Showing 426–450 of 571 results
-
Sale!
Backorder
Gene Ammons – Boss Tenor (Stereo)
58,00 €Show item"Both are gorgeous impressions of soul, jazz and blues, brought together through the legacy of standards and new compositions. The tonality of Gene Ammons in particular is transfixing and it is with the stereo reissues from Prestige that Gene will get a lot of love with multiple titles scheduled for release. Booker Ervin was another great tenor sax player and his contributions to the Prestige vaults are timeless with Exultation!." — Erik Otis, Sound Colour Vibration, May 9, 2015. For nearly a quarter-century, beginning in 1950, tenor saxophonist Gene Ammons (1925-1974) was among the brightest stars in the Prestige Records firmament. Whether leading, or partaking in, one of Prestige’s jam sessions, immersing himself in the organ-dominated blues and gospel grooves that in the 1950s came to be called “soul jazz,” or digging deep for heart-rending ballads, Ammons was multiply masterful. And in 1960, leading a quintet featuring the impeccable pianist Tommy Flanagan, plus Ray Barretto’s piquant congas, he produced the insuperable Boss Tenor. From the blues that drips from “Hittin’ the Jug” and “Blue Ammons” to the infectious medium bounce of the standards “Close Your Eyes” and “Canadian Sunset,” and from the sophisticated swing of “Stompin’ at the Savoy” to the finger-poppin’ bop of “Confirmation” and the after-hours balladry of “My Romance,” Boss Tenor has something for everyone claiming to be a fan of modern jazz.
-
Sale!
In stock
Lightnin’ Hopkins – Soul Blues (Stereo)
58,00 €Add to cartThis release of Lightnin' Hopkins Soul Blues completes the series of 25 Prestige label stereo reissues from Analogue Productions. Of the 50 titles (25 stereo, 25 mono) in this reissue series, 49 of them were mastered by Kevin Gray at Cohearent Audio from the original analog tape. For Soul Blues Ryan Smith at Sterling Sound created a 24/192K hi-res file from a needle drop on a clean original LP. This was done because the tape supplied for mastering proved to be from a needle drop itself, not the original, which has been lost since the early 1970s. Smith took the original LP, did a new needle drop and meticulously worked to eliminate the minimal tics and pops that remained. Then he mastered the album for LP and SACD from the hi-res file. "We are amazed by the quality," says Chad Kassem, Acoustic Sounds/Analogue Productions CEO. "Now that the tape is lost, an original LP copy is now the master. Only in cases where the original master tape is lost or damaged and where we feel that we have no other choice, do we consider using the best source that remains. But we'd only do that if that source was sonically worth it. In this case, it most definitely is." This is a needle drop from the original Stereo LP. While the sound does not have the wide pan that you'd typically associate with Stereo, meaning that it sounds very much like Mono, this is in fact what was on the original Stereo release of this title. A true poet of the blues, Lightnin' Hopkins was a master of tall, tongue-in-cheek tales, often made up on the spot in the recording studio. The first song on this album "I'm Going to Build Me a Heaven of My Own," describes an encounter with a bearded man claiming to be Jesus Christ. Hopkins also puts his personal stamp on Willie Dixon's "My Babe" and Smokey Hogg's "Too Many Drivers," among others.
-
Sale!
Low stock
Arnett Cobb – Ballads By Cobb (Stereo)
58,00 €Add to cartOriginally released in November 1960, Ballads by Cobb, as its title suggests, is all slow ballads, putting the emphasis on the Texas tenor’s warm tone. A Texas tenor player in the tradition of Illinois Jacquet, Arnett Cobb's accessible playing was between swing and early rhythm & blues. His stomping, robust style earned him the title "Wild Man of the Tenor Sax." Cobb spent most of the 1960s playing back in his native Texas but he returned to the national scene in 1973 and during his final 15 years engaged in many exciting tenor battles, showing that there were few tougher Texas tenors than the legendary Arnett Cobb. Here, the Wild Man takes a smoother, more emotional approach. The album was recorded Nov. 1, 1960 by Rudy Van Gelder at his studio in Englewood Cliffs, N.J.. It was produced by Esmond Edwards.
-
Sale!
In stock
Hank Mobley – Mobley’s Message (Mono Version)
58,00 €Add to cart"...hard-bop devotees shouldn't overlook Mobley's Message, especially when they can savor this superb vinyl reissue." Sonics = 5/5; Music = 3.5/5 — Duck Baker, The Absolute Sound, October 2013 Critic Leonard Feather asserted that Hank Mobley was “the middleweight champion of the tenor saxophone,” meaning that his tone wasn’t as aggressive and thick as John Coltrane or Sonny Rollins, but neither was it as soft and cool as Stan Getz or Lester Young. Mobley helped inaugurate the hard bop movement: Jazz that balanced sophistication and soulfulness, complexity and earthy swing, and whose loose structure allowed for extended improvisations. Born in Eastman, Georgia, in 1930, but raised in New Jersey, Hank’s long-lined tenor offerings became a staple for pianist Horace Silver’s group, which evolved into the ‘50s super quintet co-led by Art Blakley, dubbed the Jazz Messengers. Their groundbreaking first album for Blue Note, 1955’s Horace Silver and the Jazz Messengers, was a hard bop landmark, featuring sophisticated solos and bright, almost funky rhythms. Mobley hit his peak in the first half of the 1960s with hard bop cornerstones like Soul Station, No Room for Squares, and A Caddy for Daddy.On this Prestige offering, Mobley delivers his signature swinging style in three different variations. Four numbers are by the quintet in which Hank is helped by telegrapher Donald Byrd and his “sending” trumpet. They disseminate the information of two pronouncements from bop’s palmy days, Bud Powell’s “Bouncin’ With Bud” and Thelonious Monk’s “52nd Street Theme,” plus two more numbers, Hank’s “Minor Disturbance” and the group’s “Alternating Current.” For Charlie Parker’s blues, “Au Privave,” the group becomes a sextet with the addition of a young turk of the alto sax, Jackie McLean. Hank is the sole horn on “Little Girl Blue.”
-
Sale!
Low stock
Wynton Kelly Trio and Wes Montgomery – Smokin’ At The Half Note
44,00 €Add to cartThis important historic jazz record pairs guitar virtuoso Wes Montgomery with Miles Davis' rhythm section — featuring Paul Chambers on bass, Jimmy Cobb on drums and Wynton Kelly on piano. This is timeless music that has inspired innumerable jazz guitarists and aficionados. In fact, jazz guitar great Pat Metheny has said, "I learned to play listening to Wes Montgomery's Smokin' At The Half Note." Metheny additionally said that the solo on "If You Could See Me Now" is his favorite of all time. This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history. Highlights include the Miles Davis opener, "No Blues" and the following track, Tadd Dameron's "If You Could See Me Now." And the album's versions of "Unit 7" and "Four On Six" have helped to establish these songs as jazz standards. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Musicians: Wynton Kelly, piano Wes Montgomery, guitar Paul Chambers, bass Jimmy Cobb, drums
-
Sale!
