180g 200g 45rpm Box Sets.

Pee Wee Russell & Coleman Hawkins - Jazz Reunion - 180g LP

Product no.: CJS9020

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Pee Wee Russell & Coleman Hawkins - Jazz Reunion - 180g LP

£29.99

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

Description

Pure Pleasure / Candid - CJS9020 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Audiophile Mastering by Ray Staff at Air Mastering London

Limited Edition - 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

…Beautifully recorded, this stereo release sounds much fresher than the mono original I've been listening to for years. There's no artificial left-right separation, and the instrumental solos are beautifully presented – there is an enormous amount of air surrounding the vibration of the reed sound on the solos, resulting in a startling facsimile of these legends standing between the speakers, replaying these tunes…Pure Pleasure has done a great job in improving on an old master." Recording = 10/10; Music = 9/10 – Dennis D. Davis, Hi-Fi+, Issue 45

The reunion that took place in this 1961 session was between Russell and tenor-great Coleman Hawkins; they had first recorded one of the songs, ("If I Could Be with You") back in 1929. Both Hawk and Russell had remained modern soloists and on this unusual but very satisfying date (which also features trumpeter Emmett Berry and trombonist Bob Brookmeyer) they explore such numers as a pair of Ellington classics ("All Too Soon" and "What Am I Here For?"), two Russell originals, and even the boppish "Tin Tin Deo." - All Music Guide

"Based upon the diversity of music, quality of product and their extraordinary rate of progress, Pure Pleasure Records is our re-issue record company of the year."

- hi-fi+

It is strange that two such individual musicians as Pee Wee Russell and Coleman Hawkins were separated for about 32 years, but it is a fact that since 1929 they have not met in a recording studio. Pee Wee Russell's unique and sometimes mocking approach was far ahead of its time and was recognized by some as an early example of free jazz. When Coleman Hawkins recorded this jazz reunion in 1961, he ignored the statement of some that Russell was now playing modern but claimed that he had always played that way. Russell's great, imaginative improvisations remained an inspiration to later jazz clarinetists.

On this album, the whole band moves with an elasticity that can only arise if all the participating musicians are infected by the same mood. Pee Wee always plays with deep passion and Hawkins has never been heard in a better way. His masculine, robust solos are as energetic as anything he has recorded in his remarkable career. Emmett Berry's solos are examples of tasteful improvisation. Brookmeyer shows esprit and plays his solos with genius. With excellent arrangements by Nat Pierce and some carefully potted cymbals by Jo Jones, this record becomes a real beauty.

Recording: February 1961 at Nola Penthouse Studio, New York City, by Bob d'Orleans
Production: Nat Hentoff

Drums – Jo Jones

Trombone – Bob Brookmeyer

Tracklist

1. If I Could Be With You (One Hour Tonight)

2. Tin Tin Deo

3. Mariooch

4. All Too Soon

5. 28th And 8th

6. What Am I Here For

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!