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Categories JAZZ Sarah Vaughan - After Hours With Sarah Vaughan - 180g LP Mono
Sarah Vaughan - After Hours With Sarah Vaughan - 180g LP Mono
Product no.: PPANCL660In stock
Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item
Pure Pleasure/ Columbia - PPAN CL660 180 Gram Virgin Vinyl - Mono
Columbia CL660 - Limited Edition - Mastered by Ray Staff at Air London
AAA 100% Analogue - Pressed at Pallas Germany - Mono
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London
AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
Derek Ansell, Jazz Journal Magazine Feb 2018 Sarah Vaughan: After Hours 4**** The early years of Sarah Vaughn here, flexing her amazing vocal cords and singing as only she could in her prime. Her first attempts at scatting show how easily and comfortably she mastered that mode of ression.
She tackles 12 standards on this release, which comes in the original Columbia style jacket. It appears to be six 78 issues put together for a 12"LP. The uncredited orchestra (or orchestras) play well in that Smokey, bules-tinged jazz manner of the mid-1950s with plenty of brass and reed contributions and on tracks like Deep Purple a full string section is added. Vintage Sarah in a high-quality vinyl dressing. 4/5
This 1955 release is, of course, mono. For those who think this is a good thing (count me in), the recording shows off just how good mono recording technology, and Columbia’s version of that technology, happened to be in the late 1940s. Vaughan’s vocal delivery is well captured and the (uncredited) band fills a wide space around her. Pure Pleasure’s reissue presumably stems from a European safety copy. A close comparison to an original “6-eye” label original pressings reflects a slight loss of texture, showing a slightly dryer acoustic and small loss of depth in the soundstage. Still, the tapes have held up remarkably, and you would be hard pressed to identify the vintage of this wonderful music by the sound quality. Sound 4/5 Vinylreviews
Sarah Vaughan signed for Columbia in 1949 & her chart successes continued with the charting of "Black Coffee" in the summer of 1949. During her tenure at Columbia through 1953, Vaughan was steered almost exclusively to commercial pop ballads, a number of which had chart success.
No matter what she's singing you can't help but notice her amazing control and range. She's able to float effortlessly from the lowest end of the scale to the highest without effort. Her singing is as much second nature as breathing is to most of us.
I don't know if you've ever heard the term phrasing applied to singing, it's not something you hear often anymore. To be honest it’s not something I'm sure I can define. The closest I can come to is it refers to a singer's ability to associate the lyrics of a song with the music. However, it means more than just being able to carry a tune. It's how you sing the words and music together. It's the ability to turn your voice into a lead instrument in a band and take one word and extend it over a whole series of notes. However it doesn't just mean the ability to sustain a note, it's continuing to sing the melody but with only one or a few words without them losing meaning or throwing the continuity of the song out of whack.
Listen to Vaughan wrap her voice around a word and you begin to understand what is meant by the term. You also realize why you don't hear the term used very often anymore as very few modern singers have this ability. To be fair the music of today doesn't really lend itself to that style of singing either. However hearing a singer of the quality of Vaughan you begin to regret its passing. I'm sure there are jazz singers around who have the ability, but we don't hear them on a regular basis.
Of course it's this ability which allowed her to be equally comfortable with any style of music she wished to sing. On this LP we hear her sail through a series of smoothly orchestrated pop tunes. Even the version of Gershwin's "Summertime" is given the uptempo treatment. This might have been a collection of rather commercial standards, but she gives them a soulfulness that raises them above the level of just another pop song. She might not be as emotionally raw as Billie Holliday, but that doesn't stop her from being able to imbue even the simplest of songs with the heart necessary to make them soar.
Selections:
Side A:
1. After Hours
2. Street of Dreams
3. You Taught Me To Love Again
4. You're Mine, You
5. My Reverie
6. Summertime
Side B:
1. Black Coffee
2. Thinking of You
3. I Cried For You
4. Perdido
5. Deep Purple
6. Just Friends
All tracks recorded in New York City on the following dates:
A1, A5: June 1, 1951 /A2: March 19, 1952 / A3: July 7, 1949
A4, A6: December 21, 1949 / B1: January 10, 1949/ B2: July 27, 1950
B3: September 28, 1949 /B4: September 5, 1950/ B5: April 4, 1951
B6: July 7, 1949
Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
There really is nothing quite like it. It’s the touch, the feel, you have to stop and stare, the cover, the real thing, even the smell.
Its tangible, you can feel it, see it, study it, muse/dream over it, it’s real, someone has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be.
The music and the physical record. Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover, the sleeve notes, you are holding a unique package, produced by craftsmen.
Pure Pleasure Records bring you vinyl albums of quality Jazz - Blues - R+B - Soul - Funk, remastered by some of the best engineers in the world and pressed on 180 gram audiophile vinyl at what is probably the best pressing plant in Europe
Pure Analogue Audiophile Mastering
Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl
Released in Limited Quantities
