the music boasts the kind of give-and-take born equally of talent and telepathy -- each player seems to communicate with his colleagues on a higher plane, delivering performances to rival any in their careers. Tolliver in particular plays like a man possessed, summoning an energy and clarity that slice through the big, bold arrangements like the proverbial hot knife through butter.
Modern Jazz Quartet - The Sheriff
Ruth Brown - Miss Rhythm
Solomon Burke - King Solomon
Shorty Rogers - Jazz Waltz
Lee Konitz - Inside Hi-Fi
Louis Armstrong - Town Hall Concert Plus
Louis Armstrong
Town Hall Concert Plus
LP | 1957 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1957 / UK – Reissue
Genre:Organic Grooves
This album is made of six numbers from the famous Town Hall concert of 1947, plus offerings from four others, which if not perhaps quite so famous are nevertheless all more than worthy of your attention. Armstrong's playing in these days was something to marvel at, and his presence a vitalising effect upon any musicians who teamed up with him. Teagarden never played or sung better than he did here ("St. James Infirmary" to note), but nor for that matter did Bigard, Vic Dickenson, Johnny Hodges, or any of the other musicians who haunt these tracks. The standard throughout is very high, but no one, however well they play, can approach the brilliance of Louis as he soars into his first chorus on "Misbehavin'" with the control and majesty of a seagull on the wing. Teagarden plays well enough on this track, but sandwiched between Louis' solo and a fantastic lead-in to his final chorus, he sounds almost dull by comparison. Save it, "Pretty Mama" is another tour de force, with Louis playing a solo that is supreme for tightness, and relaxation. The two tracks with Duke are full of interest. Hodges blows beautifully. Duke plays some pleasant piano on "Journey", and Pops comes on with a blues vocal which is quite inimitable. "Snafu", a boppish kind of tune, doesn't suit Louis quite so well, but as usual he can dig his way out of any situation with his horn. "Little Girl" and "Mahogany Hall" feature a much more basic beat and Louis plays in a style much nearer New Orleans than was usual in these days. Ory takes a splendid chorus on the second named tune, and the work of both drummers is exceptional.But everything is good and Armstrong's work so consistently brilliant and vastly entertaining, that it is a set you must not miss on any account.
Steve Reich - Drumming
Etta James - The Right Time
Thelonious Monk - Criss-Cross
Mary Black - By The Time It Gets Dark
Duke Ellington & His Orchestra - Masterpieces
Duke Ellington & His Orchestra
Masterpieces
LP | 1951 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1951 / UK – Reissue
Genre:Organic Grooves
When Ellington went into the studio in 1950 to record the longer tracks on this LP, his orchestra was a bridge between its late-1940's configuration (the 5-man trumpet section) and its mid-1950's personnel. The sax section had settled into the form it would have for most of the ensuing two decades (old-timers Hodges and Carney and newcomers Procope, Hamilton and Gonsalves); the trombone section had long-timer Lawrence Brown as well as Tyree Glenn and newcomer Quentin Jackson; and the drummer was still Sonny Greer, who had anchored the rhythm section since the beginning. The arrangements and orchestrations all bear the hallmarks of Ellington's collaboration with Billy Strayhorn in the late 1940's: they are lush, symphonic, impressionistic, and densely (and adventurously) harmonic. "Mood Indigo", in particular, is a 15-minute tone-poem with shifting colors and key relationships as Ellington and Strayhorn bring the melody through a wide variety of guises, from Glenn's wah-wah trombone solo to Shorty Baker's lyrical waltz to orchestral and piano passages which do homage to the influence which Ravel and Stravinsky had on both of them. "The Tattooed Bride" is the only new piece from the original "Masterpieces by Ellington" LP, and it is a beauty. The others of the original tracks -- "Sophistocated Lady" and "Solitude" -- are not laid out as inventively in their harmonics or structure. Of the group, "Solitude" is perhaps the weakest, but this is a relative term. Ellington would go on to pen many more extended, symphonic works, but none would have quite the multicolored, impressionistic tone-pallate that these do. And Strayhorn's presence would not be as pronounced in those future works as it is here: the orchestration and harmonies in particular bear his mark. These are masterpieces indeed: great works of art by two of our greatest composers/orchestrators, and played by one of the greatest orchestras in Afro-American music. Andrew R. Weiss
Charles Lloyd - Dream Weaver
Charles Lloyd
Dream Weaver
LP | 1966 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1966 / UK – Reissue
Genre:Organic Grooves
The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. "Dream Weaver" is a fully realized project by a band -- a real band -- in which each member has a unique part of the whole to contribute. Jarrett's unusual piano style fits musically with Lloyd's lyricism in a way that it shouldn't. Jarrett was even then an iconoclast, playing harmonic figures from the inside out and relying on counterpoint to create new spaces, not fill them in. (Just listen to "Autumn Sequence", where his solos and his backing harmonics are equally strident and inventive as Lloyd's Eastern explorations of mood and mode.) And then there's the rhythm section of McBee and DeJohnette, whose modal inventions on the intervals make the "Dream Weaver" suite an exercise in open time, allowing all players to wander around inside it and take what they want out. The set closes with a group party jam on "Sombrero Sam", with Lloyd and Jarrett trading eights on a Cuban variation on a fantasia. There were no records like this one by new groups in 1966.
