{"title":"Jazz","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eFrom the best In Japanese Jazz to Blue Note's Tone Poet series and Jazz Dispensary's Top Shelf releases, we've got you covered on the newest and best in archival jazz releases for the home listening library.\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","products":[{"product_id":"dont-just-sing-a-karin-krog-anthology-1963-1999","title":"Don't Just Sing | An Anthology: 1963-1999","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she’s practically a household name.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"320\" height=\"180\" src=\"https:\/\/www.youtube.com\/embed\/xu1ZNGtt11g\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"320\" height=\"180\" src=\"https:\/\/www.youtube.com\/embed\/r-iPfhBSpNg\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eThis says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog’s albums weren’t available in the \u003cspan class=\"caps\"\u003eUSA\u003c\/span\u003e or UK, meaning three decades of recordings were waiting to be discovered. In theory, until now, she hasn’t had any regularly distributed albums in the US or the UK–this is certainly the first one even marketed\/promoted in here and in England. With this anthology of her best recordings from 1963 to 1999–curated with Krog’s own input–we hope to set the record straight.\u003c\/p\u003e\n\u003cp\u003eTo listen to opening track “As A Wife Has A Cow” is to jump into the deep end. It’s 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too–and that’s Krog’s \u003cspan class=\"caps\"\u003eUSP\u003c\/span\u003e. Don’t Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist\/multi- instrumentalist and composer. Like Annette Peacock, Krog experiments with solo vocals run through electronics and performs with progressive electric jazz combos and traditional acoustic groups as well.\u003c\/p\u003e\n\u003cp\u003eKrog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964’s By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. “There is such a thing as too much manipulation,” says Krog today.\u003c\/p\u003e\n\u003cp\u003eRecorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968’s Joy is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell’s “All I Want” and Bobby Gentry’s “Ode To Billy Joe,” both of which show how Krog brought jazz aesthetics to pop songs of the day. “I remember that there was a lot of buzz around Blue, and Joni Mitchell is, as everybody knows, a very talented singer and songwriter,” says Krog in the new liner notes.\u003c\/p\u003e\n\u003cp\u003e“Glass\" and “Tystnaden\" are the two previously unreleased finds from the archives, the former written for a British documentary in 1997, the latter a soundscape improvisation from a 1963 studio session with Lars Werner on piano, Kurt Lindgren on bass, and Janne Carlsson on drums. The compilation rounds off with the “Psalm” movement from John Coltrane’s monumental piece, A Love Supreme. Krog’s version came at suggestion of the man himself. “It was John who pointed to the text on the inner sleeve of the Impulse! LP and said, ‘Karin, look. Why don’t you sing this?’” she remembers.\u003c\/p\u003e\n\u003cp\u003eKrog remains fiercely productive, recording, performing, and running Meantime records from her and John’s villa near Oslo. Now 77, she’s showing no signs of slowing down. “Everybody has to retire at some point, but I believe that once a musician, you’re always a musician,” she says. “If I can’t stand up and sing on stage anymore, I can always do it sitting down!”\u003c\/p\u003e\n\u003cp\u003eCurated with Krog’s own input, this anthology showcases her best recordings from 1963 to 1999, including songs from 1968’s groundbreaking \u003cem\u003eJoy\u003c\/em\u003e, her 1970 Dexter Gordon collaboration \u003cem\u003eSome Other Spring\u003c\/em\u003e, her pop-jazz masterwork 1974’s \u003cem\u003eWe Could Be Flying\u003c\/em\u003e, tracks from the Japanese only \u003cem\u003eDifferent Days, Different Ways\u003c\/em\u003e which focus on 1970-72 experimental vocal works, and previously unreleased tracks.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"320\" height=\"180\" src=\"https:\/\/www.youtube.com\/embed\/VL6hkACiwZM\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"320\" height=\"180\" src=\"https:\/\/www.youtube.com\/embed\/r1LG9yohCHw\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFeaturing jazz greats Dexter Gordon and John Surman\u003c\/li\u003e\n\u003cli\u003eNewly remastered audio\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 129[[Artist]]Karin Krog\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Don't Just Sing: A Karin Krog Anthology 1963-1999 \/ Karin Krog - MP3\/320 \/ album \/ MP3\/320","offer_id":32191384289359,"sku":"13R\/MP3","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Don't Just Sing: A Karin Krog Anthology 1963-1999 \/ Karin Krog - FLAC \/ album \/ FLAC","offer_id":32191384322127,"sku":"13R\/FLAC","price":9.99,"currency_code":"USD","in_stock":true},{"title":"Don't Just Sing: A Karin Krog Anthology 1963-1999 \/ Karin Krog - WAV \/ album \/ 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by one of music’s true lost talents: Lewis. \u003cem\u003eRomantic Times\u003c\/em\u003e is the 1985 follow-up to L’Amour – and it’s released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats.\u003c\/p\u003e\n\u003cp\u003eSo lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid.\u003c\/p\u003e\n\u003cp\u003eDeciding that Lewis’ spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis.\u003c\/p\u003e\n\u003cp\u003eOne sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias – or perhaps even his real name – on the sleeve of a completely unknown album.\u003c\/p\u003e\n\u003cp\u003eSourced soon after the re-release of \u003cem\u003eL’Amour\u003c\/em\u003e, \u003cem\u003eRomantic Times\u003c\/em\u003e is the 1985 follow-up to \u003cem\u003eL’Amour\u003c\/em\u003e – and it’s released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats.\u003c\/p\u003e\n\u003cp\u003eRemastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin “Sipreano” Howes in Vancouver, BC. It’s so rare that what is, at present, the only other known copy – found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of \u003cem\u003eL’Amour\u003c\/em\u003e – is presently soaring into quadruple digits on eBay.\u003c\/p\u003e\n\u003cp\u003eEven engineer Dan Lowe, credited for working on the album at Calgary’s Thunder Road Studios, remembered little about the session other than that Lewis seemed to be “under the influence”. Yet the music is utterly captivating.\u003c\/p\u003e\n\u003cp\u003eThe album further fleshes out the Lewis myth – we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. “I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen,” writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. “This record went further [than \u003cem\u003eL’Amour\u003c\/em\u003e ]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed.”\u003c\/p\u003e\n\u003cp\u003eIt paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen. The album is presently being readied for release to the throng of new fans Lewis has found, willingly or not. The man himself remains a total enigma.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFirst ever LP reissue, first time on CD \u0026amp; Digital\u003c\/li\u003e\n\u003cli\u003eAll tracks newly re-mastered\u003c\/li\u003e\n\u003cli\u003eLiner notes by Jack D. 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It is a record stuffed with myriad styles, a cross-section of global influences that include jazz, rock and psychedelic folk tinged with sitars, a Latin-influenced backbeat (courtesy of session drummer Bernard Purdie, whose play here is sterling), as well as traditional European sounds. It is a hypnotic blend, a rich musical fusion crafted by a master artisan.\u003c\/p\u003e\n\u003cp\u003eSzabo’s guitar work on Jazz Raga is among the best of his career, a sublime performance in which Szabo’s free runs, discordant chords and lilting solos produce a distinct, engrossing sound. From the blissed-out “Walking On Nails” to the sitar-heavy “Mizrab” to the inspired cover of “Paint It Black,” it is clear why Jazz Raga has, in the decades since its release, become an important and influential work for scores of musicians fortunate enough to come across its path.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLandmark Impulse! Records release\u003c\/li\u003e\n\u003cli\u003eInfluenced scores of classic albums from Beck’s “Odelay” to Santana’s “Abraxas”\u003c\/li\u003e\n\u003cli\u003eLiner notes written by Doug Sheppard (Ugly Things, Goldmine), and includes interviews with Bernard Purdie, Rudy Van Gelder and Jack Gregg, unseen photos courtesy of the Szabo family, as well as a rare 1967 interview Szabo gave to DownBeat Magazine.\u003c\/li\u003e\n\u003cli\u003eRemastered from original tapes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]LITA 053[[Artist]]Gabor Szabo\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Jazz Raga \/ CD \/ CD","offer_id":32236499533903,"sku":"LITA053CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Jazz Raga \/ Vinyl \/ LP Black","offer_id":44065408352501,"sku":"LITA053LP","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/GaborSzabo.jpg?v=1696119788"},{"product_id":"songs-for-the-new-industrial-state","title":"Songs For the New Industrial State","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003e“A stunning collection of new songs for and about the time we live in,” billed the text on the backside of composer Doug Randle’s 1971-released\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSongs For The New Industrial State\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoug Randle was a writer, arranger, musician, and conductor with roots deep in the Canadian jazz scene of the 1950s. 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Randle himself describes his long-forgotten efforts as, “my bitter and twisted Simon \u0026amp; Garfunkel songs,” and though the lyrical content is indeed weighty,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSongs\u003c\/em\u003e’ backing tracks successfully merge swinging sunshine pop and atmospheric orchestrations with a groovy backbeat performed by the cream of Toronto’s heralded studio scene (Moe Koffman, Peter Appleyard, Rob McConnell, and Guido Basso to name a few).