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Pure Pleasure Vinyl, CD & Tape 89 Artikel

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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!
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
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.
Canned Heat - Boogie With Canned Heat
Grant Green - OST The Final Comedown
Grant Green
OST The Final Comedown
LP | UK | Reissue (Pure Pleasure)
13,99 €*
Release:UK – Reissue
Genre:Organic Grooves, Film / TV
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!- "Luannas Theme" sampled by Digable Planets for "For Corners"
Leo Wright - Blues Shout
Leo Wright
Blues Shout
LP | 1960 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1960 / UK – Reissue
Genre:Organic Grooves
Leo Wright's Atlantic debut, "Blues Shout", effectively summarizes his career as a sideman, embracing the expressionist sensibilities of longtime boss Dizzy Gillespie as well as the Latin inspirations of longtime bandmate Lalo Schifrin to create a fiercely modern and uncommonly impassioned sound all its own. Joined by pianist Junior Mance, trumpeter Richard Williams, bassist Art Davis, and drummer Charlie Persip, Wright divides his attention between his signature alto sax and flute, delivering a series of thoughtful and lyrical solos that positively radiate energy. The blues referenced in the title are more a feeling than a sound, underscoring the emotional intensity that bristles below the surface of every note.Jason Ankeny /AMGRecording: August 1960 by Tom Dowd & Phil IehleProduction: Nesuhi Ertegun
Duke Ellington & Mahalia Jackson - Black, Brown And Beige
Duke Ellington & Mahalia Jackson
Black, Brown And Beige
2LP | 2016 | UK | Original (Pure Pleasure)
35,99 €* 39,99 € -10%
Release:2016 / UK – Original
Genre:Organic Grooves
"Black, Brown, & Beige" is Duke Ellington's musical representation of the African American experience in the United States. It is arguably The Maestro's greatest work. The triumph of telling so important a story so well through music alone makes Duke Ellington's "Black, Brown, & Beige" a masterpiece. It also displays Duke's, and Jazz's, highest achievement in long form. Whether you perceive it as a three movement symphony or accept Ellington's own personalized terminology »Tone Parallel«, "Black, Brown, & Beige" matches conceptually and in artistic content the musical continuity of Western Classical's greatest names in their lengthiest works.The history of "Black, Brown, & Beige" is in its own right momentous. Ellington premiered the work at Carnegie Hall on January 23, 1943, at Duke's first performance on that illustrious stage. The Maestro has created the "Come Sunday Suite". Duke Ellington basically reduced his three movement work to its first, "Black", elevating that movement's spiritual theme, "Come Sunday", making it the melody of the edited work. Truncating the symphony "Black, Brown, & Beige" into the song "Come Sunday" works because Duke Ellington has expanded "Come Sunday" through numerous theme and variations unknown to the original. The piece de resistance: a sacred text, by Duke himself, a text sung by the best known African-American religious singer in history, Mahalia Jackson. There is no doubt that it is the presence and performance of Mahalia Jackson which secures a home in the pantheon for this recasting of "Black, Brown, & Beige", a work that already resided there.And Duke Ellington pulled off this coup with one hand tied behind his back, or without the services of his right hand man. Overlooked over the years since the album "Black, Brown, & Beige" was recorded in February 1958 is the absence of Johnny Hodges (Hodges did a gig with Strayhorn in Florida during this period), the Ellington band's premier soloist …The sides C & D are released on vinyl for the first time with this issue.
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
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
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.
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!!
Ben Webster - The Warm Moods
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)
26,99 €*
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.
Melvin Taylor - Plays The Blues For You
Melvin Taylor
Plays The Blues For You
LP | 1984 | UK | Reissue (Pure Pleasure)
24,29 €* 26,99 € -10%
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.
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.
Freddie Hubbard - Straight Life
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.