Low stock
Benny Carter – Jazz Giant
44,00 €Add to cartCraft Recordings and Acoustic Sounds are proud to announce the Contemporary Records Acoustic Sounds series, which begins with six album releases from the Contemporary Records catalog, celebrating 70 years of the legendary jazz label. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. Each title, originally engineered by Roy DuNann and/or Howard Holzer, features all-analog mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket. The series highlights gems from Contemporary's extraordinary catalog and features artists who both defined and expanded the sound of West Coast jazz. The 1958 classic Jazz Giant showcases the alto saxophone, trumpet and arrangements of triple threat Benny Carter, whose majestic talent awed four generations of jazz artists (he's joined by a formidable cast including Manne, Kessel and tenor sax titan Ben Webster). Here, Carter displays three of his many talents, principally as an alto saxophonist, but also as a composer on two numbers and a trumpeter on two. The company he kept, with Webster and Frank Rosolino rounding out the front line, and such fellow giants as Andre Previn, Barney Kessel, Leroy Vinnegar, and Shelly Manne in the rhythm section (Jimmy Rowles replaces Previn on two tracks) left no doubt that this album would be a milestone in straight-ahead, small group, mainstream jazz.
-
Sale!
In stock
Stan Getz & Joao Gilberto – Getz and Gilberto
44,00 €Add to cart"The Acoustic Sounds LP under review isn't the first audiophile LP reissue. I have a 200-gram LP version of Getz/Gilberto from Mobile Fidelity. To me, there are subtle differences. Listening to 'The Girl from Ipanema,' I hear a slightly more focused, precise sound on the new Acoustic Sounds LP. The stereo separation is a bit extreme, as it was on the original: I would have changed that. Familiar though it is, and successful though it was, the music remains marvelous. It's wonderful to relive the heft and forthright mastery we hear on Getz's solos throughout." — Michael Ullman, The Arts Fuse, Sept. 24, 2020. Read the entire review here. "Acoustic Sounds/Universal Music Group has released a vibrant 180-gram stereo vinyl of Getz/Gilberto. Engineered by George Marino (Sterling Sound) under the supervision of Acoustic Sounds founder Chad Kassem, this is a vibrant analog update of a jazz essential. ... The overall mix of this remastered 180-gram vinyl is excellent. The stereo separation is precise, with double bass/percussion on one channel and guitar/piano on the other. Getz' distinctive tenor is centered, as are the vocals. ... The pressing is superior with no hisses or pops." — 5 stars / Robbie Gerson, Audiophile Audition, Aug. 12, 2020. Read the entire review here. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' new audiophile Acoustic Sounds vinyl reissue series will launch July 31, 2020 with inaugural releases — the sensational collaborations, Stan Getz and João Gilberto's landmark Getz/Gilberto (1964) and the remarkable Louis Armstrong Meets Oscar Peterson (1959). Utilizing the skills of the top mastering engineers and the unsurpassed production craft of Quality Record Pressings, all titles will be mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases will be supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. The Acoustic Sounds series will feature two releases a month highlighting a different storied label spanning Verve/UMe's extraordinarily rich archive. To begin with, the series will largely focus on some of the most popular albums from the ‘50s and ‘60s in their unmatched catalog. The July releases will celebrate two of Verve's most beloved albums, the aforementioned Getz/Gilberto and Louis Armstrong Meets Oscar Peterson, and will be followed in August by John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Two of Nina Simone's legendary Phillips albums I Put A Spell On You (1965) and Pastel Blues (1965) will come in September which will be succeeded in October by two from the EmArcy Records vault: Sarah Vaughan's self-titled 1954 album, the vocal great's sole collaboration with influential trumpeter Clifford Brown, who is also represented alongside pioneering drummer Max Roach on the hard bop classic, Study In Brown (1955). November will spotlight Decca Records with the iconic Peggy Lee's first album, Black Coffee (1956), and composer George Russell's important New York, N.Y. (1959) performed by an all-star orchestra that includes Bill Evans, John Coltrane, Art Farmer and Milt Hinton, among others. All titles and exact release dates are listed below. Additional titles will be announced as the series progresses. "We are excited to launch our Acoustic Sounds series," said Bruce Resnikoff, President & CEO of UMe. "Verve and UMe have one of the richest jazz catalogs ever recorded and our goal is to give vinyl and music lovers the best possible versions of classic albums. The Acoustic Sounds series is designed to appeal to today's most discriminating fans, and those discovering this treasured legacy for the first time, looking for the very finest in both artistic content and audio quality." "We're very honored to have Verve and UME partnering with us to create what we believe will be the highest quality reissues of some of the world's greatest jazz albums. Each step in our production process — from title selection to mastering, pressing and packaging — is designed to meet the highest standards, and we want everyone who hears these albums to feel the love and hard work we put into everything we do," Kassem said. "We've long had a great relationship with UME, pressing classic titles at our Quality Record Pressings from many of their highest-profile artists. We look forward to strengthening that partnership even further with these reissues from Verve, home of the world's largest jazz catalog." Getz/Gilberto is not only a marvelous album, but one which had a profound influence upon the face of jazz and American popular music. This stunning 1964 collaboration between Stan Getz, one of the most popular and respected tenor saxophonists of the era, and the remarkable Brazilian guitarist João Gilberto, launched the bossa nova craze and the career of João's wife Astrud Gilberto with the hugely popular and iconic hit song, "The Girl from Ipanema (Garota de Ipanema)." Even more impactful, it introduced the famed Brazilian composer Antonio Carlos Jobim to the English-speaking musical world. In addition to playing piano on the album, Jobim also composed six of the eight compositions, including two of his most popular masterpieces, "Desafinado" and "Corcovado," along with the aforementioned "Garota de Ipanema." While Getz had embraced the music of Brazil prior to this with two outstanding Verve albums — Jazz Samba and Big Band Bossa Nova — Getz/Gilberto, with multiple Grammy Awards and a permanent place on various Best Albums of All-time lists is the album that launched a revolution. Regardless of that, the collaborative blending of Getz's fluid, muscular virtuosity and João's impeccable acoustic guitar stylings and captivating vocals, Astrud's enchanting almost-whispered singing on two tracks, all backed by Jobim's minimalist subtlety on piano and the flawless support of Sebãstio Neto and Milton Banana on bass and drums, make this an utterly momentous musical experience regardless of its lofty place in musical history. Now these albums and many more will be heard better than ever in the exciting new audiophile Acoustic Sounds series.
-
Sale!
