180g 200g 45rpm Box Sets.

Machito & His Afro Cuban Orchestra - Kenya - 180g LP

Product no.: SR52006

£29.95

Price includes VAT, plus delivery

Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item

Description

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Pure Pleasure / Roulette SR-52006 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Limited Edition - Audiophile Mastering - Roulette SR-52006

Mastered by Sean Magee at Abbey Road - Pressed at Pallas Germany

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head

An Afro-Cuban jazz masterpiece. Perfect music for a Sunday brunch. Or for reanimating a corpse.

A classic Machito session from the 50s – with stunning arrangements by Mario Bauza and AK Salim! The record is a beautiful batch of Latin jazz tracks that shine with a sound that's unlike anything else Machito was doing at the time – and the band wails hard, with soloists that include Cannonball Adderley, Eddie Bert, Doc Cheatham, Johnny Griffin, and others – in a groundbreaking mix of straight jazz and Latin that still burns mightily today!

Machito was born Frank Raul Grillo 16th February 1912, Tampa, Florida. Machito played a huge role in the history of Latin jazz, for his bands of the 1940’s were probably the first to achieve a fusion of powerful Afro-Cuban rhythms and jazz improvisation. At it’s roaring best, the band had a hard charging sound, loaded with jostling, hyperactive bongos and congas and razor-edged riffing brass. Machito was the front man, singing, conducting, shaking maracas, while his brother-in-law Mario Bauza was the innovator behind the scenes, getting Machito to hire jazz-orientated arrangers. After an earlier aborted attempt to launch a band with Bauza, Machito founded the Afro-Cubans in 1940, taking on Bauza the following year as music director where he remained for 35 years. Playing regularly at New York’s Palladium, Machito’s band reached it’s peak of popularity during the mambo craze of the 1950’s, when this album was recorded.

This outstanding album, recorded in 1957, in honor of the then recently formed republic of Kenya, highlights the wonderful Afro-American and Afro-Cuban musical language Machito spoke so well.

In this album, Machito has combined all the elements needed in bringing the true meaning of Afro-Cuban jazz music to the listener. Machito, his musical director Mario Bauza, Rene Hernandez and A. K. Salim who along with Mr Bauza composed and arranged this music, define it this way: »Afro-Cuban rhythm differs from other rhythms in that instead of the usual drums carrying the rhythmic beat, it is carried by Cuban percussion instruments such as the bongos, congas, timbales, guiros and maracas. Also, and even more elemental, is that although there are four beats to the bar as in all jazz, in Afro-Cuban jazz the beat is not played by any instrunments as such. It is felt, rather than actually heard. Afro-Cuban jazz is, in it’s performance, the marriage of Afro-Cuban rhythm and soloists«.

Outstanding Afro-Cuban jazz reissue featuring greats like "Doc" Cheatham on trumpet and Cannonball Adderley on alto sax. The music is about deep feeling. Afro-Cuban jazz is, in its performance, the marriage of Afro-Cuban rhythm and jazz soloists.

Featured Soloists:

"Doc" Cheatham, trumpet

Joe Livramento, trumpet

Joe Newman, trumpet

Julian "Cannonball" Adderley, alto saxophone

Ray Santoz Jr., tenor saxophone

Santo Russo, trombone

Eddie Bert, trombone

Selections:

1. Wild Jungle

2. Congo Mulence

3. Kenya

4. Oyeme

5. Holiday

6. Cannonology

7. Frenzy

8. Blues A La Machito

9. Conversation

10. Tin Tin Deo

11. Minor Rama

12. Tururato

Dec 1957 Metropolitan Studios, New York City - Production: Ralph Seijo

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!