Junior Wells - Pleading The Blues
Junior Wells
Pleading The Blues
LP | 1979 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1979 / UK – Reissue
Genre:Organic Grooves
The year was 1959. The occasion was a 'Battle of the Blues' at the Blue Flame Club in Chicago. A young harmonica player Junior Wells – who got his start as Little Walter Jacobs’ replacement in Muddy Waters’ band back in ’52 — probably didn’t imagine he would come in second. After all, he had already put down both Otis Rush and Magic Sam. Still to come, though, was this fleet-fingered, skinny young Louisiana cat — Buddy Guy, who came first. As the climax to his blistering solo, Guy tossed his guitar in the air, then caught it by the neck … one handed. As it slid through his fingers, Buddy created this high levee moan. Crowd gone wild. It was the beginning of a beautiful friendship.That chance meeting set in motion more than a relationship. This early, and profound, respect translated into a partnership that somehow superceded Wells’ early work with one of the most important people in the blues. Wells and Guy would produce some of the most unabashed and deeply cool West Side blues recordings.This album recorded for the French Isabel label, in 1979 is a companion piece to Guy’s “Blues Giant” recording of the same year. There’s the gentle blues shuffle of “It Hurts Me Too”, made famous by Elmore James. There’s the electric-blues muscle of the title tune. Finally, as a bonus track, there’s the funky, clearly James Brown-influenced “I Smell Something”.This is a fine recording — and certainly one of Junior’s best little-known releases.
Oscar Pettiford - Volume 2
Louisiana Red - The Lowdown Back Porch Blues
Canned Heat & John Lee Hooker - Hooker'n Heat
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!
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!
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!
Buddy Guy & Junior Wells - Going Back To Acoustic
Buddy Guy & Junior Wells
Going Back To Acoustic
LP | UK | Reissue (Pure Pleasure)
26,99 €*
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!
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
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
Sarah Vaughan - After Hours
Sarah Vaughan
After Hours
LP | 1962 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1962 / UK – Reissue
Genre:Organic Grooves
This Roulette Records' 1961 Birdland Series LP of Sarah Vaughan's After Hours was the first ever album by 'Sassy' to feature just her voice with bass (George Duvivier) and guitar (Mundell Lowe) in a program of mostly ballads, with Miss Vaughan crooning quietly in a rarely used style. Her voice is at its peak on these intimate, relaxed, almost spontaneous sessions. A true jazz classic of considerable beauty, with George and Mundell perfectly complementing 'the Divine Sarah' as she runs through a set of carefully chosen (yet unrehearsed) favorites, all songs one might've heard her perform in a smoky club well "After Hours". Just one gorgeous track after another here. On "Wonder Why" Vaughan plumbs the depths of her vocal range. "Easy To Love" features an outstanding walking bass line. They swing it so well, Sarah is moved to finger-snap. Her exquisite enunciation and vocal sliding are most noticeable on a mellow cover of Duke Ellington's "Sophisticated Lady". The LP's most energetic song, "Great Day" again spotlights George's amazing bass work. A mere fragment, it fades out much too soon. On an impressive "Sentimental Mood", Sassy utilizes sharp, flat and quarter tones, and a few notes perhaps never heard before. The facáde of aloofness that shields a broken heart in "Vanity" makes for a melancholy, yet apropos, set closer.- Annie Van Auken
Dinah Washington - Back To The Blues
Dinah Washington
Back To The Blues
LP | 1963 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1963 / UK – Reissue
Genre:Organic Grooves
Although she was one of the most powerful and moving of the jazz singers, Dinah Washington suffered more than most from unimaginative and erratic backings. Many of her EmArcy recordings, notably those with Clifford Brown or Clark Terry on trumpet, had outstanding performances, but her collections were compromised by unsuitable accompaniment. This set of 12 blues gives a lop-sided picture in that it doesn't include any of her ballad performances. However, the basic big band settings allow the power and verve of her singing to come through, and confirm her as the best of the women singers with blues material. During the 1950s she had been regarded as an R&B performer but arranger and band-leader Fred Norman wrote these fine 1962 jazz settings for her shortly before her death. The material is strong and Washington soars and swings, her voice reaching many of the potent climaxes for which she was so highly regarded. The material runs through much of the traditional repertoire--Big Bill Broonzy, Leroy Carr and Lil Green being represented--and there is a nine-minute "Nobody Knows The Way I Feel This Morning" that is unique in her discography.
