Phil Ranelin - Vibes From The Tribe - 180g LP

Product no.: TRCD4008

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Phil Ranelin - Vibes From The Tribe - 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 / Tribe  -  TRCD 4008 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Audiophile Mastering by Ray Staff  at Air Mastering London

Limited Edition - Pressed  at Pallas Germany - 

Pure Pleasure Records does their customary superior job The stereo separation is flawless. The wide range of Ranelin’s trombone tonal flexibility is captured with vibrancy. The lower end of the mix is consistent and forceful. This is an interesting jazz album by a cultural visionary. 4/5 Sound Audiophileaudition

Pure Pleasure Records does their customary superior job of mastering. The stereo separation is flawless. The wide range of Ranelin’s trombone tonal flexibility is captured with vibrancy. The lower end of the mix is consistent and forceful. This is an interesting jazz album by a cultural visionary 5/5

Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and...This is a welcome reissue of prime 1970s jazz from post rock/electronica label Hefty. Phil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up his own Tribe label, home to his own releases (Hefty has also re-released his first effort, A Message from the Tribe) and that of others like trumpeter Marcus Belgrave and drummer Doug Hammond.

Like other contemporary artist run labels like Strata East and Black Jazz, Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience. Soul Jazz have already put together a superb compilation of Tribe material and hopefully this release will trigger some more reissues.

Vibes From the Tribe is a fine record. The title track (here versioned three times, and I'm not complaining) is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. "Sounds from the Village" is even better (and dirtier), showcasing Ranelin's oily trombone gymnastics and a viciously fuzzed guitar solo. "Wife" features Phil's singing and is oddly reminiscent of Frank Zappa's writing on Sleep Dirt; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis.

"He The One We All Knew" is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he's not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it's good to know that Ranelin is still at work even now. Essential.

• Remastering by Ray Staff at Air Mastering, Lyndhurst Hall, London

Phil Ranelin, trombone, (vocals, percussion A3,4; B1)
George Davidson, drums (A1-5)
Lopez Leon, electric bass (A1,5)
Ron English, electric bass (A1,5)
Kenny Cox, electric piano (A1,5)
Wendell Harrison, tenor saxophone (A1-2,5), flute (A3,4)
Marcus Belgrave, trumpet (A1,5)
Ralph Armstrong, electric guitar (A2) bass (A3,4; B1)
Buddy Budson, electric piano (A2)
Barbara Huby, percussion (A2,4) congas (A4)
Harold McKinney, piano (A3,4)
Bud Spangler, percussion (4)
Tariq Abdus Samad, drums (B1)
Ken Thomas, piano (B1)
Ddaud Abdul Kahafiz, Sitar (B1)
Faruk Hanif Bey, tenor saxophone, soprano saxophone, congas (B1)

Side A:
1. Vibes From the Tribe (Prelude)
2. Sounds From the Village
3. Wife
4. For the Children
5. Vibes From the Tribe (Encore)
Side B:
1. He The One We All Knew (Part 1 & 2)

Phil Ranelin - Vibes From The Tribe - 180g LP

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
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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.

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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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