Sydney Bechet - The Grand Master Of The Soprano Saxophon
Sydney Bechet
The Grand Master Of The Soprano Saxophon
LP | 1956 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1956 / UK – Reissue
Genre:Organic Grooves
Sidney Bechet's historic recordings for Blue Note and RCA Victor tend to overshadow some of his other work because they have been reissued more frequently, though there are lesser-known dates worth acquiring as well. This Columbia LP compiles three separate recording sessions made between 1938 and 1947. Bechet sticks almost exclusively to soprano sax throughout each of them and has ample space for his solos, full of his trademark heavy vibrato. The earliest set matches him with drummer Zutty Singleton, bassist Henry Turner, and guitarist Leonard Ware (all members of his working band at the time), along with pianist Dave Bowman and baritone saxophonist Ernie Caceres. The Bechet-Singleton collaboration "Jungle Drums" has delightful solos by the two reeds, along with Singleton's exotic tom-toms. Six tracks come from a 1947 quartet with pianist Lloyd Phillips, bassist Pops Foster, and either Freddie Moore or Arthur Herbert on drums. Bechet's swinging tribute to a legendary jazzman, "Buddy Bolden Stomp", a romp through "Just One Of Those Things", and a heartfelt arrangement of "Laura" are the highlights of this session. Another 1947 session gives a preview of the future of classic jazz, featuring a sextet led by Bechet's star pupil, a young Bob Wilber, along with Dick Wellstood, who would rise to fame as a master stride interpreter. Bechet plays soprano sax and Wilber sticks to clarinet on two numbers, though they switch roles on "Kansas City Man Blues". While Wilber doesn't have Bechet's strong vibrato on soprano sax, they are harder to tell apart on clarinet. Ken Dryden/AMGRecording: November 1938 and July 1947
John Lewis - The Wonderful World Of Jazz
John Lewis
The Wonderful World Of Jazz
LP | 1960 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1960 / UK – Reissue
Genre:Organic Grooves
There is nothing hurried about this disc. That said, the music is focused and will stretch your mind. Lewis employed masterful melodic improvisers here: Paul Gonsalves, Eric Dolphy, Jim Hall among others. Listen to "Body And Soul" as it builds powerfully and the soloists explore every possible melodic theme, where the quiet power of these master musicians is almost too much to take. Listen to "I Remember Clifford" where the players are essentially the MJQ with Jim Hall replacing Milt Jackson. This set swings, but oh-so-elegantly. Just like Mr. Lewis.S.C.BerryWhether you're an old-time jazz afficionado or new to the genre, this album is essential. In my opinion, Lewis' lovely solo on "Body & Soul" makes his version virtually definitive - 15 minutes of bliss. The rest of the album, particularly "Afternoon In Paris", is at the same level. "Wonderful" is the perfect title for this record.E BarriosRecording: July and September 1960Production: Nesuhi Ertegun & Tom Dowd
Carmen McRae - The Great American Songbook
Carmen McRae
The Great American Songbook
2LP | 1972 | UK | Reissue (Pure Pleasure)
39,99 €*
Release:1972 / UK – Reissue
Genre:Organic Grooves