Rahsaan Roland Kirk - Bright Moments
Dave Brubeck Trio, The & Garry Mulligan - Blues Roots
Arlo Guthrie - Alice's Restaurant
Arlo Guthrie
Alice's Restaurant
LP | 1967 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1967 / UK – Reissue
Genre:Rock / Indie
Although he'd been a fixture on the East Coast folk circuit for several years, Arlo Guthrie did not release his debut album until mid-1967. A majority of the attention directed at "Alice's Restaurant" focuses on the epic 18-plus-minute title track, which sprawled over the entire A-side of the long-player. However, it is the other half-dozen Guthrie compositions that provide an insight into his uniformly outstanding, yet astoundingly overlooked, early sides on Warner Bros. Although arguably not 100 percent factual, "Alice's Restaurant Massacree" -- which was recorded in front of a live audience -- is rooted in a series of real incidents. This decidedly anti-establishment saga of garbage dumps closed on Thanksgiving, good ol' Officer Obie, as well as Guthrie's experiences with the draft succeeds not only because of the unusual and outlandish situations that the hero finds himself in; it is also his underdog point of view and sardonic delivery that maximize the effect in the retelling. In terms of artistic merit, the studio side is an equally endowed effort containing six decidedly more traditional folk-rock compositions. Among the standouts are the haunting "Chilling Of The Evening", which is given an arrangement perhaps more aptly suited to a Jimmy Webb/Glen Campbell collaboration. There is a somewhat dated charm in "Ring-Around-a-Rosy Rag", a sly, uptempo, and hippie-friendly bit of jug band nostalgia. "I'm Going Home" is an underrated minor-chord masterpiece that is not only reminiscent of Roger McGuinn's "Ballad of Easy Rider", but also spotlights a more sensitive and intricate nature to Guthrie's craftsmanship. Also worth mentioning is the first installment of "The Motorcycle Song" -- which was updated and discussed further on the live self-titled follow-up release "Arlo" (1968) -- notable for the extended discourse on the 'significance of the pickle'.
Taj Mahal - The Natch'l Blues
Paul Robeson - At Carnegie Hall
Paul Robeson
At Carnegie Hall
LP | 1958 | UK | Reissue (Pure Pleasure)
28,99 €*
Release:1958 / UK – Reissue
Genre:Organic Grooves
When Paul Robeson took the stage at Carnegie Hall in May of 1958, it had been 11 years since he had previously concertized freely in the United States. Blacklisted from the entertainment industry at home, and with the State Department unwilling to issue him a passport, he had fallen into eclipse as a singer and actor over the previous eight years. The concert recorded here, one of two at Carnegie Hall in May of 1958, marked his return. The performances on this record would also be his only stereo recordings -- all were, naturally enough, the work of Vanguard Records, the New York-based record company that was also the home to fellow blacklistees The Weavers. The singing legend is in excellent voice throughout, his rich bass-baritone reveling in performances of a repertory that encompassed Bach, Mussorgsky, Schubert, Dvorák, Beethoven, traditional gospel, Russian and Chinese folk songs, "Old Man River" from "Show Boat", and monologues from Shakespeare and the opera Boris Godunov. With a piano accompaniment by Alan Booth, Robeson ranged across a huge part of his own performing history. The 60-year-old singer, despite the decade of artificially imposed inactivity, still had much of his vocal power intact and all his dramatic instincts, and makes every moment count in his performance, investing immense power in every note and nuance. Sadly, his Vanguard performances were to be his only work captured on modern recording equipment -- because of the blacklist, everything else predated the arrival of recording tape and the long-playing record. But the performance captured here, and those represented on Vanguard's "The Essential Paul Robeson", show a man still capable of moving huge numbers of people with his voice -- and equally important, even at this late date, who had not lost the ability to walk a crowd through a vast and difficult range of repertory; his performances, even after ten years of professional exile, were also learning experiences, and consciousness-raising, which is why reactionaries in the United States were so afraid of him in the first place. And none of it has lost any of its power in the five decades since the actual event.