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIt’s an album like you’ve never heard and one under the radar of even the most dedicated crate diggers.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]][[Catalog Number]]LITA 034[[Artist]]Doug Randle\u003c\/p\u003e","brand":"Light in the Attic","offers":[{"title":"Songs For the New Industrial State \/ CD \/ CD","offer_id":32237407993935,"sku":"LITA034CD","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1590793752635-sbvxem73g5e-86de5462b6e5f8ff8e1a7df602ad0f65_2FDoug_2BRandle.jpg?v=1696119788"},{"product_id":"low-down-original-soundtrack","title":"Low Down (Original Soundtrack)","description":"\u003cp\u003e[[Release Detail]]\u003cmeta charset=\"utf-8\"\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis soundtrack is not only an aural companion to Low Down–the acclaimed biopic of jazz pianist Joe Albany, based on the memoirs of his daughter Amy-Jo Albany–but also the perfect primer for Albany’s lifework.\u003c\/p\u003e\n\u003cp\u003eComprised of Albany’s own compositions alongside those of Coleman Hawkins, Max Roach, Thelonious Monk, and selections from Ohad Talmor’s score, this album conjures both a feel for Albany’s own avant-garde, quick-tempo, bebop jazz and a mood that evokes the life of Hollywood’s notorious jazz hustler.\u003c\/p\u003e\n\u003cp\u003eThe album meets with the deep approval of Flea, who took the role of executive producer and co-star of the film. “This is the music that makes me think that human beings aren’t so bad,” writes the bassist in the liner notes. “This is the sound that gives me the energy to go out into the world and try to shine a light. 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The series features contemporary artists covering a track reissued by Light In The Attic on the A-side, plus the original version on the B-side. This disc features Sweet Tea (Alex Maas of the Black Angels and Erika Wennerstrom \/ Jesse Ebaugh of Heartless Bastards) covering Wendy Rene.\u003c\/p\u003e\n\u003cp\u003eAlex Maas of the Black Angels, Erika Wennerstrom \/ Jesse Ebaugh of Heartless Bastards, and Robb Kidd (under the band name Sweet Tea) cover Wendy Rene’s ‘After Laughter Comes Tears’, preserving its creepy organ and tortured soul but adding deep bass and raw power. Rene’s original – beloved of Wu Tang Clan, who sampled it on ‘Tearz’ – was one of a handful of timeless soul songs she recorded with The Drapels and solo for Stax before retiring prematurely to raise a family.\u003c\/p\u003e\n\u003cp\u003eA side is produced by Alex Maas \/ Brett Orrison and recorded at Out The Woodwork Studios, Austin, TX, July 2012. 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This soundtrack stands out from the traditional period into the psychedelic era.\u003c\/p\u003e[[Release Description]]\u003cp\u003e‘Colpo Rovente’ is one of the rarest soundtrack albums in the Italian film music history. This soundtrack stands out from the traditional period into the psychedlic era. Soft-spoken and suave cool jazz, along with hallucinogenic go-go sounds appears throughout the film and soundtrack. Dynamic big band tunes are stunningly matched with impossibly beautiful jazz funk scores infused with a touch of bossa nova. 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Yet all the while, each player takes center stage for uncompromising solos. “Mona” and its companion, “Calvary,” continue in much the same fashion.\u003c\/p\u003e\n\u003cp\u003eHere the members of \u003cspan class=\"caps\"\u003eQMS\u003c\/span\u003e play off each other to form a cohesive unit. This track also contains some of Cipollina’s finest and most memorable fretwork. He is able to summon sonic spirits from his guitar in a way that is unlike any of his Bay Area contemporaries. A prime example of his individuality is the frenetic “Maiden of the Cancer Moon” — ascending from the remnants of “Mona.” The angst and energy in Cipollina’s guitar work and line upon line of technical phrasing could easily be considered the equal of a Frank Zappa guitar solo. The brief title track, a cover of Roy Rogers and Dale Evans’ “Happy Trails,” seems almost insignificant in the wake of such virtuoso playing. It clears the sonic palette and also bids adieu to this particular fab foursome of psychedelia.\u003c\/p\u003e\n\n  [[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eThe last record to feature the original quartet incarnation of QMS\u003c\/li\u003e\n  \u003cli\u003eMost accurate recording to the band's critically and enthusiastically acclaimed live performances\u003c\/li\u003e\n  \u003cli\u003eIncludes the side-long epic “Who Do You Love?”\u003c\/li\u003e\n\u003c\/ul\u003e  \n  [[Catalog Number]]PPAN ST120[[Artist]]Quicksilver Messenger Service","brand":"Pure Pleasure","offers":[{"title":"Happy Trails \/ Vinyl \/ LP Black","offer_id":43959633215733,"sku":"PPAN ST120","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/happytrails.jpg?v=1782326368"},{"product_id":"nutcracker-suite","title":"Nutcracker Suite","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eIn 1960, Duke Ellington and Billy Strayhorn arranged their own virtuosic adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra. Featuring nine cleverly arranged movements (boasting equally smart titles like “Toot Toot Tootie Toot” and “Sugar Rum Cherry”), it’s the quintessential Ellington blend of wit and sophistication.\u003c\/p\u003e\n\u003cp\u003eIt’s amazing how swinging and sexy the Nutcracker Suite can sound.\u003c\/p\u003e\n\u003cp\u003eStop a second and put on your thinking cap. Duke Ellington plays Tchaikovsky. I play this at my Christmas party every year and you should see my guests groove out to this. It’s amazing how swinging and sexy the Nutcracker Suite can sound. “Sugar Rum Cherry” (Dance of the Sugar Plum Fairy) sounds like strip tease music. I was down to my boxer shorts before my mother walked into the living room. In fact I play this long after the holidays have passed.\u003c\/p\u003e\n\u003cp\u003eA Real Gem! Johnny Zhivago\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 1960, Duke Ellington and Billy Strayhorn arranged their own virtuosic adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra. Featuring nine cleverly arranged movements (boasting equally smart titles like “Toot Toot Tootie Toot” and “Sugar Rum Cherry”), it’s the quintessential Ellington blend of wit and sophistication.\u003c\/p\u003e\n\u003cp\u003eIt’s amazing how swinging and sexy the Nutcracker Suite can sound.\u003c\/p\u003e\n\u003cp\u003eStop a second and put on your thinking cap. Duke Ellington plays Tchaikovsky. I play this at my Christmas party every year and you should see my guests groove out to this. It’s amazing how swinging and sexy the Nutcracker Suite can sound. “Sugar Rum Cherry” (Dance of the Sugar Plum Fairy) sounds like strip tease music. I was down to my boxer shorts before my mother walked into the living room. In fact I play this long after the holidays have passed.\u003c\/p\u003e\n\u003cp\u003eA Real Gem! Johnny Zhivago\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecorded in: Los Angeles, June 1960\u003c\/li\u003e\n\u003cli\u003eRemastering by Kevin Gray \u0026amp; Steve Hoffman\u003c\/li\u003e\n\u003cli\u003eDuke Ellington and Billy Strayhorn's adaptation of Pyotr Ilyich Tchaikovsky’s “The Nutcracker Suite” for the Duke Ellington Orchestra\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN CS8341[[Artist]]Duke Ellington \u0026amp; His Orchestra\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Nutcracker Suite \/ Vinyl \/ LP Black","offer_id":43959633346805,"sku":"PPAN CS8341","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500061839965-3o0habjehqc-a57bd21ba62f8cb2f50ed46774323e96_2F61HjP3twQgL.jpg?v=1690524354"},{"product_id":"keb-mo","title":"Keb Mo","description":"[[Release Detail]]\u003cp\u003eKeb’ Mo’s self-titled debut is an edgy, ambitious collection of gritty country blues. Keb’ Mo’ pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren’t always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb’ Mo’ a debut to cherish.\u003c\/p\u003e\n\u003cp\u003eThom Owens\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Release Description]]\u003cp\u003eKeb’ Mo’s self-titled debut is an edgy, ambitious collection of gritty country blues. Keb’ Mo’ pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren’t always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb’ Mo’ a debut to cherish.\u003c\/p\u003e\n\u003cp\u003eThom Owens\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003eProduced by John Porter\u003c\/li\u003e\n\u003cli\u003eRecorded \u0026amp; mixed by Joe McGrath at Red Zone Studios in Burbank, CA\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff\u003c\/li\u003e\n\u003c\/ul\u003e\n\n  [[Catalog Number]]PPAN57863[[Artist]]Keb Mo","brand":"Pure Pleasure","offers":[{"title":"Keb Mo \/ Vinyl \/ LP Black","offer_id":43959633445109,"sku":"PPAN57863","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500069397619-jga7o0irsik-56a7813f9248ed88e7572cbb7bc28fd5_2F0000146601.jpg?v=1690524360"},{"product_id":"going-back-to-acoustic","title":"Going Back to Acoustic","description":"[[Release Detail]]\u003cp\u003eOriginally issued in France on Isabel Records under the title ‘Going Back’ this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set.\u003c\/p\u003e\n\u003cp\u003eThe results stand in start contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string gjuitars, and lays down rootsy acoustic rhythms for Well’s tasteful harmonical lines. The two share vocal duties on the performances as they pay home to the rual, country nlues roots these modern bluesmen share.\u003c\/p\u003e[[Release Description]]\u003cp\u003eOriginally issued in France on Isabel Records 900.510 under the title ‘Going Back’ this LP presents one of the best duos in the history of the blues, guitarist Buddy Guy and harmonica player Junior Wells. Over the years they made many recordings together but this one is unique. Recorded whilst on a 1981 tour of Europe, Guy and Wells took a break from their backing musicians and amps to cut this spontaneous, all acoustic set.\u003c\/p\u003e\n\u003cp\u003eThe results stand in start contrast to the steamy Chicago blues the duo is best known for. Instead these recordings are relaxed and personal, with an intimate, back porch feel. Guy switches between six and twelve string gjuitars, and lays down rootsy acoustic rhythms for Well’s tasteful harmonical lines. The two share vocal duties on the performances as they pay home to the rual, country nlues roots these modern bluesmen share.