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 KC31039 - 180 Gram Virin Vinyl
Pure Analogue Mastering - Pressed at Pallas Germany - Limited Edition
Mastered by Ray Staff at Air London - Columbia KC31039
Charles Mingus called this late-period 1972 set “the best album I have ever made.” Even in the context of the giant's other masterpieces, it's hard to argue with that statement. Let My Children Hear Music is that kind of great.
A large-ensemble effort featuring enterprising arrangements, the record surrounds the bassist/composer with a tremendous orchestra and swirling, glorious structures with volleying horns, elaborate solos, and introspective moodiness. The most valuable buried treasure in Mingus’ distinguished catalog? Hear the songs for yourself, and decide. Music, however, has made it much easier to arrive at an answer.
Why? The sound on this 180g LP pressing practically invites you into the studio.
Given proper room, dimensions, and imaging, the instruments and the music they combine to produce, further exposes Mingus' genius and reminds us all once again why sonic transparency equates to emotional realism and soulful revelation.What a record.
"On the original LP issued by Columbia, Mingus thanked producer Teo Macero for "his untiring efforts in producing the best album I have ever made." From his deathbed in Mexico in 1979 he sent a message to Sy Johnson (who was responsible for many of the arrangements on the album), saying that Let My Children Hear Music was the record he liked most from his career. Although Mingus' small-group recordings are the ones most often cited as his premier works, this album does, in fact, rank at the top of his oeuvre and compares favorably with the finest large-ensemble jazz recordings by anyone, including Ellington.
The pieces had been brewing over the years, one from as far back as 1939, and had been given more or less threadbare performances on occasion, but this was his first chance to record them with a sizable, well-rehearsed orchestra. Still, there were difficulties, both in the recording and afterward. The exact personnel is sketchy, largely due to contractual issues, several arrangers were imported to paste things together, making the true authorship of some passages questionable, and Macero (as he did with various Miles Davis projects) edited freely and sometimes noticeably. The listener will happily put aside all quibbles, however, when the music is heard. From the opening, irresistible swing of "The Shoes of the Fisherman's Wife Are Some Jiveass Slippers" to the swirling depths of "The I of Hurricane Sue," these songs are some of the most glorious, imaginative, and full of life ever recorded. Each piece has its own strengths, but special mention should be made of two. "Adagio Ma Non Troppo" is based entirely on a piano improvisation played by Mingus in 1964 and issued on Mingus Plays Piano.
Its logical structure, playful nature, and crystalline moments of beauty would be astounding in a polished composition; the fact that it was originally improvised is almost unbelievable. "Hobo Ho," a holy-roller powerhouse featuring the impassioned tenor of James Moody, reaches an incredible fever pitch, the backing horns volleying riff after riff at the soloists, the entire composition teetering right on the edge of total chaos. Let My Children Hear Music is a towering achievement and a must for any serious jazz fan. Included is the essay that accompanied the album. That essay, covering enormous territory, reads like an inspired Mingus bass solo and should be sought out by interested listeners.
One can't recommend this album highly enough." - Brian Olewnick
Charles Mingus, bass
Lonnie Hillyer, trumpet
Jimmy Nottingham, trumpet
Joe Wilder, trumpet
Snooky Young, trumpet
Jimmy Knepper, trombone
Julius Watkins, French horn
Charles McPherson, alto saxophone
Jerry Dodgion, reeds
Bobby Jones, tenor
Hal McKusick, reeds
James Moody, reeds
Jaki Byard, piano
John Foster, piano
Roland Hanna, piano
Charles McCracken, cello
Ron Carter, bass
Richard Davis, bass
Milt Hinton, bass
Dannie Richmond, drums
Teo Macero, alto saxophone, conductor
Charles Mingus Let My Children Hear Music
1. Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
2. Adagio ma Non Troppo
3. Don't Be Afraid, the Clown's Afraid Too
4. Hobo Ho
5. Chill of Death
6. The I of Hurricane Sue
ORIGINAL MASTER TAPES
AAA 100% ANALOGUE
We use the Original Tapes and work with only the Best Mastering Studios
Plated and Pressed at Pallas in Germany on 180 gram Virgin Vinyl
Highest Quality Jackets and Inner Sleeves
Low Numbers per Stamper Released in Limited Quantities
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.
60 Years 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!