Reverend Gary Davis - At Newport
Reverend Gary Davis
At Newport
LP | 1965 | UK | Reissue (Pure Pleasure)
28,99 €*
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
Harry
Harry "Sweets" Edison
Sweetenings
LP | 1958 | US | Reissue (Pure Pleasure)
28,99 €*
Release:1958 / US – Reissue
Genre:Organic Grooves
Harry 'Sweets' Edison, a smooth and suave trumpeter, was a cohort of orchestra leader Count Basie, a favourite of bandleader Nelson Riddle, and a noted backup artist for the most prominent vocalists of his time. Edison, with his energetic yet reticent blowing style, bridged a genre gap between the early classic jazz sound of Louis Armstrong and modern bebop modes. Edison, who played equally well in both styles, had a special talent for sustaining his trumpet notes and injecting each single tone with expression and soul never heard before or after. The special quality of his trumpet playing earned him the nickname 'Sweets' because of the sweetness of the tones. Likewise his ability to control the tone of his trumpet brought him to the forefront as a session musician, playing accompaniments for the most respected vocalists of his time.Edison was a true pioneer of jazz. An old-time homespun boy, born in Columbus, Ohio, he never knew with certainty even the year of his birth. According to his best knowledge, he was born in 1919, although some sources list the date as early as 1915. Edison knew even less about his own father, a Native American of the Hopi (Apache) tribe and a drifter who stayed only a few weeks with Edison’s mother before taking to the road and was rarely heard from afterward. Edison spent his early years with an uncle, who was a coal miner and a farmer, in Louisville, Kentucky. It was Edison’s uncle who taught the boy to play the pump organ and to play scales on an old cornet. Edison, who also listened to his uncle’s records, was especially inspired by the music of Louis Armstrong and Bessie Smith.Harry "Sweets" Edison added something special to any date in which he took part, but these 1958 sessions he led for Roulette are especially enjoyable. Joined by either Jimmy Jones or Kenny Drew on piano and Joe Benjamin or John Simmons on bass, along with tenor saxophonist Jimmy Forrest and drummer Charlie Persip, Edison's trumpet swings effortlessly through a batch of standards and originals. The loping blues "Centerpiece" became a classic jazz composition, recorded by numerous jazz artists, but this was its debut appearance on LP. "Jive at Five" dates from his years with Count Basie and finds the band sticking to an accompanying role in this swinging but brief arrangement. Edison utilizes a mute in the gently swinging "Louisiana", while he showboats just a bit in a brief take of "It Happened in Monterey". While this record might have offered a little more variety by giving solo space to some of the talented sidemen present, this long out of print LP is well worth acquiring.
Carmen Lundy - Soul To Soul
Carmen Lundy
Soul To Soul
2LP | 2015 | UK | Original (Pure Pleasure)
41,99 €*
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)
23,19 €* 28,99 € -20%
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.
Hermeto Pascoal - Slaves Mass
Hermeto Pascoal
Slaves Mass
LP | 1977 | UK | Reissue (Pure Pleasure)
26,99 €*
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.