This is a gem of an album and one of my favorites by McRae. It was recorded live for Atlantic Records at Donte's Club in Los Angeles on November 6, 1971 and released the following year.What I love is not only the choice of songs, but the sound quality and the performance itself. The set not only contains established standards by Ellington, Cole Porter and the other greats, but some new (at the time) material. Including Burt Bacharach's "They Long To Be Close To You" in the set was a wise decision in my opinion. It deserves to be a standard. Of course there is the obligatory Billie Holiday song that McRae would include in all of her performances. On this album it's "I Cried For You", which was one of Billie's first recordings in 1936.The sound quality is superb. The engineer managed to capture not only the energy from the live performance, but the richness of the ensemble backing McRae. Indeed, the musicians backing her are perfect for the material: Jimmy Rowles on piano (who wrote the "Ballad" of Thelonious Monk), Joe Pass on guitar, Chuck Domanico on bass and Chuck Flores on drums.If you love hearing some of the best songs from the Great American Songbook performed by a master this album will delight you. There is a cohesiveness to the album that earns kudos from the production team as well as the performers. Interestingly McRae and her ensemble performed 32 songs the night that this was recorded. One can only speculate as to why a volume 2 wasn't released. Regardless, this is - in my opinion - some of McRae's best live material.Mike TarraniRecording: November 1971 live at Donte's, Los Angeles CA., by Ray ThompsonProduction: Jack Rael
Miroslav Vitous - Infinite Search
Rahsaan Roland Kirk - Bright Moments
Dave Brubeck Trio, The & Garry Mulligan - Blues Roots
Reverend Gary Davis - At Newport
Reverend Gary Davis
At Newport
LP | 1965 | UK | Reissue (Pure Pleasure)
19,99 €*
Release:1965 / UK – Reissue
Genre:Rock / Indie
This is one of the few handful of recordings to feature the Rev. Gary Davis in concert. As the name of the project suggests, the proceedings were documented at the Newport Folk Festival in July of 1965. The Reverend's solo vocal is accompanied by his own six- and twelve-string guitar(s) as well as mouth harp. The repertoire incorporates a wide range of secular blues and sacred gospel. Davis' material is derived from his own writings and notable interpretations of folk and blues standards such as "Lovin' Spoonful" and "I Won't Be Back No More". Also featured are insightful readings of some of his best-known and loved religious sides -- namely "Death Don't Have No Mercy" and "Twelve Gates To The City". It is remarkable that although the Reverend was approaching 70 -- at the time of this recording -- his driving passion and verve are of a man half his age. The frenetic "Samson & Delilah (If I Had My Way)", the haunting "You've Got To Move", the high-spirited "Buck Dance", and "Twelve Sticks" are among the most passionate and emotionally charged selections available in his canon. This set provides the platform for Davis to raise them to an even greater exceptionally potent level. The clean and nimble fret and fingering that became his signature sound has arguably never been as direct and forceful. The two instrumentals best reveal this facet of his performance. Unlike a majority of the garden-variety studio renditions of these songs, there is an almost palpable sense of salvation and urgency in the concert recordings -- making them seminal instalments of his musical catalogue.