Low stock
John Coltrane – Crescent
44,00 €Add to cart"...the pressing is solid — manufactured at Quality Record Pressings — with dark black 180-gram vinyl that is well centered. It sounds great and sounds like what I would expect a 1964 Impulse Records release to sound like — it does not feel like the recording has been overly EQ'd or modernized along the way. So kudos again to Ryan K. Smith who has handled all the mastering for the Acoustic Sounds releases at Sterling Sound — if you look closely at the run-out-groove (aka "dead wax") you'll see his initials and the "Sterling" stamp. The cover art is again, like most of the Acoustic Sounds and Tone Poet series reissues I've encountered, manufactured to a very high standard that is arguably better than the originals - super glossy laminated sleeves made of thick cardboard with superb quality reproduction of the original artwork, design and photography. ... If you are a vinyl and Coltrane fan, you'll probably want to pick up one of these fine reissues sooner than later as they tend to disappear from store shelves quickly." — Mark Smotroff, Audiophile Review, Sept. 14, 202. Read the entire review here. "Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes, the Acoustic Sounds vinyl edition of the stereo recording stands out for its transparency, pinpointing the individual contributions of each band member and also capturing the synergy of an ensemble that, since its first performance in 1960, continued to reach new musical heights. The deep, woody sound of Jimmy Garrison's bass solo on 'Lonnie's Lament' and the timbre of Elvin Jones' drum solo on "The Drum Thing" have a startling in-the-room presence." — Music = 5/5; Sound = 4.5/5 — Jeff Wilson, The Absolute Sound. "Recorded in December of 1964, A Love Supreme was Coltrane's biggest seller and the record most familiar to casual listeners. However, if called on to satisfy myself with a single Coltrane album for the rest of time, the title I would choose is Crescent. ... Rudy Van Gelder recorded the music on Crescent during two sessions. ... Crescent was recorded in stereo only and released in both mono fold-down and stereo versions. ... Remastered by Ryan Smith at Sterling Sound, this reissue, which was pressed at Quality Record Pressings, blends the channels into a seamless soundstage, one that sounds more natural than that of my original mono pressing. ... In some subtle ways relating to air and delicacy, I'd have to give the slight edge to my original mono pressing, but this reissue's increase in dynamics and punch, coupled with the wonderful soundstage and impressive tonal quality, make it the one I'll reach for most often." — Music = 5/5; Sound = 4.5/5 — Dennis Davis, The Audio Beat. Read Davis's full review here. "Two new Coltrane reissues on vinyl, from the partnership of Universal Music and Acoustic Sounds typify the breadth of (Coltrane's) range and the depths of his explorations. ... The sound quality of both, engineered by Rudy Van Gelder and mastered by Ryan Smith, is very good, with caveats. ... On Crescent, Coltrane is vivid throughout, but on the tracks recorded in April, the piano and drums sound thin; on the tracks from June they sound fine. Luckily 'Wise One' and 'Lonnie's Lament' were laid down in June. These are classics." — Fred Kaplan, Stereophile, April 2022 "Ryan Smith has done a masterful job (no pun intended) with what again sounds like a master tape copy (unless the original tape has just lost some top end) at least based on a 'top end' comparison where on the original Coltrane's sax has greater 'presence' texture and air and Jones's drum kit more natural sizzle — as well as there being more 'room air' — but it's also easy to make a case for far better bass and piano presentation on the reissue. Rudy's original sounds as if he's rolled off the bottom and done a bit of compression. Overall if forced to choose one, I'm not sure I'd take the original over the new reissue, though I'm not selling the original (mine's a second label, red/black, but otherwise a first pressing). That's how good this is." — Music = 10/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.com. To read Fremer's full review, click here. Released in 1964, Crescent is one of sax master John Coltrane's finest albums, featuring the talents of McCoy Tyner, Jimmy Garrison and Elvin Jones. During 1964 John Coltrane spent the least amount of time in the recording studio of his entire solo career. It wasn't until April 27 that ‘Trane, along with Tyner, Garrison and Jones went to the familiar surroundings of Rudy Van Gelder's Englewood Cliff's studio to begin work on the album that came to be called, Crescent. They recorded all the tracks that appear on Crescent, along with "Songs Of Praise," but not the final versions of the album's five tracks. From that first day's recording the ones that make the final cut are, "Lonnie's Lament," "The Drum Thing" and "Wise One." The first two of these three tracks make up all of side two of the album and on "Lonnie's Lament" Coltrane does not solo at all, instead it features a long bass solo by Garrison. Garrison's widow recalled that this album along with A Love Supreme, which was released a year later in 1965, were the two that her husband listened to the most.
-
Sale!
In stock
Charles Mingus – The Black Saint And The Sinner Lady
44,00 €Add to cart"A comparison between this reissue and an original Impulse produced a sonic draw with each having its own attractive qualities — warmer original versus more transparent reissue — but the reissue is pressed on far quieter vinyl and given a choice I'd take the reissue. Musical and sonic fireworks well worth getting." — Music = 10/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here. On January 20, 1963, bassist and composer Charles Mingus recorded in just one session — astonishingly — a very personal and socially conscious work he titled The Black Saint & The Sinner Lady. With liner notes written by Mingus's psychotherapist, the album uses ornate ensemble orchestration to produce a sound somewhere between jazz and folk. Released on Impulse! Records in 1963, the album consists of a single continuous composition — partially written as a ballet — divided into four tracks and six movements. Of his adventurous and hauntingly eloquent work, among his other creations, Mingus said: "My music is evidence of my soul's will to live." The evidence of that life-force amounts to some of the most dramatic and powerful jazz composed in the 20th century. Mingus was born in Arizona on April 22, 1922 and raised in Los Angeles. He was taught double-bass by Red Callendar, and by the New York Philharmonic Orchestra's Herman Rheinshagen (classical music played as big a part in his compositional thinking as gospel songs and the blues). Mingus toured with New Orleans players Louis Armstrong and Kid Ory in the 40s, and later worked briefly with Lionel Hampton and Duke Ellington. If he had been an improvising instrumentalist alone, Mingus would have been a jazz legend simply for his bass playing. Yet bass-playing also gave Mingus an insight into the low sonorities and inner hamonies of jazz composition, and his melodic approach was profoundly influenced by the blues and gospel music of his childhood.
-
Sale!