Ray Charles - In Person
Ray Charles
In Person
LP | 1960 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1960 / UK – Reissue
Genre:Organic Grooves
This issue is as the original vinyl album issue & contains all the dialogue from Ray and the stage promoter, along with audience participation.I bought this LP, of the Atlanta concert, in 1960. It knocked me out then, and it knocks me out now. For me, this IS Ray Charles. In the intro to "Night Time Is The Right Time" Ray says, »... and Miss Marjorie Hendricks will help us out on vocals ...«, and boy, does she help out! Turn up the volume and strap yourself down.The greatness of this album. Ray was touring with his band in the 50's, and they played at a concert in Herndon Stadium, Atlanta. An engineer at radio station WAOK recorded the occasion on a one track tape recorder using a single microphone. The recording was later played over the air. The response of the radio audience was overwhelming, resulting in the ultimate release of the Atlantic album. It is one of the most extraordinary albums of all time. First, the recording is amazing considering how it was recorded. The band is heard with perfect clarity and balance, and the audience is also picked up, and you can hear the shouting, whooping, the give and take with the audience, and the extraordinary energy in what was a typical concert of Ray Charles playing to his own audience. Many of the tunes were or became classics, known to every funk and blues musician in the country and to most of the population at large. Ray Charles was revered like no other musician. This is the most cathartic of all Ray Charles' recordings. On two tracks, "The Right Time" and "Tell The Truth"—both shared with the Raelettes' lead singer, Marjorie Hendricks—the music transcends art to become powerfully shamanistic. It remains one of the greatest rhythm and blues albums of all time.
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.
Marcos Valle & Stacey Kent - Ao Vivo
Marcos Valle & Stacey Kent
Ao Vivo
2LP | 2015 | UK | Original (Pure Pleasure)
37,99 €*
Release:2015 / UK – Original
Genre:Organic Grooves
Marcos Valle celebrates his 50th career anniversary as a songwriter, arranger, instrumentalist and singer with Stacey Kent’s sweet American voice. Recorded at Miranda, in Rio de Janeiro, the performances here also have the special participation of Jim Tomlinson on saxophone. Each track on this LP presents an aspect of Marcos Valle’s various musical facets, mixing genres and rhythms, placing Pop, Jazz, Bossa Nova, World Music, and MPB music side by side. Stacey Kent, one of the most prominent jazz singers in the world, lends her voice to songs like “Summer Samba (Samba de Verăo)”, “If You Went Away (Preciso Aprender a Ser Só)”, “The Face I Love (Seu Encanto)”, “Look Who’s Mine (Dia de Vitória)” and many other of Marcos’ classics.
Lionel Hampton - Newport Uproar
Lionel Hampton
Newport Uproar
LP | 1968 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1968 / UK – Reissue
Genre:Organic Grooves
The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: »This hasn’t happened since Duke …« he begins, casting back in his mind to 1956 and the nearest comparable triumph.There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival’s climatic spot - the last act on the last night - his performance would be compared with those of all the others. He prepared accordingly.Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo—driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel’s long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of "Flying Home". Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves - Alan Dawson, Milt Buckner and Illinois Jacquet - at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.
Duke Ellington - The Great Paris Concert
Duke Ellington
The Great Paris Concert
2LP | 1963 | UK | Reissue (Pure Pleasure)
37,99 €*
Release:1963 / UK – Reissue
Genre:Organic Grooves
This set came about, in part, as a result of Ellington's signing to Frank Sinatra's Reprise label in November 1962, with the ending of his exclusive contract to Columbia. Six numbers from the three Paris dates were initially edited and released by Reprise as part of the ten-song "Duke Ellington's Greatest Hits", but the bulk of the performances from those shows didn't surface until many years later as "The Great Paris Concert" on two LPs. This album “The Great Paris Concert” is raw and largely unedited, and depicts the full Ellington band in extraordinary form, oozing excitement -- from the saxophone showcase on the opener, "Rockin' In Rhythm," the various sections of the band take flight at different points throughout this set, which includes such contemporary numbers as Ellington's theme music for an all but forgotten television series, "The Asphalt Jungle", and excerpts from "Such Sweet Thunder". Johnny Hodges is showcased in several solos, most notably on "Suite Thursday", a work whose original studio incarnation he missed appearing on; Cootie Williams ("Tutti for Cootie"), Paul Gonsalves ("Cop Out"), Ray Nance ("Bula"), and Cat Anderson ("Jam with Sam") get their own moments in the spotlight.
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.