Ron Carter - All Blues
Ron Carter
All Blues
LP | 1974 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1974 / UK – Reissue
Genre:Organic Grooves
Bassist Ron Carter had long been Creed Taylor’s first-choice bassist on record dates stretching as far back to the classic Gil Evans recording Out of the Cool in 1960. Carter was the first bass choice for many Creed Taylor productions throughout the 1960s for the Impulse, Verve, MGM and A&M/CTI labels, even while the bassist was recording and touring as part of the Miles Davis Quintet. And it was Ron Carter’s dulcet tones and swinging accompaniment on the double bass that drove nearly every CTI album since 1970 into the overdrive that its soloists are often given sole credit for. Surprisingly, though, Ron Carter’s second CTI recording, "All Blues", fell well below the radar. It was hardly noticed when it was first issued in early 1974 (his 1973 CTI debut, "Blues Farm", which was hardly a hit, still remains better known). Interestingly, it’s probably among the best of the albums the bassist waxed for the CTI label between 1973 and 1976. This is due in no small measure to the commanding presence of tenor saxophonist Joe Henderson on “A Feeling”, “117 Special”, “Rufus” and “All Blues”. Carter here also solidifies a simpatico musical kinship with pianist Roland Hanna, who he’d first played with on a European tour in 1969. Hanna is especially featured on the florid trio feature, “Light Blue” (not the Monk piece), as well as Carter’s bop-y “Rufus” (not the Archie Shepp piece). Not surprisingly, Ron Carter dominates the proceedings, with his especially distinctive bass helming any number of attractive solo features (not to mention the overdubbed bass 'solo' of “Will You Be Mine”). Doug Payne/Jazzonline
Randy Weston - African Cookbook
Randy Weston
African Cookbook
LP | 1964 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1964 / UK – Reissue
Genre:Organic Grooves
When this set was recorded in 1964, pianist Randy Weston had no luck interesting any label to release the music, so he came out with it independently on his tiny Bakton company & then in 1972 Atlantic released the performances. It is surprising that no company in the mid-1960s signed Weston up because "Willie's Tune" from the set had the potential to catch on, "Berkshire Blues" is somewhat known and the mixture of accessible bop with African rhythms overall is appealing. Trumpeter Ray Copeland was responsible for the arrangements while Weston contributed all but one of the songs. Copeland and the great tenor Booker Ervin have their share of solo space, bassist Vishnu Wood and drummer Lenny McBrowne are fine in support, and on three numbers the percussion of Big Black and Sir Harold Murray are added; Big Black also sings on "Congolese Children". An excellent outing, infectionously listenable!!
Carmen Lundy - Soul To Soul
Carmen Lundy
Soul To Soul
2LP | 2015 | UK | Original (Pure Pleasure)
16,79 €* 41,99 € -60%
Release:2015 / UK – Original
Genre:Organic Grooves
The acclaimed composer, jazz vocalist, producer, arranger and educator Carmen Lundy believes in honesty and sincerity in music. Her artistic passion has guided her around the world, working with numerous musicians such as Geri Allen, Patrice Rushen, Teri Lynne Carrington and many others. So it should come as no surprise that her fervent new song cycle, titled "Soul To Soul", features an array of award-winning musicians that help her realize the next chapter in her critically acclaimed career."Soul To Soul" is Carmen Lundy’s 14th album and features 13 songs, 11 of which Carmen composed and arranged. She plays guitar on all tracks, piano on “Kindred Spirits”, the electric Rhodes on “Don’t You Know How I Feel”, and the drums/percussion on “Sardegna” and also provides backing vocals on “Grace”. The Los Angeles-based vocalist opens the program with “Kindred Spirits”, a song that explores the concept of ‘you reap what you sow’ and the way you play the game of life. Next is “Life Is A Song In Me”, during which Lundy’s lyrics benefit from the synergy of her multi-octave range and vocalese, Rushen’s Rhodes solo, Jamison Ross’ exemplary drumming and the balanced backing vocals. Carmen Lundy continues to find new connections between the jazz elements used by vocalists and instrumentalists on the title track, “Soul To Soul”. She adds the stellar accompaniment of trumpeter Randy Brecker, tenor saxophonist Ada Rovatti and piano chops of Patrice Rushen to underline her musical persona and vocal technique. The sound motion inherent in that song has great tone that many people will feel instantly and submit it to their memory and recall abilities. That is what makes a song a hit with people – its sound motion.Her great ballad, “When Will They Learn”, is absolutely beautiful with its string arrangements for harpist Carol Robbins and the serene brushwork of Jamison Ross. Here Carmen delivers the song in her vocals lower octaves which make this moving song one of the best on the recording. You can hear that she has internalized the music, allowing it to flow in her veins and transferring it directly to the listener.Overall, "Soul To Soul" is among Carmen Lundy’s best recordings. She understands that those notes she puts down on paper are important and have their place. But when it comes to delivering those notes, her vocal acumen and virtuosity proves that she has the right balance, the right accompaniments, the right musical formats and the right synergy, artistry and jazz sensibilities to make those inspired notes accessible to her worldwide fans. Check it out.
