180g 200g 45rpm Box Sets.

Sonny Rollins & Coleman Hawkins - Sonny Meets Hawk - 180g LP Mono

Product no.: LPM2712

£29.95

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Description

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Pure Pleasure / RCA - LPM-2712 - 180 Gram Virgin Vinyl -

Pure Analogue Audiophile Mastering by Ray Staff at Air Mastering London

Limited Edition - Pressed at Pallas Germany

Any serious jazz tenor sax fan, owes themselves a listen to this momentous meeting between Sonny and the Hawk in glorious remastered audiophile mono. It’s Ali vs. Frazier, with each retaining their championship belts. Sound 5/5 Audiophile Audition

This is a memorable meeting of a pair of genial giants – Sonny Rollins, who has been called again and again the boss of the modern tenor sax, and Coleman Hawkins, who is the father of jazz saxophone playing.

Each has made enormous contributions to jazz improvisation, beyond the limits of his instrument. The sum total of their work forms the impressive foundation for this once-in-a-lifetime album.

This recording is extraordinary in every sense, and not merely in that it marks the first time (except for a brief on-stage appearance at the 1963 Newport Jazz Festival, which inspired this studio recording) that these great musicians have played together. Each has blended his own strong personality with the other’s, yet neither has lost his individuality. Where one reaches into the other’s 'bag', it is done with musical logic and respect; always, the goal of a cohesive duet relationship is uppermost in each of their minds. And perhaps the most extraordinary aspect of this album is that neither musician plays safe; each exercises his powerful imagination throughout, running all the risks entailed in daring improvisation – but gaining also the satisfactions inherent in such an approach.

Throughout a career that spanned more than 40 years, Coleman Hawkins consistently maintained a progressive attitude, operating at or near the cutting edge of developments in jazz. If Hawk's versatility came in handy when he backed Abbey Lincoln during Max Roach's 1960 We Insist! Freedom Now Suite, he took on an assignment of challenging dimensions when in 1963 he cut an entire album with Sonny Rollins in the company of pianist Paul Bley, bassists Bob Cranshaw and Henry Grimes, and drummer Roy McCurdy. Coleman Hawkins and Sonny Rollins each virtually defined the tenor saxophone for his respective generation. To hear the two of them interacting freely is a deliciously exciting experience. Hawkins is able to cut loose like never before. Sometimes the two collide, locking horns and wrestling happily without holding back. For this reason one might detect just a whiff of Albert Ayler's good-natured punchiness, particularly in the basement of both horns; such energies were very much in the air during the first half of the 1960s. Rather than comparing this date with the albums Hawkins shared with Ben Webster (1957), Henry "Red" Allen (1957), Pee Wee Russell (1961), or Duke Ellington (1962), one might refer instead to Hawk's wild adventures in Brussels during 1962 (see Stash 538, Dali) or Rollins' recordings from around this time period, particularly his Impulse! East Broadway Run Down album of 1965. Check out how the Hawk interacts with Rollins' drawn-out high-pitched squeaking during the last minute of "Lover Man." On Sonny Meets Hawk!, possibly more than at any other point in his long professional evolution, Hawkins was able to attain heights of unfettered creativity that must have felt bracing, even exhilarating. He obviously relished the opportunity to improvise intuitively in the company of a tenor saxophonist every bit as accomplished, resourceful, and inventive as he was.

Since the 1963 recording of Sonny Meets Hawk was an old school meeting between the modern jazz tenor giant, and the pre-bop father of the jazz tenor, Pure Pleasure Records on their audiophile LP edition decided to stay old school. They are issuing a remastered mono version instead of stereo, as well as sticking to the original six tracks featuring Sonny and Coleman, and not including the additional three tracks included on the stereo CD issue on RCA. Those tracks had Don Cherry on trumpet taking the place of Hawk.

Except for a brief appearance together at the 1963 Newport Jazz Festival, the July 1963 session was the first time these two jazz legends had ever played together. The RCA stereo issue had Hawkins on the left channel and Rollins on the right channel during duo passages. The mono issue, however, will keep listeners on their toes.

“Yesterdays” is notable for the Hawkins’ fast phrasing on the third chorus, and Sonny’s higher register response. It is usually easy to pick out each horn as Hawkins playing is vibrato heavy. Coleman has lead on “All the Things You Are” and Rollins plays a counter melody. You can sense the fun they had together, not participating in a “cutting contest” but rather playing off each other and being on their “A” game – the youngster holding his own with the master. Paul Bley, on piano, is a fine choice, as he can play in or out, comping, or being creative when soloing. On “All the Things” he has an extended solo showing his talents.

One thing is quite clear on this audiophile LP is that it is among the finest issues for fidelity of any recent Pure Pleasure LP. The horns are truly sharp and crystal clear. It’s as if these two titans are playing a private concert for you, each showing you their mastery of the tenor. When they blend their horns it is simply astounding.

On “Summertime” Sonny hints at the melody in his opening statement, followed by Hawk’s passionate response. Henry Grimes’ solo on this track is assertive, and as intense as the two tenors. “Just Friends” finds Rollins and Hawkins in a bit of push and pull as they each take command at different times before playing under and over each other. “Lover Man” is one of the highlights of their meeting as a little gun slinging goes until Hawk restates the theme before the final chorus.

Musicians:

Sonny Rollins, tenor saxophone

Coleman Hawkins, tenor saxophone

Paul Bley, piano

Roy McCurdy, drums

Henry Grimes, bass (A3,B1,B3)

Bob Cranshaw, bass (A1,A2,B2)

Selections:

Side A:

1. Yesterdays

2. All the Things You Are

3. Summertime

Side B:

1. Just Friends

2. Lover Man

3. At McKie's

Recorded July 1963 in RCA Victor's Studio B, New York City. Mickey Crofford und Paul Goodman Production: George Avakian

ORIGINAL MASTER TAPES

AAA 100% ANALOGUE

We use the Original Tapes and work with only the Best Mastering Studios

PALLAS

Plated and Pressed at Pallas in Germany on 180 gram Virgin Vinyl

Highest Quality Jackets and Inner Sleeves

LIMITED EDITION

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!

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