Etta James - Deep In The Night
Etta James
Deep In The Night
LP | 1978 | UK | Reissue (Pure Pleasure)
26,99 €*
Release:1978 / UK – Reissue
Genre:Organic Grooves
Originally released on Warners Brothers to scant acclaim in 1978, this Jerry Wexler-produced masterpiece finds James in astounding voice with a batch of great material to apply her massive interpretive powers to. The band, including the cream of the late-'70s Los Angeles session hot-shots (Cornell Dupree, Jeff Porcaro, Chuck Rainey, Plas Johnson, Jim Horn), lays it down soulful and simple and the result is a modern-day R&B classic. Highlights abound throughout, but special attention must be turned to James' takes on "Only Women Bleed" and the Eagles' "Take It to the Limit."
Maria Muldaur - Richland Woman Blues
Maria Muldaur
Richland Woman Blues
LP | 2001 | UK | Reissue (Pure Pleasure)
24,99 €*
Release:2001 / UK – Reissue
Genre:Rock / Indie
Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur -- inspired by a trip to Memphis' Beale Street -- digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin 'Youngblood' Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in "Me And My Chauffeur Blues" (»the way you ride so easy, I can't turn you down«) or longing for her Southern home after moving north during the Depression in Bessie Smith's "Far Away Blues", the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with "Richland Woman Blues". And there's not a camel in sight..
Alejandro Almenares - Casa De Trova - Cuba 50's
Alejandro Almenares
Casa De Trova - Cuba 50's
2LP | 2014 | UK | Original (Pure Pleasure)
37,99 €*
Release:2014 / UK – Original
Genre:Organic Grooves
La Casa de Trova. The house of the troubadours. It’s a place of almost mythical status in Cuban music, the home of so many of the glorious songs that have come out of the island. Even Paul McCartney has made his pilgrimage there. For Alejandro Almenares, it’s a place he visits every single day, still carrying his guitar as he goes to play and talk with friends. And it’s the inspiration behind his album "Casa De Trova" (Tumi Records: release: February 25, 2014).For Almenares, the connection to the house is deep. His musician father, Angel Sanchez Almenares, was one of the founders of the Casa.»I was there when it all began, too,« he recalls. »I grew up listening to them playing there, the trovas and soneros. I’m 76 now. I’m the last of the founders still alive.«It’s a house filled with memories of all the tunes that have filled the air over the years – and still do. As a child, Almenares took them all in as naturally as breathing. When he was 10 years old he began attending music school staying until he was 14, »when I had to quit in order to work and help my parents.«Two years later he was a professional musician, playing the music his father had written and performed in groups like Los Taínos, Trio Oriente and Las Guitarras Internacionales. A lifetime of music, and, he adds with a smile, »so many bands that the number and names escape me now.« If you’re a fan of the Buena Vista Social Club, this guy’s gonna make them seem like a bunch of posers. Composer, vocalist and tres guitarist, Alejandro Almenares delivers the real thing from Cuba here on this set. This double vinyl set contains the same songs (although in different order); the difference is that the first features his rich and full voice, while the second features his material as (mostly) instrumentals. Flutes, percussion, violin, soprano sax, guitars and intermittent vocal choruses accompany Almenares on the gentle and fragrant instrumental takes of “No Critiques Al Nene” and “La Nina Que Yo Ame”, while vocalists Tony Rodon, Eva Grinan, Jose Cabrera and Ismael Borges deliver tales of passion on “Mujercita “Linda”, A Tu Retrato”, “Te Vi Y Te Contemple” and “De Lo Que Quiero Saber” respectively. The simplicity of the old world charms are on abundant display here. No gimmicks, no frills, just earnest notes and, like the best of cooks, letting the simple ingredients do all the work in creating the flavor that makes your mouth water. Essential listening!