Backorder
Oliver Nelson – Blues And The Abstract Truth
44,00 €Show item"Another superb release from the Acoustic Sounds Series of reissues for Verve/Universal Music Enterprises! Mastered by Ryan K. Smith at Sterling Sound, supervised by Chad Kassem himself, and pressed at QRP, the results are simply breathtaking. ... Along with the Gil Evans Out of the Cool release, this is my favorite reissue so far. Bravo to Chad and his entire team. Originally released on the Impulse label in 1965, this is truly a jazz classic and without question this is Oliver Nelson's magnum opus." — Read Robert S. Youman's review for Positive Feedback online here. "The Blues and the Abstract Truth is one of my favorite jazz recordings. What a group of heavy-weight performers! Besides Oliver Nelson on tenor sax, you've got the incomparable Bill Evans on piano, Freddie Hubbard on trumpet, Paul Chambers on bass, Roy Haynes on drums, and Eric Dolphy on flute and alto sax. This is the jazz equivalent of a super-group." — Jim Hannon, AVguide.com Here we go with another round from the Acoustic Sounds Series. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings. As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues And The Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to for an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Originally released in 1961. Musicians: Oliver Nelson, alto saxophone, tenor saxophone George Barrow, baritone saxophone Paul Chambers, bass Eric Dolphy, flute, alto saxophone Bill Evans, piano Roy Haynes, drums Freddie Hubbard, trumpet
-
Sale!
Backorder
The Beach Boys – Pet Sounds (Mono)
95,00 €Show item"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney "All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on gatefold jackets, these time honored favorites shine brighter than the originals! For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Brian Wilson — famed co-founder, songwriter and arranger — who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys. Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.
-
Sale!
In stock
The Beach Boys – Pet Sounds (Stereo)
82,00 €Add to cart“I just received my copy of the 33 1/3 RPM AP stereo version of Pet Sounds from you, and it completely blew me away in overall sound quality. Excellent job, Chad! BTW, the album cover is also top-notch — everything says quality. With Brian Wilson’s talent, along with the musical versatility of the Wrecking Crew and their respect for Wilson’s ideas, Pet Sounds demonstrates the brilliance of them both in a time capsule — and AP’s remastering is the final excellent touch to bring that out and preserve this enjoyable, thrilling, listening experience. Some say it’s the best they have heard of this title. I don’t know how it could sound better, so I’ll take their word for it — now knowing I own the best analog 33 1/3 RPM stereo recording of this LP.” — Mark Swinford “It was Pet Sounds that blew me out of the water…I love the album so much. I’ve just bought my kids each a copy of it for their education in life. I figure no one is educated musically ’til they’ve heard that album.” – Paul McCartney “All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that’s ever knocked me out and rolled it all into one.” – Eric Clapton “For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music.” — Colleen ‘Cosmo’ Murphy, Classic Album Sundays “What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. … in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never.” — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in “old school” Stoughton tip-on jackets, these time honored favorites shine brighter than the originals! For the early part of the Beach Boys’ career, all of their singles were mixed and mastered and released only in the mono format — they didn’t release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Brian Wilson — famed co-founder, songwriter and arranger — who suffers from partial deafness. Still, apart from Surfin’ Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys’ Party, Pet Sounds and Smiley Smile) were done by Mark Linett on behalf of the Beach Boys. Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It’s considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn’t have been a classic without great songs, and this has some of the group’s most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. “Wouldn’t It Be Nice,” “God Only Knows,” “Caroline No,” and “Sloop John B” (the last of which wasn’t originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as “You Still Believe in Me,” “Don’t Talk,” “I Know There’s an Answer,” and “I Just Wasn’t Made for These Times.” It’s often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock ‘n’ Roll History, as judged in a poll of musicians, executives and journalists. It’s been ranked No. 1 in several music magazines’ lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone‘s 500 Greatest Albums of All Time list.
-
Sale!
In stock
The Beach Boys – Pet Sounds (Stereo)
95,00 €Add to cart"...the 2006 'Capitol Stereo LP' allowed a plausible argument that Wilson only mixed to mono because he ran out of time. It lacks the mono's dynamics and shares the 'Passions' LP's somewhat thin tonal quality. Analogue Productions' 45RPM stereo cut resolves these issues, presenting a continuous soundstage with a tonal signature similar to the label's mono version — even if the soundstage sounds quite different in stereo." — 5/5 stars, Dennis Davis, vinylreviews.com. Read the whole review here. "Produced, composed and arranged by Brian Wilson, Pet Sounds stands as the Beach Boys' pinnacle. The album is brimming with beautiful ballads, exotic instrumentation, lush five-part harmonies, and aching sentimentality. Recorded largely with session players from L.A.'s fabled Wrecking Crew, Pet Sounds was Wilson's chance to step away from songs about surfing and cars, instead crafting tender songs about adolescent love, both newfound and lost, as well as innocence and bewilderment. Analogue Productions' two-disc 45 RPM, 180-gram stereo album boasts exceptionally detailed separation and aptly showcases Pet Sounds' shimmering sonics. Mark Linett produced this stereo mix with an assembled digital multi-track master that synched the original four-track instrumental master with the four- and eight-track vocal overdub master. It was then mixed to 15 ips 1/4-inch analog tape with SR noise reduction. How good is it? Carol Kaye's picked Fender P-Bass is tight and punchy on the intro to "God Only Knows," and the clarity reveals the swelling emotion of Carl Wilson's angelic lead vocal to announce that you've entered the Church of Rock 'n' Roll. Say amen." — Music 5/5, Sonics 4.5/5, Greg Cahill, The Absolute Sound, December 2017 "It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney "All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on deluxe gatefold jackets, these time honored favorites shine brighter than the originals! For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Brian Wilson — famed co-founder, songwriter and arranger — who suffers from partial deafness. Still, apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were all done by Mark Linett on behalf of the Beach Boys, with Brian Wilson supervising. Pet Sounds was mixed from an assembled digital multi-track master that synced the original 4-track master instrumental with the 4 or 8-track vocal overdub master. The stereo mix was mixed to 15 ips 1/4" analog tape with SR noise reduction Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.
-
Sale!
Low stock
Fritz Reiner – Ravel: Pictures at an Exhibition/ Moussorgsky
88,00 €Add to cartKudos for our 33 1/3 version: "Grade: A+. Once again, as good as I've heard this record sound. Gorgeous strings, superb bass, avalanche dynamics with that same tape-like ease, sensational inner detail. The authority of the CSO is really something on fortissimo tuttis, of which there are many in Pictures." — Jonathan Valin, The Absolute Sound.com, June 11, 2013. To read the full review click here:To read the full review click here: https://www.theabsolutesound.com/articles/sneak-preview-acoustic-sounds-rca-reissues/ Another sonic and musical blockbuster from the unbeatable combo of Reiner and RCA (and Mohr & Layton). Recorded in 1957 at Chicago's Orchestra Hall; the original analog session tapes were used in mastering for LPs and SACDS. Mussorgsky's inspiration for Pictures was the death of his dear friend, the architect and visual artist Victor Hartman. Having died at age 39, Hartman had not yet had the opportunity to realize any of his architectural visions, and Mussorgsky was angered that his friend would have no legacy. The Architects' Society arranged an exhibition of some of Hartman's sketches — some of architecture, others of characters or scenes from everyday life. The tribute was enough to give Mussorgsky ideas for his composition, but not enough to give Hartman any lasting place in history. Today, of all of the sketches that were captured in music, only six can be positively identified. The piece is known today primarily through the orchestral version created by Maurice Ravel in 1922. In fact, the work had already been orchestrated multiple times, by a variety of lesser names. Some conductors today find that Ravel's version, in spite of its color, sacrifices some of the coarse nature inherent in Mussorgsky's piano original. Furthermore, Ravel worked from Rimsky-Korsakov's edited version of the piano part - the only one available at the time - which changed some notes and rhythms. None of the orchestrations, however, change the fundamental spirit of the piece. Mussorgsky imagines himself making his way down the hallway that showcased his late friend's work, with his stately procession represented by the Promenade that opens the piece and returns several times. Upon stopping at each image, he reflects on what he sees. Between the early movements, the promenade returns regularly, as Mussorgsky is conscious of moving from one scene to the next. As the work progresses, however, he becomes less aware of the interval between pictures, and more immersed in the continuous psychological experience of moving from one state of mind to the next. By the end, the composer sees himself transformed by the connection with Hartman through his visual expressions of Russian pride and humanity.