\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n\u003cli\u003e180g audiophile vinyl\u003c\/li\u003e\n\u003cli\u003ePressed at Pallas in Germany\u003c\/li\u003e\n  \u003cli\u003eOriginally issued in France on Isabel Records\u003c\/li\u003e\n\u003c\/ul\u003e\n  \n  \n  [[Catalog Number]]PPAN001[[Artist]]Buddy Guy \u0026amp; Junior Wells","brand":"Pure Pleasure","offers":[{"title":"Going Back to Acoustic \/ Vinyl \/ LP Black","offer_id":43959633477877,"sku":"PPAN001","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/GoingBacktoAcoustic.jpg?v=1782327778"},{"product_id":"the-divine-one","title":"The Divine One","description":"[[Release Detail]]\u003cp\u003eRecorded 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).\u003c\/p\u003e\n\u003cp\u003eThe 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\u0026amp;B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simonedidn’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.. by John Bush\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Release Description]]\u003cp\u003eRecorded 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).\u003c\/p\u003e\n\u003cp\u003eThe 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\u0026amp;B song taken as a slow torch song that Big Maybelle had first recorded (Nina Simonedidn’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.. by John Bush\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n  \u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003eRecorded October 1960\u003c\/li\u003e\n\u003cli\u003eProduced \u0026amp; arranged by Jimmy Jones\u003c\/li\u003e\n\u003c\/ul\u003e\n  \n  [[Catalog Number]]PPAN SR52060[[Artist]]Sarah Vaughan","brand":"Pure Pleasure","offers":[{"title":"The Divine One \/ Vinyl \/ LP Black","offer_id":43959633576181,"sku":"PPAN SR52060","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500073427765-1nc2afyrhbf-84c847f06c46decd841d02a180c97cea_2F6f0d8a982d6dc06690c2bdf4a73ac4b1.1000x995x1.jpg?v=1690524366"},{"product_id":"undercurrent","title":"Undercurrent","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eThis is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding. Both men are on absolute top form here – Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions.\u003c\/p\u003e\n\u003cp\u003eJim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading – both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.\u003c\/p\u003e\n\u003cp\u003eThis is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended. Dominic L Brown\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis is the first of two superb albums recorded by Bill Evans, and guitarist Jim Hall, and it was recorded over two sessions in April and May 1962. Arrangements simply for piano and guitar are rare in Jazz, and it is even more seldom that the results are truly inspiring and as musically worthwhile as in this case. It is usual for intuitive musical relationships to develop over a number of years, but here we find two musicians who clearly shared an immediate understanding. Both men are on absolute top form here – Bill Evans was on fire throughout the early and mid sixties, and after the tragic death of his previous musical partner, virtuoso bass player Scott Le Faro (at the age of 23), he was searching for new directions.\u003c\/p\u003e\n\u003cp\u003eJim Hall is a guitarist of tremendous skill and powerful technique, with a highly developed rhythmic and harmonic sense that shines through on this album. What is so special about the performances here is an almost telepathic anticipation of where the music is heading – both musicians contribute equally, and there is a constant exchange of ideas, each reacting to the other with apparent ease, whatever the mood.\u003c\/p\u003e\n\u003cp\u003eThis is a brilliant jazz album, of great depth and tremendous atmosphere, and both players express some exceptional ideas. Highly recommended. Dominic L Brown\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered by Ron McMaster at Capitol Studios\u003c\/li\u003e\n\u003cli\u003eRecorded at Sound Makers, NYC May 14, 1962\u003c\/li\u003e\n\u003cli\u003eThe first of two superb albums recorded by Bill Evans and guitarist Jim Hall\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN UAJS15003[[Artist]]Bill Evans \u0026amp; Jim Hall\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Undercurrent \/ Vinyl \/ LP Black","offer_id":43959633641717,"sku":"PPAN UAJS15003","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500074681231-a4qcyidzlj-337bb56932b26bd2c98d56ca890dbfac_2FScreen_2BShot_2B2017-07-14_2Bat_2B7.23.55_2BPM.png?v=1690524367"},{"product_id":"concierto","title":"Concierto","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eJim Hall’s Concierto was arguably the greatest LP in the history of \u003cspan class=\"caps\"\u003eCTI\u003c\/span\u003e and possibly a masterpiece. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall’s interpretation of one movement from Rodrigo’s “Guitar Concerto,” arranged by Don Sebesky.\u003c\/p\u003e\n\u003cp\u003eNew tracks include alternate takes of “You’d Be So Nice to Come Home To” and “Rock Skippin’,” plus “Unfinished Business,” an incomplete track that fades following Desmond’s solo just as Hall starts to play (This song is actually “La Paloma Azul,” a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as “The Blue Dove”). Ken Dryden\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eJim Hall’s Concierto was arguably the greatest LP in the history of \u003cspan class=\"caps\"\u003eCTI\u003c\/span\u003e and possibly a masterpiece. With two legendary players in the frontline, trumpeter Chet Baker and Paul Desmond, Hall interprets standards and engaging originals. A master of melody who never wastes notes, the centerpiece for this release is Hall’s interpretation of one movement from Rodrigo’s “Guitar Concerto,” arranged by Don Sebesky.\u003c\/p\u003e\n\u003cp\u003eNew tracks include alternate takes of “You’d Be So Nice to Come Home To” and “Rock Skippin’,” plus “Unfinished Business,” an incomplete track that fades following Desmond’s solo just as Hall starts to play (This song is actually “La Paloma Azul,” a Mexican folk tune played by Paul Desmond while with the Dave Brubeck Quartet about a decade earlier, also known as “The Blue Dove”). Ken Dryden\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecorded at Van Gelder Studios 16th \u0026amp; 23rd April 1975\u003c\/li\u003e\n\u003cli\u003eRecording engineer: Rudy Van Gelder\u003c\/li\u003e\n\u003cli\u003eProduced by Creed Taylor\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN 6060[[Artist]]Jim Hall\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Concierto \/ Vinyl \/ 2LP Black","offer_id":43959634100469,"sku":"PPAN 6060","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1500414711740-f0nlj5g32gk-7b2bd05babb983c079d8910540aca86e_2Fconcierto-522b533611778.jpg?v=1690524389"},{"product_id":"hooker-n-heat","title":"Hooker 'N Heat","description":"[[Release Detail]]\u003cp\u003eWhen this two-LP set was initially released in January 1971, Canned Heat was back to its R\u0026amp;B roots. Sporting a slightly revised personnel with the return of Henry “Sunflower” Vestine and the incorporation of Antonio “Tony” de la Barreda on bass, a highly skilled constituent of Aldolfo de la Parra on drums. Sadly, it would also be the final effort to include co-founder Alan “Blind Owl” Wilson, who passed away in September 1970. Hooker ’n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Wilson, as well as five full-blown confabs between Hooker and Heat.\u003c\/p\u003e\n\u003cp\u003eThe full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill — probably as it was the group’s record company that sprung for Hooker ’n Heat — make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic “Boogie Chillen No. 2” stretches over 11-and-a-half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler.\u003c\/p\u003e\n\u003cp\u003eCanned Heat are hands down the best back-up band John Lee Hooker has recorded. And despite the cover billing, they are very much a back-up group, for this is really a John Lee Hooker album, and one of his best in a long while.\u003c\/p\u003e[[Release Description]]\u003cp\u003eWhen this two-LP set was initially released in January 1971, Canned Heat was back to its R\u0026amp;B roots. Sporting a slightly revised personnel with the return of Henry “Sunflower” Vestine and the incorporation of Antonio “Tony” de la Barreda on bass, a highly skilled constituent of Aldolfo de la Parra on drums. Sadly, it would also be the final effort to include co-founder Alan “Blind Owl” Wilson, who passed away in September 1970. Hooker ’n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Wilson, as well as five full-blown confabs between Hooker and Heat.\u003c\/p\u003e\n\u003cp\u003eThe full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill — probably as it was the group’s record company that sprung for Hooker ’n Heat — make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic “Boogie Chillen No. 2” stretches over 11-and-a-half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler.\u003c\/p\u003e\n\u003cp\u003eCanned Heat are hands down the best back-up band John Lee Hooker has recorded. And despite the cover billing, they are very much a back-up group, for this is really a John Lee Hooker album, and one of his best in a long while.\u003c\/p\u003e[[Selling Points]]\n\u003cul\u003e\n  \u003cli\u003e2LP in a gatefold sleeve\u003c\/li\u003e\n\u003cli\u003eProduced by Skip Taylor \u0026amp; Robert Hite Jr.\u003c\/li\u003e\n\u003cli\u003eRecorded at Liberty Studios, Los Angeles in May 1970\u003c\/li\u003e\n\u003cli\u003eRemastered by Sean Magee at Abbey Road Studios\u003c\/li\u003e\n\u003c\/ul\u003e\n  [[Catalog Number]]PPAN ST35002[[Artist]]John Lee Hooker \u0026amp; Canned Heat","brand":"Pure Pleasure","offers":[{"title":"Hooker 'N Heat \/ Vinyl \/ 2LP Black","offer_id":43959634198773,"sku":"PPAN ST35002","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/hookernheat.jpg?v=1782327181"},{"product_id":"freedom-of-speech","title":"Freedom Of Speech (DEACTIVATED)","description":"[[Release Detail]]\u003cp\u003eMost 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 saxophone) 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”.