Otis Spann - Walking The Blues
Otis Spann
Walking The Blues
LP | 1972 | UK | Reissue (Pure Pleasure)
25,99 €*
Release:1972 / UK – Reissue
Genre:Organic Grooves
"Walking The Blues" is arguably the finest record Otis Spann ever cut, boasting 11 cuts of astounding blues piano. On several numbers, Spann is supported by guitarist Robert Jr. Lockwood and their interaction is sympathetic, warm, and utterly inviting. Spann relies on originals here, from "Half Ain't Been Told" to "Walking the Blues", but he also throws in a few standards ("Goin' Down Slow", "My Home Is In The Delta") that help draw a fuller portrait of his musicianship. Most importantly, however, is the fact that "Walking The Blues" simply sounds great -- it's some of the finest blues piano you'll ever hear.Recording: August 1960 at Fine Recording Studios, New York, by George PirosProduction: Nat Hentoff
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
Mary Black - The Holy Ground
Mary Black
The Holy Ground
LP | 1993 | UK | Reissue (Pure Pleasure)
25,99 €*
Release:1993 / UK – Reissue
Genre:Rock / Indie
Irish singer Mary Black is well known for deftly combining her Celtic roots with contemporary folk. On this release, she offers another strong set of songs, as she interprets songs from American folk favorite John Gorka ("Treasure Island") and connects with Anglo-folk tradition on the lovely "One Way Donkey Ride" (written by Sandy Denny of Fairport Convention fame). The acoustic instrumentation feature a rich blend of guitars, fiddles, saxophones, and accordions that add a timeless feel to most of her songs. The highlight of the album is "Loving Time", an emotional story of star-crossed lovers told with a bittersweet aching that few artists could deliver so poignantly. While a few songs towards the end of the album suffer from middle-of-the-road, adult easy listening arrangements, Mary Black's voice remains an incredibly expressive instrument that makes this another solid effort. Production: Declan Sinnott
Stacey Kent - Changing Lights
Stacey Kent
Changing Lights
LP | 2014 | UK | Original (Pure Pleasure)
37,99 €*
Release:2014 / UK – Original
Genre:Organic Grooves
Stacey Kent's latest recording again demonstrates her vocal mastery. The immaculate intonation, timing and diction are flawless to the point of sheer purity. Her voice becomes an instrument with impeccable clarity and minimal vibrato. Her focus on this album is largely Latin numbers switching English with clever changes into Portuguese, and French imperceptibly. There are covers of bossa nova numbers from Tom Jobim and two songs written by novelist and lyricist Kashou Ishiguro; namely the title song "Changing Lights", a sublime number, and "The Summer We Crossed Europe" a story gracefully sung by Ms Kent. "Waiter, Oh Waiter" is a neat request for help in choosing from a foreign menu. "How Insensitive" is quite the opposite. The Brazilian "One Note Samba" is a difficult number to handle at such pace with the short-spaced almost staccato notes; Stacey effortlessly takes the scale runs in her stride.
The arrangements and accompaniment of husband Jim Tomlinson are outstanding. The rhythm section is wonderfully subtle with particular praise for the percussionists, pianist Graham Harvey and the Latino guitarists' phrasing. However, this is Stacey Kent's record first and foremost; impressive and top class. Highly recommended.