Big Joe Turner - The Boss Of The Blues Sings Kansas City Jazz
Big Joe Turner
The Boss Of The Blues Sings Kansas City Jazz
LP | 1956 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1956 / UK – Reissue
Genre:Organic Grooves
Besides helping to invent rock 'n roll with his hit "Shake, Rattle and Roll", Big Joe Turner was one of the most soulful blues shouters of all time. His best albums married the boogie-woogie piano stylings of the great Pete Johnson with a jazzy jumpin' horn section. "Boss Of The Blues" is arguably Joe's best recording, in part because he sang with particular gusto during these 1956 sessions. At the time, "Boss Of The Blues" marked a nostalgic return to the jump-blues style that Turner helped pioneer in the '40s. Besides Johnson, Boss featured some of Kansas City's finest ever jazzmen and various members of Count Basie's band, including Joe Newman (trumpet), Pete Brown (alto sax), Lawrence Brown (trombone), Frank Wess (tenor sax) and Freddie Green (guitar). The bawdy "Cherry Red" and the rollicking "Roll 'Em Pete" are my favorite Turner-Johnson collaborations. Both feature some incredible playing by the piano master. Turner's versions of "I Want A Little Girl", "Low Down Dog", "You're Driving Me Crazy", and "Morning Glories" are definitive. If I had to compile a list of my 10 favorite albums, "Boss Of The Blues" would be there.
Clarence Carter - Patches
Clarence Carter
Patches
LP | 1970 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1970 / UK – Reissue
Genre:Organic Grooves
Clarence Carter's first major-hit album remains a must-own record, holding up extraordinarily well across four decades. Carter's singing possesses an immediacy and emotional impact that is as striking today as it was in 1970, and displays a vast range as well. The title track is the best-known song here, though "It's All in Your Mind" was also a hit later in the year, and "I Can't Leave Your Love Alone" and "Your Love Lifted Me" could easily have joined it and topped the pop charts as well. Carter even provides a bracing authentic gospel approach to the then-new Beatles song "Let It Be", taking the song back to the roots whence Paul McCartney drew his inspiration. He also assumes a more pop-oriented persona on "Till I Can't Take It Anymore", on which Carter starts to sound a bit like Elvis Presley, while on "It's All in Your Mind" he seems to invoke the ghost of Sam Cooke. On his own "C.C. Blues", Carter's bluesiest persona emerges, his crunchy guitar playing off beautifully against a soaring horn section and Clayton Ivey's piano, and he returns to a soul sound for the finale, the soaring "Getting the Bills (But No Merchandise)".
Randy Crawford - Raw Silk
Randy Crawford
Raw Silk
LP | 1969 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1969 / UK – Reissue
Genre:Organic Grooves
Why didn't this girl get the recognition she deserves? There are some absolutely wonderful songs on this album and even better vocal performances that few have come close to. The collection is slightly jazz tinged but don’t let that put you off. Outstanding tracks include, "Someone To Believe In", "Endlessly" and "Nobody", all of which will touch your heart. But there is a moment in the first couple of lines of the song - "Love Is Like A Newborn Child" - when Miss Crawford hits a note and holds it for a few seconds that just takes your breath away! Worth buying just for that moment alone. If you are into the great vocalists of our time then buy this. It’s fantastic.
Sarah Vaughan - The Divine One
Sarah Vaughan
The Divine One
LP | 1961 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1961 / UK – Reissue
Genre:Organic Grooves
Recorded just after Sarah Vaughan joined the Roulette label in 1960, "The Divine One" found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers -- and no less a strong and clear voice than trumpeter Harry "Sweets" Edison (the perfect accompaniment for Vaughan). "The Divine One" is mostly a ballads collection, and it includes a few songs that were new to her repertoire -- good choices like "Have You Met Miss Jones?" (aka "Old Jones"), "When Your Lover Has Gone", "Wrap Your Troubles In Dreams", and "Jump for Joy". One great left-field choice is "Ain't No Use", the R&B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simone didn't record it until several years later). Roulette would soon push Vaughan in many different directions -- releasing over a dozen LPs in just a few short years -- but this small-group date is a gem.Recording: October 1960Production: Jimmy Jones
Nina Simone - Folksy Nina
Nina Simone
Folksy Nina
LP | 1963 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1963 / UK – Reissue
Genre:Organic Grooves