-
Sale!
Low stock
Elvis Presley – 24 Karat Hits
108,00 €Add to cart"Thick vinyl rotating at 45 RPM, two dozen certified Presley masterpieces, mastered by George Marino at Sterling Sound from the original 1, 2 and 3-track masters: it doesn't get any better than this, musically or sonically." Sound Quality: 90% - Ken Kessler, Hi-Fi News, March 2011 "All I can say is this set is an Elvis fan's dream come true...destined to be a collector's item." Music = 9/11; Sound = 9/11 - Michael Fremer, musicangle It's no understatement to call Evis Presley the chief catalyst of the rock 'n' roll era. Presley earned his nickname "The King" by releasing dozens of course-altering singles over the course of his influential career; during the 1950s Presley's records spent a collective 53 weeks in the No. 1 chart position. Almost everything you could want from Elvis is in one towering collection — 24 Karat Hits, now a brilliant 45 RPM, three-LP set released by Analogue Productions! Elvis' 24 greatest recordings here are painstakingly compiled and remastered from the original 1, 2 and 3-track master tapes lovingly stored in the vaults of RCA-Victor. All the hits are here from 1956's "Heartbreak Hotel" to 1969's "Suspicious Minds." This three-LP Fort Knox of music is mandatory for every music lover, let alone Presley diehards and record collectors. A long-out-of-print audiophile favorite — known for its first-rate sound quality — it gets the royal treatment here on six wide-grooved sides of 45 RPM 180-gram super-silent vinyl. Incredible! Until now, Elvis fans have satiated their desires with the prized DCC double LP edition (reaching prices upwards of $350 on eBay) as well as the DCC gold disc (a rare find fetching $150 and more). Now no longer do you have to pay a premium to enjoy the magic of Presley's voice, rhythms and foundation-paving melodies. Mastered by George Marino, the King's best work has never sounded so intimate, detailed, present and alive. Images are true, tones are balanced, and the unbeatable warmth that only analog provides comes through unabated on every cut. Contained in the grooves of this album are some of the best rock 'n' roll cuts recorded in the last 50 years. Had Elvis Presley done nothing else but record "That's Alright, Mama," his place in pop music history would be secure. Presley fused rhythm and blues with country and legitimized beat music for white audiences. On 24 Karat Hits, every memorable facet of Presley's multiple personas is represented:The hip-shaking rebel ("Jailhouse Rock"), sensitive balladeer ("Can't Help Falling in Love"), beckoning romantic ("Are You Lonesome Tonight"), teen idol ("(Let Me Be) Your Teddy Bear"), socially conscious soul man ("In the Ghetto"), and passionate loverman ("Suspicious Minds"). The two dozen songs on this golden compilation read like a history of pop music and play like it is unfolding before our very eyes. There's no substitution for the experience this set provides. Do not miss the chance to own part of American history in unsurpassed fidelity that brings the cream of Elvis' music into your room, in stunning clarity. This release is a gem. Buy two copies: One to treat your ears, the sealed copy to treasure as an investment. Solid audiophile gold — indeed!
-
Sale!
Backorder
Cowboy Junkies – The Trinity Session
88,00 €Show item"Regardless, sonics are first-rate, as is Analogue Productions' knockout reissue. The sound is exceptionally ambient and airy, with a remarkable sense of depth and a seemingly endless stage. Instruments are creamy-rich in texture, as is Timmins' come-hither vocal style. If you love Trinity Sessions, you'll want this edition." — Wayne Garcia, The Absolute Sound, February 2017. Read the whole review here. Read about the making of this spectacular album in Tom Doyle's October 2015 article for Sound On Sound magazine here. Cowboy Junkies recorded this spectacular LP as a "live" event Nov. 27, 1987 at the Church of the Holy Trinity in Toronto. It was recorded with a digital R-Dat and using only a Calrec Ambisonic Microphone. What this means is the record sounds like the band was playing right in front of you with the perfect ambiance. Yes, this is a digital recording. True to our company principles, Analogue Productions in almost all cases reissues recordings only where the analog master tape is available. However, there are rare exceptions that whether digitally recorded or otherwise, a recording is so outstanding it's worthy of the highest quality vinyl reissue. Featuring the sultry voice of Margo Timmins, the precise musicianship of her brothers Peter (on drums) and Michael (on guitar), and bassist Alan Anton, The Trinity Session is a spare, evocative, countrified-rock classic. First released in late 1988, The Trinity Session was named "Album of the Year" by The Los Angeles Times and The New York Times described it as "a quiet, special record that challenges traditional music." Rolling Stone declared the album to be "as important as it its inspiring." Today, it remains much more than a snapshot of a single day's work captured on tape. So for this deluxe Analogue Productions reissue, we pulled out all the stops. Starting with new mastering from the original session digital tapes by the original recording engineer, Peter Moore. And lacquer cutting by Ryan K. Smith at Sterling Sound. The church where the album was recorded was selected on the basis of work Moore had done there with other jazz and classical artists. Using a single Calrec Ambisonic microphone, the results are stunning. Next, we kicked up the packaging and content several notches. You're holding a heavyweight old-style tip-on Stoughton Printing jacket, and it has brand-new liner notes by author and music editor Jason Schneider. Schneider is the author of Whispering Pines: the Northern Roots of American Music from Hank Snow to The Band. He's also the roots music editor at Exclaim! and his work has been published in Paste, The Word, The Toronto Star and other publications. The liner notes share space with additional recording session photos, inside and on the back cover. Additionally, the cover has been redesigned to remove the lettering and photo distortion originally applied and make it appear as the musicians/artist originally intended. Lastly, this sonic treasure has been pressed on 180g vinyl at Quality Record Pressings, maker of the world's finest LPs, with stampers plated by master plating technician Gary Salstrom. The inspired reworking of both "Blue Moon" and "Working On A Building" reveal the Timmins family to be talented interpreters and insightful neo-traditionalists. Mixing the ambitious songwriting of Margo and Michael Timmins with subdued covers of Lou Reed's "Sweet Jane" and Hank Williams' "I'm So Lonesome I Could Cry," The Trinity Session is an exquisite collection that holds up quite well under repeated listenings. "The main appeal of The Trinity Session, the Cowboy Junkies' second album, remains its lo-fi sound. The ambient buzz of Toronto's Church of the Holy Trinity, where the Junkies recorded the album around one microphone, colors every song, reinforcing the live setting and generating vinyl intimacy even on CD. It's as if the church itself was an instrument, one that Junkies could play pretty well. It allows Margo Timmins' voice to fill your field of vision, simultaneously soothing and unsettling, while her brother Michael's guitar rumbles through the songs, a little louder and sharper than anticipated." — Pitchfork
-
Sale!
