Pure Pleasure / RCA - PPAN LSP-3891 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Limited Edition - Pure Analogue Audiophile Mastering - RCA Victor LSP-3891
Mastered by Ray Staff At Air Mastering London - Pressed at Pallas
AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
"Hands Shaking, I placed this on my turntable with more emotional turmoil than I can name. Why? Because this was Hampton’s first appearance at the Newport Jazz Festival, back in `67…and I was there.
No way am I gonna claim I recall the exact characteristics after 48yrs, but I will admit that my opinion is rose-coloured. Even forcing myself to dismiss nostalgia, it’s a stupendous set,oozing with brassy,ballsey, big band atmosphere. Hampton performed with his 20-strong All-Star Alumni Big Band (Illinois Jacquet guesting!), and I remember being enthralled by the `Greasy Greens’ encore – my old man was a huge fan and had briefed me well"
I’m all choked up…! Ken Kessler 92/100 Sound Quality HIFI News
The overall sound quality is very good, considering the outdoor venue. The instrument separation and balance is surprisingly consistent. The listener can hear some of the reverb and echo on the vibraphone. Liner notes by Stanley Dance are informative and convey the enthusiasm of this memorable concert.- 4.5/5 Audiophilaudition
The 1967 Newport Jazz Festival, fourteenth in a world-famous series, was inexplicably the first at which Lionel Hampton had ever appeared. Better late than never, the great vibist and bandleader came, played and conquered. As the crowd roars ecstatically at the end of this record, the awed but happy voice of producer George Wein is heard: “This hasn’t happened since Duke...” he begins, casting back in his mind to 1956 and the nearest comparable triumph.
There is nothing quite so effective as a big band at an outdoor jazz festival. So the 1967 Newport programme included those of Count Basie, Buddy Rich, Woody Herman, Don Ellis and Lionel Hampton. Lionel knew the competition he had to face, and knew that in the festival’s climatic spot—the last act on the last night--- his performance would be compared with those of all the others. He prepared accordingly.
Members of his Inner Circle, the octet with which he normally works, would provide the nucleus for an orchestra largely composed of alumni from his earlier bands. When the call went out to the Old Guard, the response was magnificent, as a glance at the personnel will show. Top names in the profession came back to join him, to form one of the great all-star bands of all time. A two week engagement at The Metropole in New York, immediately before the festival, served as a prolonged dress rehearsal, where the ensembles were polished and new arrangements familiarized. Enthusiasm mounted night by night in the Seventh Avenue club, among musicians and public alike, until Newport and the evening of 3rd July were reached. Then, as you will hear, the spirit was willing and the flesh far, far from weak.
All these preparations ensured a good performance, but the spark, the magic necessary to make it a great one, had to come from the leader. Everybody knows that he is a kind of rhythmic dynamo—driving, full of energy, unsparing of himself. His commitment and conviction communicate rapidly with any audience, so that it is soon won over to his side. Yet in the long, ninety minute program, errors in pacing would have been easy, forgivable, but extremely damaging. A climax reached too soon would have led to anti-climax, and a flat feeling as the crowd left the ground. As it was, Lionel’s long professional experience served him superbly, so that his program rose steadily and inexorably to the all-out, emotional frenzy of Flying Home. Like a good general, he never lost his grasp on the situation. He inspired his men by personal example on the vibes, reinforced the beat on a second set of drums, and finally brought up the reserves---Alan Dawson, Milt Buckner and Illinois Jacquet—at just the right time, and in the right spot, to secure an unforgettable triumph and a tumultuous ovation.
• 180g High Quality Vinyl
• Re-mastering by Ray Staff at Air Mastering
Lionel Hampton, vibes, piano, drums
Snooky Young, trumpet
Jimmy Nottingham, trumpet
Joe Newman, trumpet
Wallace Davenport, trumpet
Al Grey, trombone
Garnett Brown, trombone
Britt Woodman, trombone
Benny Powell, trombone
Jerome Richardson, reeds
George Dorsey, reeds
Frank Foster, reeds
Dave Young, reeds
Ed Pazant, reeds
John Spruill, piano
Billy Mackel, guitar
George Duvivier, bass
Steve Little, drums
Alan Dawson, drums (7)
Milt Buckner, piano (7)
Illinois Jacquet, tenor saxophone (9)
Produced by Brad McCuen and Bill Titone
Recorded at Newport Jazz Festival, July 3rd 1967
1. Turn Me Loose
2. Thai Silk
3. Tempo's Birthday
4. Greasy Greens
5. Greasy Greens (encore
6. Meet Benny Bailey
7. Medley: Hey! Ba-Ba-Re-Bop/Hamp's Boogie Woogie
8. Misunderstood Blues
9. Flying Home
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
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!