Charles Mingus - East Coasting
Charles Mingus
East Coasting
LP | 1957 | UK | Reissue (Pure Pleasure)
27,99 €*
Release:1957 / UK – Reissue
Genre:Organic Grooves
Charles Mingus is usually known for his wild, soulful and avant-garde compositions. "East Coasting" is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as 'soulful' in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on "West Coast Ghost" (the album's stand-out track) and "Celia" are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.?"East Coasting" sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel "On The Road" and have become interested in exploring Jazz. "East Coasting" will allow them to get a taste of lost creative America. Recording: August 1957 in New York City
Carmen Lundy - Changes
Carmen Lundy
Changes
LP | 2014 | UK | Original (Pure Pleasure)
26,99 €*
Release:2014 / UK – Original
Genre:Organic Grooves
Contemporary jazz vocalists, caught in the current trend to accelerate their careers, are often indistinguishable from the pack, the essence of their music lost in haste. With her release of “Changes”, veteran singer Carmen Lundy proves that this premise does not apply to her, rising to that proverbial summit to enjoy the rarefied air of the chosen few.Graced and gifted with a smooth, effortless voice, Lundy has been highly heralded since her landmark 2005 record, "Live at the Madrid (Afrasia)". Though she has done other records since, she is back with a supple encore of original compositions and novel directions. She states that she approached these songs with the guitar in mind and, accordingly, brought in premier guitarist Oscar Castro-Neves for his expertise in dealing with subtle, nuanced rhythms. Though he lays back on much of the recording, on "Sleeping Alone" he begins with his soft guitar sketching a distant samba. Lundy delivers the swaying tempo as only she can. They combine for another guitar/vocal duet on "Where Love Surrounds Us", where the acoustic arrangement is sublime.There is a definite retro feel to this production, which hails back to a period of authentic recording methods when musicians took their time in composing, arranging and rehearsing. Pianist Anthony Wonsey plays a vintage Fender Rhodes on "So Beautiful" and "Too Late For Love", which features trumpet man Nolan Shaheed playing off of the vocals. The band is fully in tune under Lundy's spell and the result is stupendous.Lundy attests that she is taking chances and making changes in her approach to songwriting and performing, and there is an underlying percussive element drifting throughout the selections. With a caressing style that blends intention with improvisation, "Changes" is that personal record she had within her. She has let it out for the world to hear.
Howard McGhee - The Return Of Howard McGhee
Howard McGhee
The Return Of Howard McGhee
LP | 1955 | UK | Reissue (Pure Pleasure)
25,99 €*
Release:1955 / UK – Reissue
Genre:Organic Grooves
Recorded after one of McGhee’s not infrequent releases from the Penitentary on narcotics charges, hence the title “The Return Of …”.Howard McGhee is a wonderful agile soloist, a model for the younger Kenny Dorham. Sharing the spotlight with McGhee is Sahib Shihab on baritone sax, what more can you ask? Lots of baritone solos, and few on alto for variety, Sahib’s presence is not to be overlooked. That angry baritone rasp is so compelling - both Sahib and Pepper Adams showed what could be achieved with this weighty length of brass plumbing if you played it as though it was a tenor or indeed alto, and just ran with the changes, Charlie Parker on steroids.Duke Jordan’s solid chordal foundations, embellished with glittering runs, is always pushing the tempo along, with 'Philly Joe' and Percy Heath picking up any slack. Bop of a very high order from the post-swing cauldron that was 1955.
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.
Tubby Hayes - Tubby's New Groove
John Coltrane - In The Winner's Circle
Mary Black - No Frontiers
Count Basie & His Orchestra - Kansas City Suite
Syl Johnson - Total Explosion
Jamie Cullum - Pointless Nostalgic
Ike & Tina Turner - Feel Good
Nina Simone - Live At The Village Gate
Nat King Cole - Penthouse Serenade
Paul Quinchette & Charlie Rouse - The Chase Is On
Zoot Sims - Down Home
Cassandra Wilson - New Moon Daughter
Johnny Shines - Standing At The Crossroads
Paul Desmond - Desmond Blue
Nina Simone - Little Girl Blue
Dirty Dozen Brass Band - What's Going On
Otis Rush - Right Place Wrong Place
Dianne Reeves - I Remember
Pete Brown & His Battered Ornaments - A Meal You Can Shake Hands With In The Dark
Thad Jones & Mel Lewis Orchestra - Consummation
Sonny Rollins & Coleman Hawkins - Sonny Meets Hawk
Sonny Rollins & Coleman Hawkins
Sonny Meets Hawk
LP | UK | Reissue (Pure Pleasure)
28,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
Nina Simone - At Carnegie Hall
Nina Simone
At Carnegie Hall
LP | UK | Reissue (Pure Pleasure)
28,99 €*
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 - 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!
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!
Chet Baker & Art Pepper - Picture Of Heath
Chet Baker & Art Pepper
Picture Of Heath
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)
28,99 €*
Release:UK – Reissue
Genre:Organic Grooves
Special hi-quality 180 gram limited edition. Audiophile mastering and pressing!
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