Low stock
Lynyrd Skynyrd – Gimme Back My Bullets
88,00 €Add to cart"The idea of two-disc, 45 RPM 180-gram audiophile LP reissues of Lynyrd Skynrd's first and next-to-last studio albums, each selling for $55, may seem an odd mix of high-brow sound with low-brow music, but doubters should suspend judgment until they hear the results. ... First released in February 1976, the perpetually underrated studio album Gimme Back My Bullets, which has yet to sell itself into platinum status, had much-improved sound over Skynyrd's earlier studio albums, due to the engineering skills of producer Tom Dowd, who served in the same roles for the original band's last studio album, Street Survivors (1977). By the fall of 1975, when Gimme Back My Bullets was made at the Record Plant, in Los Angeles, and Capricorn Studios, in Macon, Georgia, the sextet had also become a far more professional band. The arrangements were tighter, the playing more focused, and their mix of country and rock, tilted forever toward rock in tunes like 'Cry for the Bad Man,' had been honed to a fine edge. The newly vivid, intense sound is thanks to the remastering by Ryan Smith at Sterling Sound. While all the live tracks included on the 2006 CD/DVD reissue were genuine bonuses, this LP reissue will always be the way to hear this album. As is usual with Analogue Productions reissues, the heavyweight packaging is lush — and the pressing quality, from AP sister company Quality Record Pressings, is excellent. Best of all, these editions are the final sonic words on these albums. ... These albums have never sounded better, and it's not much of a leap to say they never will." — Performance = 4/5; Sonics 4/5 — Robert Baird, Stereophile, May 2017 What would American southern rock be without the scorching sounds of Lynyrd Skynyrd? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin' Fancy. Back to the well then, we go, for two more Skynyrd favorites — the epic Gimme Back My Bullets and the band's bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd. This 1976 Tom Dowd-produced classic, Gimme Back My Bullets, the fourth studio album from the legendary southern rock band, features the original line-up of Ronnie Van Zant on vocals, lead guitar great Gary Rossington, Allen Collins on guitar, Leon Wilkerson on bass, Billy Powell on piano, and Artemus Pyle on the drums. "Other records from the late, great, and original Lynyrd Skynyrd were more barroom raw (Pronounced Leh-Nerd Skin-Nerd), indelibly rocking (Second Helping), and radio-ready (Street Survivors), but none was as endearing and cohesive as Gimme Back My Bullets). The 1976 LP, whose title referred not to ammunition, but to the Billboard term 'No. 1 with a bullet,' found the normally three-fisted Florida guitar army one axe short. But it allowed Gary Rossington and Allen Collins to work more intuitively on the songwriting chores with vocalist Ronnie Van Zant, while providing room to groove in the process. The results, though underrated in the band's epic pre-crash catalog, sweep into rock ('Trust,' 'Searching'), blues ('I Got the Same Old Blues'), folk ('Every Mother's Son'), and country ('All I Can Do Is Write About It')." — Amazon.com
-
Sale!
In stock
Gil Evans – Gil Evans and Ten (Stereo)
58,00 €Add to cart“Part of Analogue Productions’ series of 25 of the rarest and best sounding Prestige titles recorded by Rudy Van Gelder, this important reissue dates to 1957 and presents for the first time on vinyl in stereo Gil Evans’ debut as both the leader of his own recording session as well as the pianist. … Remastered by Kevin Gray and impeccably pressed at QRP, the sound is excellent. Tonally rich and warm, but not overly fat or golden, with an airy and expansive soundstage in which the main instruments occupy the front section, layering back to the supporting players, with the drums and bass (mostly) at rear. The horns, especially, are creamy-lush, drums have plenty of snap, and there’s a terrific sense of balance and completeness to the whole.” — Music = 4/5; Sonics = 4/5 – Wayne Garcia, The Absolute Sound, May-June 2017 “I was so pleased with the job Analogue Productions did with their reissue of Out of the Cool, Evans’s 1960 Impulse! album, that I immediately ordered their vinyl edition of Gil Evans & Ten when it became available. This is the recording’s first release on vinyl in stereo … The new LP more sharply presents Steve Lacy’s soprano sax in Cole Porter’s “Just One of Those Things,” and the instrument plays better against Evans’s percussive piano lines. I could hear the band easing in behind Evans in the early moments of the track, and it sounded more dynamic as the arrangement built. Evans’s high notes about two-thirds of the way through sound fuller, rounder toned, and more emphatic on the Analogue Productions LP. … this new pressing reveals more depth and warmth in the sound, and lets me feel as if I’m closer to the band, and able to hear more of what’s going on in the music.” Musical Performance = 4 1/2 Stars; Sound Quality = 4 1/2 Stars; Overall Enjoyment = 4 1/2 Stars — Joseph Taylor, SoundStageUltra.com. Read the whole review here. In 1957, Miles Davis, high on the success of his recent collaborations with his old friend Gil Evans, persuaded Prestige Records to give Evans his own record date. Evans packed the resulting album with the brilliance that music insiders had recognized since his days as an arranger for Claude Thornhill in the 1940s and his work on Davis’ Birth of the Cool recordings. Writing for only 11 instruments, Evans used his wizardry with dynamics, motion and harmonic voicings to create orchestral effects suggesting a substantially larger orchestra. His settings stimulated his musicians to inspired improvisation. Among the soloists are trombonist Jimmy Cleveland, saxophonists Steve Lacy and Lee Konitz, and Evans himself, making his first recorded appearance as a pianist.
-
Sale!