\u003c\/p\u003e[[Release Description]]\u003cp\u003eMost 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 saxophone) 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”.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003ePressed on 180gm vinyl\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]PPANSES19754[[Artist]]Billy Parker's Fourth World","brand":"Pure Pleasure","offers":[{"title":"Freedom Of Speech \/ Vinyl \/ LP Black","offer_id":43959635280117,"sku":"PPANSES19754","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1502746763484-5jxf47g13ja-f9558bbc99dc69f55a739c0c8f71e413_2F5060149622636.jpg?v=1690524445"},{"product_id":"the-show-must-go-on","title":"The Show Must Go On","description":"\u003cp\u003e[[Release Detail]]\u003c\/p\u003e\n\u003cp\u003eThe best R\u0026amp;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 \u0026amp; the Sunshine Band, Willie Clayton, and many others. He’s also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and \u003cspan class=\"caps\"\u003eSSS\u003c\/span\u003e 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,” \u0026amp; “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.\u003c\/p\u003e\n\u003cp\u003e[[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe best R\u0026amp;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 \u0026amp; the Sunshine Band, Willie Clayton, and many others. He’s also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and \u003cspan class=\"caps\"\u003eSSS\u003c\/span\u003e 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,” \u0026amp; “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.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on black vinyl\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe best R\u0026amp;B songwriter and soul singer that most people have never heard of\u003c\/li\u003e\n\u003cli\u003eRegarded by Southern soul aficionados as one of the best of the genre\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPANSD18134[[Artist]]Sam Dees\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Show Must Go On \/ Vinyl \/ LP Black","offer_id":43959639703797,"sku":"PPANSD18134","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622216.jpg?v=1751327813"},{"product_id":"jazz-waltz","title":"Jazz Waltz","description":"\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eShorty Rogers’ Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk’s long-running television series. Rogers kicks off with a swinging number (“I’m Gonna Go Fishin’”) written by Duke Ellington for the soundtrack to the film Anatomy of a Murder and featuring the leader’s rich flügelhorn. The lyrical take of the centuries-old folk melody “Greensleeves” alternates between the tense rhythm section and Bud Shank’s gorgeous flute solo. Rogers’ delightful “Be as Children” almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington’s “Echoes of Harlem,” featuring Paul Horn on flute, is refreshing. Only Bobby Scott’s “A Taste of Honey” is the least bit disappointing, simply because this arrangement isn’t quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eOriginally issued by Reprise in 1962\u003c\/li\u003e\n\u003cli\u003eOut of press for decades\u003c\/li\u003e\n\u003cli\u003ePressed on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPANR9-6060[[Artist]]Shorty Rogers \u0026amp; His Giants\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Jazz Waltz \/ Vinyl \/ LP Black","offer_id":43959639834869,"sku":"PPANR9-6060","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622629_ba5e6c4e-38de-4600-bf5d-4902ad48e2cb.jpg?v=1754688372"},{"product_id":"inside-hifi","title":"Inside HiFi","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are “Everything Happens to Me,” “All of Me,” and “Star Eyes,” but all eight performances are well played and swinging. Scott Yannow\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe introduction of Konitz’s tenor during this period is emblematic of this. His premiere tenor recordings on ’56’s Lee Konitz Inside Hi-Fi document how Konitz first translated the refinements of his alto conception to the larger horn, even on would-be barn burners as “Indiana” (which also features an excellent solo by pianist Sal Mosca), and began to apply the tenor’s capacity for broader, bolder strokes to such fine alto performances as the bluesy “Cork ‘N’ Bib.” The contrasts between Konitz’s alto and tenor are well-represented on “Kary’s Trance,” which includes choruses on both horns; the track is also one of guitarist Billy Bauer’s finest.\u003cbr\u003eBill Shoemaker\u003c\/p\u003e\n\u003cp\u003eA recent convert to Lee Konitz, the more I hear the more I like. Though he went on to record right up to the present day, the 50’s recordings are remarkably fresh, with his alto’s long fluid lines and swinging turns in direction. His alto has a refreshing lightness and his opening alto duet here with guitarist Billy Bauer on “Kary’s Trance” is a surprising sheer delight. Unusually, Konitz also picks up the tenor sax on several tracks for the first time, yielding a record with an additional layer of interest. The selling point for me, however, was the cover. For any audiophiles out there (yes you Guy! ) the artifice of Konitz, photographed through capacitors, valves and wires in Rudy Van Gelder’s recording studio, is the ultimate Jazz Audiophile image.\u003cbr\u003eLondonJazzCollector\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eFeatures altoist Lee Konitz with two separate quartets during 1956\u003c\/li\u003e\n\u003cli\u003eIncludes performances of \u003cmeta charset=\"utf-8\"\u003e“Everything Happens to Me,” “All of Me,” and “Star Eyes\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN-SD1258[[Artist]]Lee Konitz\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Inside HiFi \/ Vinyl \/ LP Black","offer_id":43959646814453,"sku":"PPAN-SD1258","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622735.jpg?v=1755042631"},{"product_id":"love-from-the-sun","title":"Love From The Sun","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThis jazz recording is considered as the ‘magnum opus’ of master \"drummer extraordinaire’’, composer, arranger, producer, and leader Norman Connor’s in a career that has spanned 4 decades. This recording is what many will consider the debut of the legendary vocalist Dee Dee Bridgewater who has since gone on to a brilliant career. Connor’s put together an all-star group with Herbie Hancock and Onaje Allan Gumbs on piano and Fender Rhodes, Dr. Eddie Henderson on trumpet\/flugelhorn, Carlos Garnett on tenor\/soprano saxes, Gary Bartz on alto\/soprano saxes, Buster Williams on bass, drummer\/vocalist Bill Summers and Kenneth Nash on percussion, and effective, crucial cameos by master flautist Hubert Laws. On the song, “Love From the Sun’”, Connors added Nathan Rubin on violin and Terry Adams on cello.\u003c\/p\u003e\n\u003cp\u003eThe ‘best of the best’ begins with the exotic theme of Hancock’s “Revelation”, doubled wordlessly and beautifully by Ms. Bridgewater over Williams bouncing ostinato bass pattern with flights of fancy from Hubert Laws on flute, and superb, luminous solos from Henderson’s exotic trumpet, Garnett on soprano, and Hancock on Fender Rhodes. Garnett’s “Carlos II” is another great composition with remarkable solos. Connors’ own “Drums Around The Worlds’” is influenced by African and latin rhythms with emotional vocals from Summers and a drum-only section that builds in intensity. One of the high points of the album is Dee Dee Bridgewater’s awesome, glorious vocalizing on Richard Clay’s lovely “Love From The Sun”, in one of the greatest performances in her career, arranged by Gumbs. Elmer Gibson’s “Kumakucha” (The Sun Has Risen) is a blazing display of uptempo musicianship by Connor’s driving drums, the propulsive congas of Summers and Nash, and exciting solos from Bartz, Henderson on trumpet, and Hancock’s furious piano solo. The set ends with a marvelous “Holy Waters” composed and arranged by Garnett in a scorching performance by Bridgewater on vocals, Garnett unleashing one of the greatest solos in his storied career, followed by Gumbs’ astute solo.\u003c\/p\u003e\n\u003cp\u003eMy Highest Recommendation. \u003cbr\u003eBy John Braswell\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eConsidered the ‘magnum opus’ of master \"drummer extraordinaire’’, composer, arranger, producer, and leader Norman Connor’s in a career that has spanned 4 decades\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eDebut of the legendary vocalist Dee Dee Bridgewater\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN-BDS5142[[Artist]]Norman Connors\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Love From The Sun \/ Vinyl \/ LP Black","offer_id":43959646879989,"sku":"PPAN-BDS5142","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622698.jpg?v=1755042596"},{"product_id":"love-in","title":"Love-In","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eFour-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.\u003c\/p\u003e\n\u003cp\u003eIt 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.”\u003c\/p\u003e\n\u003cp\u003eIt 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—as documented on Live at the Fillmore East, March 6 1970: It’s About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis’ band (although Jarrett didn’t appear at the 1970 gig).\u003c\/p\u003e\n\u003cp\u003eSo 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.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded live at San Francisco’s Fillmore Auditorium in 1967\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eHailed as “the first psychedelic jazz group\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e[[Catalog Number]]PPAN-SD11481[[Artist]]Charles Lloyd\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Love-In \/ Vinyl \/ LP Black","offer_id":43959653761269,"sku":"PPAN-SD11481","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622834.jpg?v=1754688691"},{"product_id":"step-by-step","title":"Step By Step (DEACTIVATED)","description":"[[Release Detail]][[Release Description]]\u003cp\u003eJohn 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 \u0026amp; Stanley Cowell, you know you’re in for an extra treat.