Dave Brubeck Trio Featuring Gerry Mulligan ‎– Blues Roots - 180g LP

Product no.: PPANCS9749

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Dave Brubeck Trio Featuring Gerry Mulligan ‎– Blues Roots - 180g LP
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Pure Pleasure / Columbia -  PPAN CS9749 - 180 Gram Virgin Vinyl 

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

Mastered by Ray Staff at Air London - Columbia CS 9749

Special mention should be made regarding the superb acoustics on this 180 gm. vinyl release. Pure Pleasure’s ace remaster engineer, Ray Staff, deserves major kudos. Fans of Dave and Gerry will appreciate this new re-release. - Audiophile Audition

Although this is a blues-oriented set, there is plenty of variety in tempos and grooves. The 1968 Quartet featured the leader/pianist, baritonist Gerry Mulligan, bassist Jack Six and drummer Alan Dawson. The repertoire on this LP ranges from "Limehouse Blues" (which is not really a blues) to "Things Ain't What They Used to Be" and several originals.

Although this is a blues-oriented set, there is plenty of variety in tempos and grooves. The 1968 Quartet featured the leader/pianist, baritone saxophonist Gerry Mulligan, bassist Jack Six and drummer Alan Dawson. The repertoire on this LP ranges from "Limehouse Blues" (which is not really a blues) to "Things Ain't What They Used to Be" and several originals.

These songs are average for 1968, but the soloing is remarkable and the musicians here are some of the best. "Journey" is a remarkably beautiful piano ballad, while "Blues Roots" narrowly rises above in it's epic scope, and over-the-top ending. It's probably my favourite song here. But, "Broke Blues" is also exceptional. This one, along with "Cross Ties" and "Blues Roots", are fairly progressive, drawing as much from post bop as blues and traditional jazz, pushing toward avante-garde.

When the Dave Brubeck Quartet split up in 1967, and Paul Desmond moved on as a recording leader and solo artist, Brubeck began to explore some new avenues for expression. His quartet with Desmond was highly melodic, and Desmond stepped back when Dave took lead, content to let the pianist shine when leading the rhythm section.

However, with the arrival of Gerry Mulligan (on a temporary basis) in the quartet, Brubeck moved in a new direction toward more open improvisation. Dave and Gerry entered each others’ “territory” with open permission.

On Blues Roots the new quartet explored the blues with some gritty playing. In the general jazz public, Brubeck was not appreciated as a blues pianist. In the liner notes on the LP, Willie “The Lion” Smith on a Downbeat Blindfold Test extols Brubeck’s blues prowess, stating that he has “heavy hands.”

By spreading strips of copper over the piano’s strings, a honky-tonk effect enhances several of the tracks to give an old time ambiance. Dave’s muscular playing shines on “Limehouse Blues.” “Journey” is a mournful dirge and would have been proper for a memorial farewell for a fellow musician. There is some great improvisation on “Cross Ties.”

The honky-tonk effect on “Broke Blues” has a harpsichord feel and the counterpoint percussion of drummer Alan Dawson is quite effective. “Movin’ Out” has bassist Jack Six nicely upfront in the mix. The track builds to a crescendo with Mulligan pushing Brubeck to the end. The title track is straight up honky-tonk and Dave’s blues piano skills are on full display.

Special mention should be made regarding the superb acoustics on this 180 gm. vinyl release. Pure Pleasure’s ace remaster engineer, Ray Staff, deserves major kudos. Fans of Dave and Gerry will appreciate this new re-release.

Producer – Teo Macero

Musicians:
Dave Brubeck, piano
Gerry Mulligan, baritone sax
Jack Six, bass, fender bass
Alan Dawson, drums

Selections:
Side A:
1. Limehouse Blues 
2. Journey
3. Cross Ties

Side B:
1. Broke Blues 
2. Things Ain't What They Used To Be 
3. Movin' Out 
4. Blues Roots

Dave Brubeck Trio Featuring Gerry Mulligan ‎– Blues Roots - 180g LP

 
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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 

Pure Analogue Audiophile Mastering
 
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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