In stock
The Beach Boys – Little Deuce Coupe
58,00 €Add to cart"These are the best sounding and best-looking versions of the Beach Boys records that have ever been produced. We want everything about these to be better than the original." — Chad Kassem, owner and CEO, Acoustic Sounds "These reissues restore whatever was really on the tapes — and given who was involved and where they were recorded, you can be sure the bass heard on these reissues was not added by Kevin Gray. ... As for the quality of these reissues, it's quite clear that, whether or not you like the sonic results, Analogue Productions sets the reissue standard. The company insists upon using analog master tapes (where available), not analog copies, it uses the best available artwork, and packages in 'Tip-on'TM jackets. It masters where the tapes are located using Kevin Gray in California, Ryan K. Smith in New York and Willem Makkee in Germany." — Michael Fremer, AnalogPlanet.com "Listening to the stereo version, I was struck by the separation, the wide soundscape, the detail, and the depth; I could imagine the voices filling a cathedral. ... The rich blending of the vocal harmonies on the stereo versions of 'Surfer Girl,' 'The Warmth of the Sun,' 'In My Room,' and other songs is praiseworthy ... the voices envelop you in a three-dimensional soundscape that can be mesmerizing." — Jeff Wilson, The Absolute Sound, October 2015 "What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition "Here you have a choice between mono and stereo versions. I think the mono version has it all over the stereo version, which, while not hard left/right like early Beatles albums, still sounds as if the intent was to combine the elements to create a mono mix. The mono mix holds together far better in every way — particularly the way in which Dennis's drums are mixed and in the vocal integrity. ... Both the mono and stereo reissues sound open, transparent and full frequency." — Michael Fremer, AnalogPlanet.com. Read the whole review here. A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals! Surfin' USA was the Beach Boys' real breakthough album, showing Brian Wilson asserting himself in the studio as both a premier songwriter and arranger on a set of material that was stronger than their Surfin' Safari debut. Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master. The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision. "Brian may or may not have been present for those mixing sessions — evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own — but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market," says Alan Boyd, producer and Beach Boys' archivist. The Beach Boys' practice of double-tracking their vocals really lends itself to stereo mixes. Split left and right, as they are on a lot of those early stereo versions, those doubled vocal parts can really envelop the listener, surrounding them with Wilsons, Loves and Jardines! All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were done by Mark Linett on behalf of the Beach Boys. Besides the hit title track on Surfin' USA and its popular drag-racing flip side ("Shut Down"), AllMusic.com notes that Surfin' USA has a lovely, heartbreaking ballad ("Lonely Sea") and a couple of strong Brian Wilson originals ("The Noble Surfer" and "Farmer's Daughter"). "There are also a surprisingly high quotient of instrumentals (five) that demonstrate that ... the Beach Boys could play respectably gutsy surf rock as a self-contained unit. Indeed, the album as a whole is the best they would make, prior to the late '60s, as a band that played most of their instruments, rather than as a vehicle for Brian Wilson's ideas. The LP was a huge hit, vital to launching surf music as a national craze, and one of the few truly strong records to be recorded by a self-contained American rock band prior to the British Invasion." — AllMusic.com "What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition "Even when in haste though, the group's vocal performances are outstanding. '409' was never recorded in stereo so here on the stereo version of the record you get the echoey 'Duophonic' take. ... The album ends with 'Custom Machine' another number obviously written and performed in haste, but by this time the group had gotten so damn good that even its trifles were ear-pleasing. Because of the 'Duophonic' tracks and the rushed nature of the production I'd go for the mono version." — Michael Fremer, AnalogPlanet.com. Read the whole review here. A musical legacy that began in Hawthorne, California and went on to conquer the world. Analogue Productions presents the ultimate pressings of 14 essential Beach Boys albums! Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honored favorites shine brighter than the originals! Released just one month after the Surfer Girl album, Little Deuce Coupe was, incredibly, the Beach Boys' fourth album in less than a year. Brian Wilson and the band responded by turning in arguably their most consistent effort to date — and a concept album, to boot. Little Deuce Coupe expanded the band's subject matter to encompass 1963 America's burgeoning love affair with hot rods, surrounding previously released cuts such as the title track, "409," and others with strong new material (much of it cowritten by Wilson and a DJ, Roger Christian). A highpoint: the a cappella James Dean tribute "A Young Man Is Gone" (a reworking of Bobby Troup's beautiful "Their Hearts Were Full of Spring"), a prime example of Wilson's arranging genius and the band's vocal prowess. "Their Hearts Were Full Of Spring" had been a standard for the vocal group The Four Freshmen, whose lush and distinctive jazz-based vocal arrangements had a huge influence on Brian's musical development. Apart from Surfin' Safari, which was mono only, the Beach Boys did turn in stereo masters on all of their early albums up until 1965. The Beach Boys Today! was the first LP for which they only delivered a mono master. The stereo editions of Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Beach Boys Christmas Album and Beach Boys Concert were all mixed in stereo by their own preferred engineer, Chuck Britz, ostensibly under the group's supervision. "Brian may or may not have been present for those mixing sessions — evidence suggests that he trusted Chuck's skills enough to let him prepare those mixes on his own — but the group held onto their multitrack tapes and delivered stereo masters to Capitol, rather than allowing Capitol to prepare their own stereo versions. Later, when Brian was only delivering mono masters, Capitol would prepare the Duophonic pseudo stereo editions for the stereo market," says Alan Boyd, producer and Beach Boys' archivist. The Beach Boys' practice of double-tracking their vocals really lends itself to stereo mixes. Split left and right, as they are on a lot of those early stereo versions, those doubled vocal parts can really envelop the listener, surrounding them with Wilsons, Loves and Jardines! All of the newer stereo mixes on these remastered albums (The Beach Boys Today!, Summer Days (And Summer Nights!!), The Beach Boys' Party, Pet Sounds and Smiley Smile) were done by Mark Linett on behalf of the Beach Boys.
-
Sale!
Low stock
Miles Davis Quintet – Relaxin’ With The Miles Davis Quintet (mono)
58,00 €Add to cart"Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz - such as Kevin Gray for this series (25 mono LPs from the Prestige label's exceptional late-50s run) cut lacquers from original analog master tapes. ... the sound has a great sense of 'jump' or energy, and it's warmly textured yet precise and well detailed, with nice body. Coltrane's sax was very nicely recorded, plus this was when he was really coming into his own as a player." — Wayne Garcia, The Absolute Sound, December 2015
Relaxin’ with the Miles Davis Quintet is in every way a masterpiece. When Davis the trumpeter (1926-1991) had formed the band in 1955, his colleagues — tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones — were not considered jazz-world A-listers. And before conquering his narcotics addiction earlier in the ’50s, Davis had seen his once-promising career go into eclipse. By 1956, however, his sound, especially when muted, was an achingly personal counterpart to the vocals of Billie Holiday and Frank Sinatra. Relaxin’ (plus its Prestige companions, Miles, Cookin’, Workin’, and Steamin’) reestablished Davis, and elevated his quintet as the gold standard of small groups.This set is called Relaxin’ because of the ballad performances in several different bright tempos. From medium-bounce to crisply up, Relaxin’ remains one of Davis’s sunniest outings, a prime example of one of the outstanding ensembles of the 20th century reaching the summit of their artistry.Originally released in 1957.Miles Davis, trumpetRed Garland, pianoJohn Coltrane, tenor saxophone Paul Chambers, bass Philly Joe Jones, drums -
Sale!