\u003c\/p\u003e[[Selling Points]][[Catalog Number]]SES-19760[[Artist]]John Gordon","brand":"Pure Pleasure","offers":[{"title":"Step By Step \/ Vinyl \/ LP Black","offer_id":43959653826805,"sku":"SES-19760","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1534287782076-a7mmhzk202k-c7d5dd14a5bf1f648d6f3de83a629241_2Fjgor.jpg?v=1690525240"},{"product_id":"vibes-from-the-tribe-trcd4008","title":"Vibes from the Tribe","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003ePhil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up the Tribe label with Wendell Harrison in Detroit.\u003c\/p\u003e\n\u003cp\u003eLike 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.\u003c\/p\u003e\n\u003cp\u003eVibes 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.\u003c\/p\u003e\n\u003cp\u003e“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.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eCharacterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience\u003c\/li\u003e\n\u003cli\u003eFeatures \u003cmeta charset=\"utf-8\"\u003eColtrane tribute, performance of \u003cmeta charset=\"utf-8\"\u003e“He The One We All Knew”\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003ePhil Ranelin, leader of Detroit jazz label Tribe Records and session trombonist for Steve Wonder\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TRCD4008[[Artist]]Phil Ranelin\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Vibes from the Tribe \/ Vinyl \/ LP Black","offer_id":43959653859573,"sku":"TRCD4008","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622803.jpg?v=1755042615"},{"product_id":"cosmic-vortex-justice-divine","title":"Cosmic Vortex (Justice Divine)","description":"[[Release Detail]][[Release Description]]\u003cp\u003eAfter two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to \u003cspan class=\"caps\"\u003eRCA\u003c\/span\u003e 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.           Jason Ankeny\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\t\u003cli\u003eRecording Engineer and Mixed By – Jim Crotty\u003c\/li\u003e\n\t\u003cli\u003eProducer, Arranged By, Conductor, Composed By – Weldon J. Irvine, Jr.\u003c\/li\u003e\n\t\u003cli\u003eRecorded in RCA’s Studio ‘D’, New York City, 1974\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]PPAN APL1-0703[[Artist]]Weldon Irvine","brand":"Pure Pleasure","offers":[{"title":"Cosmic Vortex (Justice Divine) \/ Vinyl \/ LP Black","offer_id":43959659725045,"sku":"PPAN APL1-0703","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622841.jpg?v=1755042755"},{"product_id":"the-time-is-now-trcd4006","title":"The Time Is Now","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003ePhil 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\u0026amp;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.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eVanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp\u003c\/li\u003e\n\u003cli\u003eRecorded in 1973 and 1974\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]TRCD4006[[Artist]]Phil Ranelin\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Time Is Now \/ Vinyl \/ LP Black","offer_id":43959662739701,"sku":"TRCD4006","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622872.jpg?v=1755042686"},{"product_id":"cab-calloway","title":"Cab Calloway","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eFrom 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.\u003c\/p\u003e\n\u003cp\u003eCab 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.”\u003c\/p\u003e\n\u003cp\u003eThe 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.”\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on standard black vinyl\u003c\/li\u003e\n\u003cli\u003eRemastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN LN3265[[Artist]]Cab Calloway\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Cab Calloway \/ Vinyl \/ LP Black","offer_id":43959662870773,"sku":"PPAN LN3265","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1545085369775-occx9a5i80l-1453a5992513058e580424f6d14c303d_2FR-3414770-1524214652-9745_jpeg.jpg?v=1690525626"},{"product_id":"desert-fairy-princess","title":"Desert Fairy Princess","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eAdele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album “Desert Fairy Princess” which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented “Man From Tanganyika” and makes the title track start with a mystical “Allahu akbar“ chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eFirst issued in 1981\u003c\/li\u003e\n\u003cli\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003eFor fans of \u003cmeta charset=\"utf-8\"\u003eJohn Coltrane, his sidekick Pharoah Sanders, and Alice Coltrane\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]NS-680[[Artist]]Adele Sebastian\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Desert Fairy Princess \/ Vinyl \/ LP Black","offer_id":43959665918197,"sku":"NS-680","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622933_3b55e7c1-7e85-4c3f-aa6f-c89d88b12b2c.jpg?v=1758313115"},{"product_id":"hassan-s-walk","title":"Hassan’s Walk","description":"[[Release Detail]][[Release Description]]\u003cp\u003eDon’t let the date fool you, released back in 1983 this modal to slightly free jazz outfit from California takes you on a journey back to the late 60s and very early 70s, into the spiritual realms of greats like John Coltrane, Pharoah Sanders, John McLaughlin and Miles Davis among others. A soul jazz treasure from the LA scene of the early 80s – a fantastic record that I rank with the best Strata East sides of the time! The group’s led by alto saxophonist Dadisi Komolafe, and features vibes by Ricky Kelly, piano by Eric Tillman, bass by Roberto Miranda, and drums by Sunship Theus – all working together in a style that’s infused with soulful, post-Coltrane exploratory energy, never going too far outside, and always staying true to the rhythmic pulse at its core. Kelly’s vibes are really great – sparkling underneath solos by Komolafe that remind me a lot of Gary Bartz’s earliest work.\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\t\u003cli\u003eRecorded in Los Angeles in October 1983\u003c\/li\u003e\n\t\u003cli\u003eProduced by Tom Albach\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]NS-3035[[Artist]]Dadisi Komolahe","brand":"Pure Pleasure","offers":[{"title":"Hassan’s Walk \/ Vinyl \/ LP Black","offer_id":43959665950965,"sku":"NS-3035","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622940_b187ec50-62e1-41c5-ab4f-4f1a896358ae.jpg?v=1758313398"},{"product_id":"liberated-brother","title":"Liberated Brother","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eWeldon Irvine’s debut as a leader remains one of the most fiercely idiosyncratic electric jazz outings of the early ‘70s. Innovative not only for its moody, nuanced jazz-funk sensibility, Liberated Brother also translates the uncommonly strong passion of Irvine’s political and philosophical views into its grooves, creating music of rare sincerity and ambition. While the record’s first-half features longer, more meditative songs, like the Latin-inspired title tune and “Blues Wel-Don,” the second side of Liberated Brother commands the most attention. With sterling contributions from guitarist Tommy Smith, bassist Roland Wilson, and drummer Napoleon Revels-Bey, cuts like “Mr. Clean” and “Sister Sanctified” (later sampled by Boogie Down Productions for the rap classic “My Philosophy”) achieve a deeply funky consciousness forged from elements of jazz, soul, and psychedelia; “Juggah Buggah” even features Irvine on Moog synthesizer, further expanding the LP’s cosmic reach.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eMoody, nuanced jazz-funk\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eContributions from guitarist Tommy Smith, bassist Roland Wilson, and drummer Napoleon Revels-Bey\u003c\/li\u003e\n\u003cli\u003eRe-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]NM-1001[[Artist]]Weldon Irvine\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Liberated Brother \/ Vinyl \/ LP Black","offer_id":43959669981429,"sku":"NM-1001","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622919.jpg?v=1755042960"},{"product_id":"the-boss-of-the-blues","title":"The Boss of the Blues","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eBesides 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. Ed Kopp\/All About Jazz.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecord Store Day 2019 Exclusive Release\u003c\/li\u003e\n\u003cli\u003eDeluxe Gatefold LP with exclusive scholarly liner notes by Alvin Lucia!\u003c\/li\u003e\n\u003cli\u003eFull dynamic range 2019 remasters direct from the first generation analogue master tapes\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1234[[Artist]]Big Joe Turner\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Boss of the Blues \/ Vinyl \/ LP Black","offer_id":43959694328053,"sku":"PPAN SD1234","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622209.jpg?v=1755042984"},{"product_id":"western-suite","title":"Western Suite","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn late 1957, jazz saxophonist, clarinetist, composer, and iconoclast Jimmy Giuffre broke up the original Jimmy Giuffre 3 with Ralph Pena and Jim Hall. In early 1958, for a recording session, he formed a new trio without a rhythm section. For the album “Trav’lin’ Light”, his new trio included Hall on guitar and the underrated trombone giant Bob Brookmeyer. For a year, they gigged together up and down the West Coast and played summer festivals, recorded, and even played clubs in New York.\u003c\/p\u003e\n\u003cp\u003eThey became a trio of adventurous musicians for whom form was not an obstacle to creativity. As the year wound down, Giuffre wanted to document the trio once more, sensing its life was coming to an end. He composed the four-movement “Western Suite” with the trio’s strengths in mind, as a way of documenting how they had come together as a band during that year. The piece itself stands as a crowning achievement in a career that included discovering the talents of Steve Swallow and Paul Bley and making the truly revolutionary recording “Free Fall” for Columbia three years later. The roots of that thinking lie in this set. Jim Hall’s playing was dark, funky, ambiguous, sounding like drums and voices all at the same time — particularly in the fourth movement. Brookmeyer became the pace setter. His lines were played as stage settings for the other two players to dialogue and narrate against. Giuffre, ever the storyteller, advanced the improvisation angle and wrote his score so that each player had to stand on his own as part of the group; there were no comfort zones. Without a rhythm section, notions of interval, extensions, interludes, and so on were out the window. He himself played some of his most restrained yet adventurous solos in the confines of this trio and within the form of this suite. It swung like West Coast jazz, but felt as ambitious as Copland’s “Billy The Kid”.