Sidney Bechet - The Grand Master Of The Soprano Saxophone and Clarinet - 180g LP Mono

Product no.: PPANCL836

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Sidney Bechet - The Grand Master Of The Soprano Saxophone and Clarinet - 180g LP Mono
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Pure Pleasure / Columbia PPAN CL836 - 180 Gram Virgin Vinyl 

AAA 100%  Analogue  -  Pressed at Pallas Germany - Limited Edition

Mastered by Ray Staff at Air London - CL836 Columbia Mono 

Mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

There’s a lot of Sidney Bechet out there besides the sides he did for RCA Victor and Blue Note which have been reissued frequently. This vinyl from Columbia combines three separate sessions he made between 1938 and 1947. His strong vibrato on the soprano sax is in full audition thruout this wonderful album. Six of the tracks come from a 1947 quartet with Lloyd Phillips on piano and bassist Pops Foster. Another 1947 session heard here has a sextet led by Bechet’s star pupil, Bob Wilber, along with pianist Dick Wellstood – who would grow to be a major stride interpreter. On “Kansas City Man Blues” Wilber on clarinet switches with Bechet on soprano sax. Never mind that these are just mono – the sonics and playing are terrific! Sound 5/5 Audiophileaudition

 
Sidney Bechet's historic recordings for Blue Note and RCA Victor tend to overshadow some of his other work because they have been reissued more frequently, though there are lesser-known dates worth acquiring as well. This Columbia LP compiles three separate recording sessions made between 1938 and 1947. Bechet sticks almost exclusively to soprano sax throughout each of them and has ample space for his solos, full of his trademark heavy vibrato. The earliest set matches him with drummer Zutty Singleton, bassist Henry Turner, and guitarist Leonard Ware (all members of his working band at the time), along with pianist Dave Bowman and baritone saxophonist Ernie Caceres. The Bechet-Singleton collaboration "Jungle Drums" has delightful solos by the two reeds, along with Singleton's exotic tom-toms.

Six tracks come from a 1947 quartet with pianist Lloyd Phillips, bassist Pops Foster, and either Freddie Moore or Arthur Herbert on drums. Bechet's swinging tribute to a legendary jazzman, "Buddy Bolden Stomp," a romp through "Just One of Those Things," and a heartfelt arrangement of "Laura" are the highlights of this session. Another 1947 session gives a preview of the future of classic jazz, featuring a sextet led by Bechet's star pupil, a young Bob Wilber, along with Dick Wellstood, who would rise to fame as a master stride interpreter. Bechet plays soprano sax and Wilber sticks to clarinet on two numbers, though they switch roles on "Kansas City Man Blues." While Wilber doesn't have Bechet's strong vibrato on soprano sax, they are harder to tell apart on clarinet.
                                                                                           

Musicians:
Sidney Bechet, soprano saxophone
A3, B5 & B7 - recorded 11/16/38 in New York:
Zutty Singleton, drums
Henry Turner, bass
Leonard ware, electric guitar
Dave Bowman, piano
Ernie Caceras, baritone saxophone
A4 - Recorded 7/23/47 in New York:
Lloyd Phillips, piano
Pops Foster, bass
Freddie Moore, drums
A1, A5, B1, B2, B4 & B6 - recorded 7/31/47 in New York:
Lloyd Philips, piano
George "Pops" Foster, bass
Arthur Herbert, drums
A2, A6, B3 - recorded 7/14/47 in New York:
Sidney Bichet, soprano saxophone on A2, A6
Sidney Bichet, clarinet B3
Johnny Glasel, cornet
Bob Mielke, trombone
Bob Wilber, clarinet
Dick Wellstood, piano
Charlie Traeger, bass
Danny Strong, drums

Selections:
Side A:
1. Love For Sale
2. I Had It, But It's All Gone Now
3. Jungle Drums
4. Buddy Bolden Stomp
5. My Woman's Blues
6. Polka Dot Stomp
Side B:
1. Laura
2. Just One of Those Things
3. Kansas City Man Blues
4. Shake 'em Up
5. Chant In the Night
6. The Song of Songs
7. What A Dream

      

Sydney Bechet - The Grand Master Of The Soprano Saxophone and Clarinet - 180g LP Mono

 
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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 

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Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl
 
Released in Limited Quantities

PALLAS
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 

 

 

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