AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Candid / Pure Pleasure - CJS9027 - 180 gram Virgin Vinyl - AAA 100% Analogue
Limited Edition - Pressed at Pallas Germany
Pure Analogue Audiophile Mastering by Graeme Durham at the Exchange London
Featured in Michael Fremer's Heavy Rotation in the November Sound 8/10 Music 8/10 Stereophile!
The brilliant young post-bop trumpeter Booker Little is heard here accompanied by an all-star band, including the saxophonist Eric Dolphy, the bassist Ron Carter and the drummer Max Roach, on a set that combines elements of bop and cool jazz, as well as Little's own imaginative flourishes, which display an authority and potential far beyond his mere 23 years.
I can’t get enough of these Candid reissues from Pure Pleasure. The original label was short-lived and the distribution limited. Candid was originally a subsidiary of Archie Bleyer’s Cadence Records (Bleyer had an unlikely ‘50’s hit single with “Hernando’s Hideaway” from the Broadway hit “Damn Yankees” and scored big with The Everly Brothers). The label was sold to pop crooner Andy Williams, a seemingly unlikely customer, who reissued some of both Cadence and Candid titles on his label Barnaby, distributed by Columbia Records.
In the 1980s, the label was purchased by British record producer Alan Bates, which is why when Pure Pleasure says these reissues are mastered from the original tapes, you can believe it. Listening to the astonishing sound will do the trick as well.
Producer/A&R man Nat Hentoff used Nola Penthouse studio and engineer Bob d’Orleans almost exclusively and got sonic results to match or beat anything done during that golden age by anyone, especially in terms of musical intimacy and harmonic integrity. These Candid recordings are uniformly superb sonically. Musically, they are varied and sometimes politically charged as A&R man Hentoff was an activist, particulary where civil rights were concerned.
This gem led by the soulful young trumpeter Booker Little, who died six months after it was recorded at the age of 23, also features Eric Dolphy on alto sax, bass clarinet and flute and Julien Priester on trombone. The rhythm section features his mentor Max Roach, pianist Don Friedman, and alternating on bass, Art Davis and Ron Carter. Out Front is considered by most observers to be his best session. No doubt it was his best recorded and that’s important because Little’s gorgeous tone deserves to be heard whole.
Little’s compositional strength is evident throughout. This was no jam session, though Little left plenty of room for the soloists (including himself, of course) to express themselves. Roach’s work on the opening track “We Speak,” is worth the price of admission all by itself but there are so many more outstanding solo turns on this moody, introspective set, especially on side one’s closer “Quiet Please,” where Dolphy, Priester and Friedman each make short, memorable statements before Little joins in and wraps up the tune.
Sonically, Out Front exemplifies the Nola Penthouse sound and engineer d’Orleans’s clean, intimate approach. Little’s trumpet is front and center three dimensionally and while Roach is way off to the left and Friedman a bit more hard right than you might like, the overall picture is credible and orderly, allowing each musician’s expression to stand out, while subsumed within the whole.
A superb, worthwhile reissue that’s easy to recommend for both music and sound. - Michael Fremmer Sterephile
Booker Little, trumpet
Eric Dolphy, alto, bass clarinet, flute
Julian Priester, trombone
Max Roach, drums, tympani, vibes
Art Davis, Ron Carter, bass
Don Friedman, piano
1. We Speak
2. Strength And Sanity
3. Quiet, Please
4. Moods In Free Time
5. Man Of Words
6. Hazy Hues
7. A New Day
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!