\u003c\/p\u003e\n\u003cp\u003eThe record is filled out with two other tunes, one of Eddie Durham’s, “Topsy”, and the final moment of mastery this band ever recorded, the already classic “Blue Monk”. The easy stroll of the front line with Brookmeyer’s trombone strutting New Orleans’ style is in sharp contrast to Giuffre’s clarinet playing. Which carries the bluesy melody through three harmonic changes before he solos and then plays three more. Hall keeps it all on track, and somehow the piece sounds very natural this way, though unlike “Monk”, there are no edges here — everything is rounded off. This is as solid as any of the earlier or later Jimmy Giuffre 3 records, and two notches above “Trav’lin’ Light” in that it reveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded in 1958 by Heinz Kubicka, Herb Kaplan, and Tom Dowd\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eReveals a fully developed sense of the responsibilities, possibilities, and freedoms of reinventing jazz for the trio\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1330[[Artist]]Jimmy Giuffre\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Western Suite \/ Vinyl \/ LP Black","offer_id":43959694426357,"sku":"PPAN SD1330","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622278.jpg?v=1751327792"},{"product_id":"the-wonderful-world-of-jazz","title":"The Wonderful World Of Jazz","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eLewis, known for his own cool piano technique and sideman to the likes of Dizzy Gillespie, Charlie Parker, Miles Davis and Lester Young (what a line-up!), was a busy guy, primarily because he was the musical director of the Modern Jazz Quartet where he combined jazz with classical constructions and gave jazz a distinctly cerebral touch yet his own approach to jazz was one of musical efficiency where not a note went to waste. It all mattered. As did getting his music to the people. In fact he did just that for over 20 years as the \u003cspan class=\"caps\"\u003eMJQ\u003c\/span\u003e rarely left the road. You can also add scoring for film which included titles such as Odds Against Tomorrow, No Sun in Venice and A Milanese Story, Where he found the time to release a series of solo albums, I do not know. Nevertheless, he did and the Atlantic label (which is where this LP initially resided) was his principle home. Frankly, its a superb album and benefits continued listening because you will hear and understand more with each play. In conjunction with guitarist Jim Hall, bassist George Duvivier and drummer Connie Kay, Lewis offers an array of styles and variations including a trio of piano-heavy tracks plus the superb Body and Soul which not only roams for over 15 minutes but includes a quite delicious solo from tenor sax man, Paul Gonsalves. By the time we get to Afternoon in Paris, half way through Side 2, we come up against trumpeter Herb Pomeroy, Gunther Schuller on French horn, tenor man Benny Golson, baritonist Jimmy Giuffre, and guitarist Jim Hall who all offer a splendid reading. Eric Dolphy does threaten to outshine them all though.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003e180 gram LP standard sleeve Stereo Recording\u003c\/li\u003e\n\u003cli\u003eRecorded throughout 1960\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1375[[Artist]]John Lewis\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Wonderful World Of Jazz \/ Vinyl \/ LP Black","offer_id":43959694524661,"sku":"PPAN SD1375","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622483.jpg?v=1751327828"},{"product_id":"dream-weaver","title":"Dream Weaver","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eJarrett 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. Thom Jurek\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e180 gram\u003c\/li\u003e\n\u003cli\u003eLP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded in New York on March 29th, 1966\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1459[[Artist]]Charles Lloyd\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Dream Weaver \/ Vinyl \/ LP Black","offer_id":43959694557429,"sku":"PPAN SD1459","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622490.png?v=1755042766"},{"product_id":"the-doctor-is-in-out","title":"The Doctor Is In \u0026 Out","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eIn 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.\u003c\/p\u003e\n\u003cp\u003eFor 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.\u003c\/p\u003e\n\u003cp\u003eThere’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. Thom Jurek\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on standard black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded at Regent Sound Studios, New York in 1976\u003c\/li\u003e\n\u003cli\u003eRemastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD1685[[Artist]]Yusef Lateef\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Doctor Is In \u0026 Out \/ Vinyl \/ LP Black","offer_id":43959694622965,"sku":"PPAN SD1685","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563568874284-9gez20x1oyd-f82aa3451df756f1620aea5322f69945_2FScreen_2BShot_2B2019-07-19_2Bat_2B1.40.09_2BPM.png?v=1690526378"},{"product_id":"bright-moments","title":"Bright Moments","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eRahsaan Roland Kirk’s live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments is a near-definitive document of the Kirk live experience, and his greatest album of the ‘70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it’s clear in the outcome of the music that Kirk fed voraciously off the energy of the room. Most of the tracks are long (seven minutes or more), demonstrating Kirk’s wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). “Pedal Up” is a jaw-dropping demonstration of Kirk’s never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible.\u003c\/p\u003e\n\u003cp\u003eThere’s more quintessential Kirk weirdness on “Fly Town Nose Blues,” which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute. His repertoire is typically eclectic: Ellington’s “Prelude to a Kiss”; a groovy Bacharach pop tune in “You’ll Never Get to Heaven”; a lovely version of Fats Waller’s “Jitterbug Waltz”; and a stomping, exultant New Orleans-style original, “Dem Red Beans and Rice.” Perhaps the best, however, is an impassioned rendition of the ballad standard “If I Loved You,” where Kirk’s viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk’s bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it’s nothing less than a tour de force. Steve Huey\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e2LP pressed on black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded live at Keystone Korner, San Francisco, California in 1973\u003c\/li\u003e\n\u003cli\u003e180 gram LP x 2 gatefold sleeve\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD2-907[[Artist]]Rahsaan Roland Kirk\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Bright Moments \/ Vinyl \/ 2LP Black","offer_id":43959694721269,"sku":"PPAN SD2-907","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622377.jpg?v=1755042719"},{"product_id":"blues-from-the-gutter","title":"Blues From The Gutter","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eChampion Jack Dupree was a New Orleans bred boogie-woogie piano player. But boogie-woogie piano music has little or no collector value. The same cannot be said for Dupree Lps, which have always fetched healthy good prices in record bin and on eBay. While you can’t give away LPs from such accomplished boogie-woogie piano players such as Albert Ammons or Meade Lux Lewis, Dupree’s style of mixing boogie-woogie and the blues seems more modern and hip, attracting music lovers and record collectors alike.\u003c\/p\u003e\n\u003cp\u003eWhile just about anything on Atlantic or Blue Horizon is worth searching out, the real goods are to be found on Dupree’s very first LP released in 1958 on Atlantic- Blues From The Gutter; the title says it all and the lyrics rarely stray from sex and drugs. Dupree’s delivery simply ooze rock and roll, and I’m not talking about music. If the proverbial fire struck and I had to choose five blues LPs to save, this would make the cut. The mono original has a deeper soundstage and more immediacy, which has been traded off for a wider stage with this stereo issue. That quibble aside, this is essential music that should not be missed.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eChampion Jack Dupree's very first LP\u003c\/li\u003e\n\u003cli\u003eOriginally released in 1958\u003c\/li\u003e\n\u003cli\u003eRemastered at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD8019[[Artist]]Champion Jack Dupree\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Blues From The Gutter \/ Vinyl \/ LP Black","offer_id":43959694688501,"sku":"PPAN SD8019","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149622223.jpg?v=1751067318"},{"product_id":"in-person","title":"In Person","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eI 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.\u003c\/p\u003e\n\u003cp\u003eThe 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 \u003cspan class=\"caps\"\u003eWAOK\u003c\/span\u003e 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.\u003c\/p\u003e\n\u003cp\u003eThis 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.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRecorded 28th, May 1959 at Herndon Stadium, Atlanta, Georgia\u003c\/li\u003e\n\u003cli\u003eRemastering by Ray Staff at Air Mastering, Lyndhurst Hall, London\u003c\/li\u003e\n\u003cli\u003ePressed on standard black vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN SD8039[[Artist]]Ray Charles\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"In Person \/ Vinyl \/ LP Black","offer_id":43959694786805,"sku":"PPAN SD8039","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563571945893-ozi794efple-ba640753639875a95f7539526acfba70_2FMI0003593094.jpg?v=1690526384"},{"product_id":"east-coasting","title":"East Coasting","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eCharles 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.