AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Pure Pleasure / Candid - CJS9016 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Pure Analogue Audiophile Mastering by Ray Staff at Air Mastering London
Limited Edition - Pressed at Pallas Germany
Rights Of Swing is ambitious and compelling. The vinyl technology accentuates the layered acoustics without adding too much density to the mix. The aural quality of the horns and reeds is full and precise. There are detailed, highly technical liner notes from Woods regarding song keys, time signatures and a myriad of reference material. Sound 5/5 AudiophileAudition
Woods is joined here by Curtis Fuller, Tommy Flanagan and more for this 1961 session.
"This Candid recording is such a major success that it is surprising that altoist Phil Woods has rarely recorded in this context. The all-star octet not only features the altoist/leader but trumpeter Benny Bailey, trombonist Curtis Fuller, baritone saxophonist Sahib Shihab, the innovative French horn player Julius Watkins (a major factor in this music), pianist Tommy Flanagan, bassist Buddy Catlett, and drummer Osie Johnson.
This set consists entirely of Woods' five-part "Rights of Swing" suite, which clocks in around 38 minutes. The colourful arrangements use the distinctive horns in inventive fashion and the music (which leaves room for many concise solos) holds one's interest throughout. One of Phil Woods' finest recordings, it's a true gem." - Scott Yanow/AMG
"This outing by Phil Woods and other members of the Quincy Jones band is thoroughly stimulating. The music is compact in its effect, but with much telling work for the solo instruments. Woods is outstanding, while there is beautiful work especially by the french horn and baritone sax players. The title is a reference to Stravinsky's Rite of Spring, and a reminder, as is the music, that Woods is one of Jazz's savviest and most commanding figures." - David Saemann
After studying clarinet at Julliard (which apparently did not have saxophone curriculum), Phil Woods moved on to make a name in the jazz bebop culture. As a sideman, he played with Quincy Jones, Gary Burton, Bill Evans, Modern Jazz Quartet, Ron Carter, Thelonious Monk and Dizzy Gillespie. He even has a biographical status in popular music, contributing alto saxophone solos to Billy Joel (“Just The Way You Are”), Steely Dan (“Dr. Wu”) and Paul Simon (“Have A Good Time”).
Woods’ musical legacy remains as a band leader, recording close to fifty albums that produced four Grammys. He is capable of freewheeling improvisation, but is proficient with structured arrangement and composition. Pure Pleasure Records has re-mastered Woods’ 1961 opus, Rights Of Swing to audiophile vinyl, enabling another look at the altoist once referred to as the “New Bird”. Woods assembled a group of colleagues from the Quincy Jones (who conducted the group) Band (Benny Bailey, Sahib Shihab, Julius Watkins, Buddy Catlett and Curtis Fuller) and some other studio veterans to express the conceptual elements of his composition. The album is organized into five parts which demonstrate a variety of key signatures and tempos that are succinct, but conducive to improvisation.
Side A gets off to a rousing start on “Prelude And Part I”. The ensemble sets up an introductory theme before a cycle of solos on alto (Woods), trombone (Fuller) trumpet (Bailey) and piano (Flanagan). The soloists operate nimbly within the compositional framework. This sophisticated, bebop. swing is intricate and expressive. Woods is very fluid and Shihab provides deep shading on baritone. “Part II (Ballad)” is an exquisite, harmonic number that features inventive arrangement. During the “slight vibrato” trumpet run by Bailey, the rest of the band offers a graceful embrace around the solo. Woods’ lines are evocative, almost haunting. Flannagan chimes in with another elegant interlude before Julius Watkins takes over on French horn. The exquisite tonality of this instrument that is commonly associated with classical music adds supple texture. “Part III (Waltz)” is a bluesy ¾ time jam that showcases Woods’ versatility and the essence of group counterpoint to individual (in this case, trumpet) play.
A certain highlight, “Part IV (Scherzo)” opens Side B. Easily the longest track (over 11 minutes) of Rights Of Swing, the song combines prominent blues-infused minor keys that lead into prominent, melodic themes. A transition to big band swing is augmented by a brilliant sequence of instrumentals that includes one on doublebass (Buddy Catlett). Flanagan and the rhythm section approximate a classic jazz trio presence. But the formidable ensemble chemistry is intriguing. The finale, “Part V (Presto) revisits bebop with Afro-Cuban undercurrents, syncopated tempos and Woods’ saxophone expertise. Shahib adds an exotic touch, switching to flute, before the “big finish”.
Rights Of Swing is ambitious and compelling. The vinyl technology accentuates the layered acoustics without adding too much density to the mix. The aural quality of the horns and reeds is full and precise. There are detailed, highly technical liner notes from Woods regarding song keys, time signatures and a myriad of reference material.
Sound 5/5 AudiophileAudition
Recorded at Nola Penthouse Sound Studios, New York, January 26, and February 10, 1961.
Re-mastered by Ray Staff at Air Mastering, Lyndhurst Hall, London.
Phil Woods, alto saxophone
Sahib Shihab, baritone saxophone
Benny Bailey, trumpet
Curtis Fuller, trombone
Willie Dennis, trombone
Julius Watkins, French horn
Tommy Flanagan, piano
Buddy Catlett, bass
Osie Johnson, drums
Granville Roker, drums
1. Prelude And Part I
2. Part II (Ballad)
3. Part III (Waltz)
1. Part IV (Scherzo)
2. Part V (Presto)
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!