Pianist and singer Nina Simone defied categorization by blending classical, jazz and popular music into an unconventional and highly personal idiom: over four decades, she galvanized audiences with albums and performances replete with deep passion and keen attention to emotion.Fiercely honest, Simone was admired for her eccentricity and individualism. She was known for her spirited personality on and off the stage, which included flirting with audience members and voicing her opinions about social topics of the time.Like the 1963 LP "Nina Simone At Carnegie Hall" (Pure Pleasure SCP 455), this was recorded in front of a devoted and enthusiastic live audience at Carnegie Hall on May 12, 1963. It isn't just unworthy leftovers, but a strong set in its own right, concentrating on material that could be seen as traditional or folk in orientation. It's not exactly strictly folk music, in repertoire or arrangement (which includes piano, guitar, bass, and drums, though not every tune has all of the instruments); "Twelfth Of Never" certainly isn't folk music. However, there was also an uptempo piano blues, Leadbelly's "Silver City Bound"; covers of the Israeli "Erets Zavat Chalav" and "Vanetihu" which served as further proof that Simone's eclecticism knew no bounds; and the stark, moody, spiritually shaded ballads at which she excelled ("When I Was a Young Girl", "Hush Little Baby"). "Lass Of The Low Country" is as exquisitely sad-yet-beautiful as it gets.Recording: May 1963 at Carnegie Hall, New York, by Dick AldersonProduction: Jack Lewis
Freddie Hubbard - Straight Life
Terry Riley - In C
Terry Riley
In C
LP | 1968 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1968 / UK – Reissue
Genre:Organic Grooves
If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous - even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label. This version reads minimalism as popular music and popular music as, finally, classical. The Bang on a Can version is outrageously wonderful. This single repeated note, meditatively engaged and then played upon in modulation, is taken by Bang on a Can and torn apart, with gritty, urban vision, rock & roll energy, and pure New York street smarts. Using a wide array of instruments (from piano, vibes, glockenspiel, cello, Wu man's pipa, clarinet, mandolin, soprano saxophone, electric guitar, marimba, chimes, and bass) for 45 minutes, this mind-flexing composition is moved through the sequence of all these instrumentalists, each coloring it just a bit, moving it a tad further outside and into the future, the dynamics shift subtly and change, direction becomes fluid, and the drama becomes white-knuckle tense after such a meditative beginning and then releases again. This is the creation of language, tonal, timbral, and spatial. There is an architecture at work in this version that erects small towers of meaning in sound and piles them atop each other until a sonic Tower of Babel is finally fully erected. The pulse never stops; it never disengages no matter which instrument or group of instruments enters or leaves the fray. It is there, constant, always being born and always dying and being transformed, reincarnated as some other sound, some other phrase, but always identified by the pulse. This is more hypnotic than any rock & roll, and more powerful than any Beethoven symphony is taken in with openness. This is music - ultimately made by a truly gifted and disciplined ensemble that share a singularly optimistic vision for modern music - that can, and will, change your life.
Canned Heat & John Lee Hooker - Hooker'n Heat
Nat King Cole - Penthouse Serenade
Paul Quinchette & Charlie Rouse - The Chase Is On
Cassandra Wilson - New Moon Daughter
Paul Desmond - Desmond Blue
Sonny Rollins & Coleman Hawkins - Sonny Meets Hawk
Sonny Rollins & Coleman Hawkins
Sonny Meets Hawk
LP | UK | Reissue (Pure Pleasure)
26,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Max Roach - We Insist!
Max Roach
We Insist!
LP | UK | Reissue (Pure Pleasure)
28,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Duke Ellington & Orchestra - Such Sweet Thunder
Duke Ellington & Orchestra
Such Sweet Thunder
LP | UK | Reissue (Pure Pleasure)
28,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Duke Ellington - Ellington Uptown
Duke Ellington
Ellington Uptown
LP | EU | Reissue (Pure Pleasure)
28,99 €*
Release:EU – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Charles Mingus - Presents Charles Mingus
Charles Mingus
Presents Charles Mingus
LP | UK | Reissue (Pure Pleasure)
28,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Booker Little - Out Front
Booker Little
Out Front
LP | UK | Reissue (Pure Pleasure)
27,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Billie Holiday - Lady Day
Billie Holiday
Lady Day
LP | UK | Reissue (Pure Pleasure)
28,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Abbey Lincoln - Straight Ahead
Abbey Lincoln
Straight Ahead
LP | UK | Reissue (Pure Pleasure)
26,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
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