\u003c\/p\u003e\n\u003cp\u003e“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. S. Wynn\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e180 gram LP x 1 standard sleeve\u003c\/li\u003e\n\u003cli\u003eMono Recording\u003c\/li\u003e\n\u003cli\u003eRecorded August 1957, in New York City\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN P6019[[Artist]]Charles Mingus\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"East Coasting \/ Vinyl \/ LP Black","offer_id":43959695180021,"sku":"PPAN P6019","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149621974.jpg?v=1755042973"},{"product_id":"7936-south-rhodes","title":"7936 South Rhodes","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eRecorded at \u003cspan class=\"caps\"\u003eCBS\u003c\/span\u003e Studios in New Bond Street by Mike Ross, who had the previous year recorded The Jimi Hendrix Experience – Are You Experienced?, this album is a must own for the sound quality alone. It was recorded “live” in the studio, straight to stereo without any overdubs or post mixing.\u003c\/p\u003e\n\u003cp\u003eThe original Blue Horizon issue LP was for some peculiar reason issued as mono although the master tapes are stereo.\u003c\/p\u003e\n\u003cp\u003eThe music in the grooves is equal to the sound with Peter Green playing at his usual impeccable best behind Eddie Boyd’s solid piano and vocals.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStandard sleeve\u003c\/li\u003e\n\u003cli\u003eRecorded at New Bond Street in 1968\u003c\/li\u003e\n\u003cli\u003ePeter Green playing at his usual impeccable best behind Eddie Boyd’s solid piano and vocals\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]7-63202[[Artist]]Eddie Boyd with Peter Green's Fleetwood Mac\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"7936 South Rhodes \/ Vinyl \/ LP Black","offer_id":43959695573237,"sku":"7-63202","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563583353900-4rgomg7y6eq-7211e7dfa1de8d071b17b5419c6635f9_2F3877_foto1_product_xl.jpg?v=1690526411"},{"product_id":"belly-of-the-sun","title":"Belly Of The Sun","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eCassandra Wilson continues to move down a highly eclectic path on Belly of the Sun, the somewhat belated follow-up to Traveling Miles. While displaying a jazz singer’s mastery of melodic nuance and improvisatory phrasing, Wilson draws on a variety of non-jazz idioms — roots music, rock, Delta blues, country, soul — to create a kind of earthy, intelligent pop with obvious crossover appeal.\u003c\/p\u003e\n\u003cp\u003eHer core band includes guitarists Marvin Sewell and Kevin Breit, who blend marvelously, Sewell mostly on mellow acoustic and Breit adding atmospheric touches on electric, 12-string, and slide guitars, as well as mandolin, banjo, and even bouzouki. Bassist Mark Peterson and percussionists Jeffrey Haynes and Cyro Baptista provide a superbly sensitive rhythmic foundation. But because Wilson returned to her home state of Mississippi to record most of this album, she made sure to book some time with local musicians. Thus guitarist Jesse Robinson guests on (and co-writes) the funky “Show Me a Love,” and the octogenarian pianist “Boogaloo” Ames plays an unpolished yet utterly heartfelt duet with Wilson on the classic \"Darkness on the Delta.\u003c\/p\u003e\n\u003cp\u003eOther guests include drummer Xavyon Jamison, trumpeter Olu Dara, pianist and vocalist Rhonda Richmond (who penned the slowly swaying “Road So Clear”), guitarist Richard Johnston, backup vocalists Patrice Monell, Jewell Bass, Henry Rhodes, and Vasti Jackson, and the children of New York’s Middle School 44. Wilson delves into vintage blues with Mississippi Fred McDowell’s “You Gotta Move” and a brief yet dynamic rendition of Robert Johnson’s “Hot Tamales.” But the best tracks are the rock\/pop covers: the Band’s “The Weight,” Bob Dylan’s “Shelter From the Storm,” James Taylor’s “Only a Dream in Rio,” Jobim’s “Waters of March,” and Jimmy Webb’s “Wichita Lineman” (a 1968 hit for Glen Campbell).\u003c\/p\u003e\n\u003cp\u003eWilson and band are in peak interpretive form on these ethereal reinventions. While her own lyrics may not rise to the level of a Robbie Robertson or a Bob Dylan, her versatility and focus come through clearly on the originals “Justice,” “Just a Parade” (a collaboration with neo-soul rookie India.Arie), and the Caribbean-tinged “Cooter Brown.” David R Adler\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e180 gram LP x 2 gatefold sleeve\u003c\/li\u003e\n\u003cli\u003eRecorded in Clarksdale Train Depot and a boxcar\u003c\/li\u003e\n\u003cli\u003eAdditional recording at Allaire Studios South, New York, NY\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN BST35072[[Artist]]Cassandra Wilson\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Belly Of The Sun \/ Vinyl \/ 2LP Black","offer_id":43959695737077,"sku":"PPAN BST35072","price":64.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563823427646-m4sbjtutnv8-83c382674f3d30a07ea80ff0e30628c3_2F91OQN1dQlrL._SL1500.jpg?v=1690526420"},{"product_id":"breakfast-on-the-morning-tram","title":"Breakfast On The Morning Tram","description":"[[Release Detail]][[Release Description]]\u003cp\u003eStacey Kent is what men used to call a classy broad. Her elegant fashion sense and understated vocal style make her sound like a woman from another time, an unflappable sophisticate with a warm, slightly world-weary persona. She was born in the United Sates but after a trip to France, she decided to become a jazz singer. In the early ’90s she landed in Oxford where she met her husband, musical director\/sax player Jim Tomlinson.\u003c\/p\u003e\n\u003cp\u003eTomlinson also produces Kent’s albums, and this time out, he composed several charming tunes that sound like potential standards, plus collaborations with lyricist Kazuo Ishiguro, author of Remains of the Day.\u003c\/p\u003e\n\u003cp\u003eOriginal tunes like “The Ice Hotel” and “I Wish I Could Go Traveling Again” are full of wry humor, and Kent delivers them with her usual effortless grace. “The Ice Hotel” is a samba that talks of forsaking the tropics for a room that keeps the temperature at a “steady five degrees.” The ambivalent lyric is perfectly suited for Kent’s unassuming style. Is she chiding a lover for his detached demeanor or promising a passionate night that will raise the temperature and put a sizzle in the air? It’s hard to tell, and with the music is as warm as the lyric is cool, the tune has a delicious tension. “I Wish I Could Go Traveling Again” sounds like the kind of tune Noël Coward used to write, full of urbane humor and references to “overpriced hotels devoid of charm.” Its melancholy meditation on lost love is enhanced by John Parricelli’s rippling guitar and Graham Harvey’s subtle bluesy piano. Kent slows down “What a Wonderful World” making it sound more blue than celebratory.\u003c\/p\u003e\n\u003cp\u003eHer wistful phrasing imbues the song with a painful melancholy. On “Hard Hearted Hanna,” Tomlinson supplies a brief, breezy solo while Kent sounds sly and impudent, playing up the lyric’s over the top humor. “Ces Petits Reins,” a Serge Gainsbourg tune, benefits from a percussive arrangement featuring bongos, muted guitar notes, and drummer Matt Skelton’s brush work; Kent drops in brief faux trumpet accents. Kent’s band provides subtle support throughout. Each player steps out for brief impressive solos, but mainly they lay back and support their boss’ unobtrusive style. \u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e[[Selling Points]]\u003cul\u003e\n\t\u003cli\u003e180 gram 2xLp Gatefold Sleeve\u003c\/li\u003e\n\t\u003cli\u003eRecorded \u0026amp; Mixed : March-April 2007 by Curtis Schwartz at Curtis Schwartz Studios, Ardingly, England.\u003c\/li\u003e\n\u003c\/ul\u003e[[Catalog Number]]PPAN BST50161[[Artist]]Stacey Kent","brand":"Pure Pleasure","offers":[{"title":"Breakfast On The Morning Tram \/ Vinyl \/ 2LP Black","offer_id":43959695769845,"sku":"PPAN BST50161","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149621509.jpg?v=1751065616"},{"product_id":"consummation","title":"Consummation","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eOf the many albums recorded by the Thad Jones\/Mel Lewis Orchestra, this was the greatest. This set introduced Jones’ best-known composition, “A Child Is Born,” and also has a colourful rendition of his sly “Tiptoe,” and finds the big band ripping the roof off during the lengthy and very exciting “Fingers.”\u003c\/p\u003e\n\u003cp\u003eThe all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones’ inventive and swinging arrangements. A classic.\u003c\/p\u003e\n\u003cp\u003eScott Yanow\/\u003cspan class=\"caps\"\u003eAMG\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eIntroduced Jones’ best-known composition, “A Child Is Born,” and also has a colourful rendition of his sly “Tiptoe\"\u003c\/li\u003e\n\u003cli\u003e180 gram LP x 1 gatefoldd sleeve\u003c\/li\u003e\n\u003cli\u003eRecorded January 20, 21, 28 \u0026amp; May 25, 1970 at A\u0026amp;R Studios\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN BST84346[[Artist]]Thad Jones\/Mel Lewis\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Consummation \/ Vinyl \/ LP Black","offer_id":43959695802613,"sku":"PPAN BST84346","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149621486.jpg?v=1755042730"},{"product_id":"i-m-ready","title":"I'm Ready","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eAt the end of his storied career, the great Chicago blues man, Muddy Waters, had one last period of resurgence. He made a trilogy of albums produced by Johnny Winter-Hard Again, I’m Ready, and King Bee. Winters’ formula was fairly straight forward-surround Muddy with his touring band and add some special guests to light his fire-while recording a mixture of hit singles with new material. Then let Muddy cut loose and burn down some electric Chicago blues. It was a winning combination and you can sense the joy that Muddy felt in his bantering between songs. His last hurrah was a barnburner.