Backorder
Henryk Szeryng – Henryk Szeryng in Recital
58,00 €Show itemAnalogue Productions' RCA Living Stereo Reissue Series No. 2, with 25 newly remastered mainstay classical albums, will delight and astound your ears with their clarity and warm, rich tone. As with our first highly-regarded LSC series, shortcomings of previous editions have been improved upon - from the mastering, to the LP pressing, to the sharp-looking glossy heavyweight Stoughton Printing tip-on jackets that faithfully duplicate the original artwork, "Living Stereo" logo, "Shaded Dog" label and all! Mastered by Ryan K. Smith at Sterling Sound from the original 3-track master tapes, cut at 33 1/3, and plated and pressed at Quality Record Pressings - makers of the world's finest-sounding vinyl LPs, - no other editions match these for the quietest 180-gram platters available. Polish-born violinist Henryk Szeryng was probably the finest product of Carl Flesch's legendary teaching career (other luminaries to emerge from his studio in the years between the two World Wars include Ivry Gitlis and Ida Haendel). Possessing an iron technique and a musical intellect of rare insight, Szeryng established himself as one of the pre-eminent concert violinists of the post-World War II decades.
-
Sale!
Backorder
Miles Davis – Cookin’ With The Miles Davis Quintet (Mono)
58,00 €Show item"Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz - such as Kevin Gray for this series (25 mono LPs from the Prestige label's exceptional late-50s run) cut lacquers from original analog master tapes. ... (Cookin') does have a warm, quite intimate perspective, with a fine sense of instrumental textures." - Wayne Garcia, The Absolute Sound, December 2015 Cookin’ With the Miles Davis Quintet is the first classic album of four total that emerged from two marathon and fruitful sessions recorded in 1956 (the other three discs released in Cookin’s wake were Workin’, Relaxin’ and Steamin’). All the albums were recorded live in the studio, as Davis sought to capture, with Rudy Van Gelder’s expert engineering, the sense of a club show á la the Café Bohemia in New York, with his new quintet, featuring tenor saxophonist John Coltrane. In Miles’s own words, he says he called this album Cookin’ because “that’s what we did—came in and cooked.” What’s particularly significant about this Davis album is his first recording of what became a classic tune for him: “My Funny Valentine.” Hot playing is also reserved for the uptempo number “Tune Up,” which revs with the zoom of both the leader and ’Trane. Originally released in 1957 Miles Davis, trumpet John Coltrane, tenor saxophone Red Garland, piano Paul Chambers, bass Philly Joe Jones, drums
-
Sale!
Low stock
Miles Davis – Steamin’ With The Miles Davis Quintet (Mono Version)
58,00 €Add to cart"Analogue Productions has continued to push its own already high bar higher still. Its Quality Record Pressings plant is delivering the best vinyl discs to be found, its jackets and cover reproduction quality have hit new levels, and it continues to have the best in the biz — such as Kevin Gray for this series (25 mono LPs from the Prestige label's exceptional late-50s run) cut lacquers from original analog master tapes. ... Steamin' is the warmest sounding of the lot, with wonderful textures and detail. It also has the most relaxed and easy feeling of these titles, even when the band is smoking on tunes like the bop classic 'Salt Peanuts.'" — Wayne Garcia, The Absolute Sound, December 2015 Of Miles Davis’s many bands, none was more influential and popular than the quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Davis’s muted ballads and medium-tempo standards endeared him to the public. The horns’ searing exposition of classics like "Salt Peanuts" and "Well, You Needn’t" captivated musicians. The searching, restless improvisations of Coltrane intrigued listeners who had a taste for adventure. The flawless rhythm section became a model for bands everywhere. Although there is no original material on Steamin, it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications. Steamin’ is a significant portion of the music of this remarkable group. Originally released in 1961 Miles Davis, trumpet John Coltrane, tenor saxophone Red Garland, piano Paul Chambers, bass Philly Joe Jones, drums
-
Sale!
Backorder
John Coltrane and Johnny Hartman – John Coltrane & Johnny Hartman
44,00 €Show itemA match made in heaven! This 1963 Impulse! LP is a career highlight for Johnny Hartman's beautiful baritone voice and John Coltrane's exploratory yet empathetic tenor sax. John Coltrane and Johnny Hartman is one of the three all-ballad albums that John Coltrane recorded in late 1962 and early 1963. Hartman was apparently Coltrane's suggestion, and his deep, dark voice meshes perfectly here with Coltrane's tenor. "The material is well-chosen, including definitive readings of 'My One and Only Love' and 'Lush Life.' McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner. This is beautiful jazz." — Michael Monhart Recorded on March 7, 1963 at the Van Gelder Studio in Englewood Cliffs, New Jersey. The album was inducted into the Grammy Hall of Fame in 2013.
-
Sale!
Backorder
Alice Coltrane – Journey In Satchidananda
44,00 €Show item"Satchidananda means knowledge, existence, bliss. Listen with your inner ear to Alice along with Pharoah Sanders, Charlie Haden, Rashied Ali, Cecil McBee, and others." — Downbeat Alice Coltrane had become a disciple of Swami Satchidananda, which explains the title of her 1971 masterpiece Journey in Satchidananda, recorded November 8, 1970 (except for one live track) and issued in January of 1971. It was recorded at the Coltrane home studio in Dix Hills, New York. Coltrane and Ed Michel produced the album. Album photography was by Chuck Stewart and Ed Michel. It was issued as impulse! AS 9203. The band for the studio tracks included Alice Coltrane. piano, harp; Pharoah Sanders, soprano saxophone, percussion; Cecil McBee, double bass; Rashied Ali, drums; Tulsi, tanpura; and Majid Shabazz, bells, tambourine. For "Isis and Osiris," recorded live July 4, 1970, at The Village Gate in New York City, the group was: Alice Coltrane. harp; Pharoah Sanders, soprano saxophone, percussion; Charlie Haden, double bass; Rashied Ali, drums; and Vishnu Wood, oud. All songs were by Coltrane. Allmusic says the landmark Journey to Satchidananda reveals just how far the pianist and widow of John Coltrane had come in the three years after his death. "The compositions here are wildly open and droning figures built on whole tones and minor modes. And while it's true that one can definitely hear her late husband's influence on this music, she wouldn't have had it any other way. Pharoah Sanders' playing on the title cut, 'Shiva-Loka,' and 'Isis and Osiris' (which also features the Vishnu Wood on oud and Charlie Haden on bass) is gloriously restrained and melodic." Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.