\u003c\/p\u003e\n\u003cp\u003eRay Staff has done a brilliant job remastering this album as the electric guitars bent notes sizzle and Muddy’s strutting vocals growl with passion. Guests Big Walter Horton and Jimmy Rogers spur Waters to new heights. Pianist Pine Top Perkins, still going strong today in his 90s, was cooking 30 years ago, and Johnny Winter must have had a blast playing slide guitar on Who Do You Trust. Screamin’ and Cryin’ and I’m Your Hoochie Coochie Man were vintage Waters and still cooked even at the end of the fabled Mr. Waters’ career.\u003c\/p\u003e\n\u003cp\u003eFor the middle album of his Johnny Winter-produced late-‘70s music trilogy, blues giant Muddy Waters brought a new spirit to some familiar material. Starting with members of Waters’ touring band – Pinetop Perkins, Bob Margolin, Willie “Big Eyes” Smith – Winter added underrated guitarist (and longtime Waters foil) Jimmy Rogers and extraordinary harp player Big Walter Horton to the mix.\u003c\/p\u003e\n\u003cp\u003eThe songs recorded for I’m Ready offer a mix of new material and vintage hit singles like the title cut, the mid-‘60s jewel Screamin’ and Cryin’, or the Willie Dixon-penned I’m Your Hoochie Coochie Man. For new listeners trying to get a feel of what the blues is all about, I’m Ready is the perfect place to start. Once you experience a taste of Muddy Waters, you’ll be ready for more. \"Judging by the gatefold black and white photo,everyone had a great time making the album. You’ll have as good a time listening. The sound is quite three-dimensional, with a pronounced but pleasant presence region peak that ads a needed rough edge to the proceedings.\u003c\/p\u003e\n\u003cp\u003eThe stage is relatively compact and very coherent with plenty of old fashioned mike leakage that helps to create a “live” sound in an era of isolation booth multi-track mono productions. Producer Winter and engineer Still knew the sound they were going for and they got it!\" - Michael Fremer\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on standard black vinyl\u003c\/li\u003e\n\u003cli\u003eBand includes \u003cmeta charset=\"utf-8\"\u003ePinetop Perkins, Bob Margolin, Willie “Big Eyes” Smith\u003c\/li\u003e\n\u003cli\u003eMix of new material and vintage hit singles like the title cut\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN JZ34928[[Artist]]Muddy Waters\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"I'm Ready \/ Vinyl \/ LP Black","offer_id":43959695900917,"sku":"PPAN JZ34928","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563824076571-o3zp90ht6if-ac98fa41122affa5ee20dc7951944ca2_2FR-1465006-1518608520-4866_jpeg.jpg?v=1690526427"},{"product_id":"presents-charles-mingus","title":"Presents Charles Mingus","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eCharles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus, has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus, and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums. It would be one of Dolphy and Curson’s last recording dates with the artist, and they seem determined to go all out for it. The leader’s bass line kicks off “Folk Forms No. 1,” followed by Dolphy outlining the melody, and then joined by Curson.\u003c\/p\u003e\n\u003cp\u003eA simple riff develops into a lively New Orleans funeral march that’s developed for 12 minutes. “Original Faubus Fables” is serious intent a political attack on segregation governor Faubus but Mingus and Richmond’s singing is difficult to listen to with a straight face. Still, this doesn’t distract from the wonderful music.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e180g standard black vinyl\u003c\/li\u003e\n\u003cli\u003eRecorded: October 20th 1960 at Nola Penthouse Studios, \u003cspan class=\"caps\"\u003eNYC\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eIncludes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet, and Dannie Richmond on drums\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]CJS9005[[Artist]]Charles Mingus\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Presents Charles Mingus \/ Vinyl \/ LP Black","offer_id":43959696064757,"sku":"CJS9005","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149620199.jpg?v=1755042882"},{"product_id":"in-new-york-hopkins","title":"In New York","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eLightnin’ Hopkins was one of the most over-recorded artists in the blues genre. The recordings here were made at a pivotal moment in his career. In 1960, at 48 years old, he was no longer a star in the black community, but was becoming a folk legend. His deeply personal music not only reflected the experiences of his community but touched a universal nerve.\u003c\/p\u003e\n\u003cp\u003eChris Strachwitz, who often recorded Hopkins, has called his records “brief audio snapshots of one of the great folk poets to emerge from the African-American experience in Texas.” When he died in 1982 he had recorded well over 600 “audio snapshots”. From his prolific output this Candid session ranks amongst his finest and most intimate work. Mark A Humphrey\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePressed on 180 gram vinyl by Pallas\u003c\/li\u003e\n\u003cli\u003eRecorded at Nola Penthouse Studios, NYC on November 15th, 1960\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eOne of the most recorded artists in the blues genre\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]CJS9010[[Artist]]Lightnin' Hopkins\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"In New York \/ Vinyl \/ LP Black","offer_id":43959696228597,"sku":"CJS9010","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/5060149620137.jpg?v=1755042777"},{"product_id":"the-boy-next-door","title":"The Boy Next Door","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eStacey Kent’s unique, distinctive style could best be described as classic chic; the musical equivalent of the “little black dress”. Just as the little black dress has the power to let a woman’s personality shine through, Ms Kent’s delicately nuanced interpretations of the Great American Songbook eloquently showcase the complex melodies and classy, sophisticated lyrics of American popular music during its golden ages.\u003c\/p\u003e\n\u003cp\u003eVocally, Ms Kent has never sounded better. And there is so much to admire: her dulcet-toned mezzo soprano, with its shimmery jazz lilt and translucent vibrato, her innate sense of swing and instinctive timing, her subtly shaded line readings, and the exquisite delicacy of her phrasing. A master storyteller and communicator, Ms Kent also brings a comparative literature graduate’s acute interpretive skills to her singing, eschewing shopworn sentimentality for a piquant romantic lyricism.\u003c\/p\u003e\n\u003cp\u003eMs Kent’s album, “The Boy Next Door”, is a heartfelt and reverent tribute to her musical heroes, which include legendary crooners Frank Sinatra and Dean Martin, octogenarian jazz master Dave Brubeck and Manhattan cabaret doyen Bobby Short. The stylish jazz chanteuse’s repertoire also finds her working outside the Great American Songbook for the first time, with contributions from latter-day pop songwriters Burt Bacharach, Paul Simon and Carole King. Ms Kent puts her own indelible stamp on each number as she weaves her magic on a delectable collection of pop-jazz standards that encompass infatuation, seduction, love, loss and reminiscence.\u003c\/p\u003e\n\u003cp\u003eMs Kent receives impeccable support from her sleek, urbane jazz quintet, whose rhythmic fluency is further enhanced by the tasteful, literate arrangements. Newton and Tomlinson, both accomplished musicians in their own right, also display hitherto unknown musical talents as they join Curtis Schwartz to provide tongue-in-cheek backing vocals for Ms Kent’s deliciously bouncy rendition of “Ooh-Shoo-Be-Doo-Bee”. Michael Oh\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e180gram 2LP\u003c\/li\u003e\n\u003cli\u003eGatefold packaging\u003c\/li\u003e\n\u003cli\u003eEngineered and mixed by Curtis Schwartz\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]CJS9993[[Artist]]Stacey Kent\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"The Boy Next Door \/ Vinyl \/ 2LP Black","offer_id":43959696687349,"sku":"CJS9993","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563829986852-um5soa1k709-62db278572b47f9b0ec53cd4e477a62c_2FR-3522159-1333766051_jpeg.jpg?v=1690526459"},{"product_id":"ode-to-billie-joe","title":"Ode To Billie Joe","description":"\u003cp\u003e[[Release Detail]][[Release Description]]\u003c\/p\u003e\n\u003cp\u003eGentry’s first 1967 album is a masterpiece, it’s a simple as that. An album of hauntingly beautiful songs penned by Bobbie herself bar one track. The album is an uncluttered, straight down the line collection of smoky voiced gems, mostly with the simplest guitar accompaniment, but with a quirky, almost psychedelic twist on each track. The album is in a very similar vein and feel to Rodiguez’sstunning Cold fact which came out three years later, and side by side you would imagine the later album may have been inspired by Bobbie’s seminal Ode To Billy Joe. This album can also easily compare with Dusty’s In Memphis for it’s sheer intimacy and soulful feel and is certainly in the same league musically.\u003c\/p\u003e\n\u003cp\u003eAfter this first album, Bobbie moved into a more \u003cspan class=\"caps\"\u003eMOR\u003c\/span\u003e groove, which in a way makes this such a stand out and important album. Very, very highly recommended especially as it has now been re-mastered at Abbey Road by Sean Magee.\u003c\/p\u003e\n\u003cp\u003e[[Selling Points]]\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003eGentry’s first 1967 album\u003c\/li\u003e\n\u003cli\u003ePressed on standard black vinyl\u003c\/li\u003e\n\u003cli\u003eRemastered at Abbey Road by Sean Magee\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e[[Catalog Number]]PPAN ST2830[[Artist]]Bobbie Gentry\u003c\/p\u003e","brand":"Pure Pleasure","offers":[{"title":"Ode To Billie Joe \/ Vinyl \/ LP Black","offer_id":43959697572085,"sku":"PPAN ST2830","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0080\/6417\/2096\/files\/tmp_2F1563831576823-m3cd5r0rqoj-48ed1b2e890800159a6628c390fe1b23_2Fbobbie-gentry.jpg?v=1690526467"}],"url":"https:\/\/lightintheattic.net\/collections\/jazz\/d2c.oembed?page=10","provider":"Light in the Attic","version":"1.0","type":"link"}