AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
Pure Pleasure / Blue Note - PPAN BST50161 - 180 Gram Virgin Vinyl
AAA 100% Analogue - Audiophile Mastering by Ray Staff at Air London
Limited Edition - Pressed at Pallas Germany - Blue Note BST 50161
If you are unfamiliar with Stacey… fix that. And if you are familiar… well, I am not telling you anything here you don't already know - .Positive Feedback
"This vinyl remastering of Breakfast On The Morning Train is a perfect vehicle for Kent and her silky voice. Despite the higher pitch, there is great richness and texture. The guitars (both acoustic and electric) have a fuller resonance and complexity. As usual, the glossy packaging and gatefold cover are first-rate." — Audiophile Audition,
Stacey Kent is what men used to call a classy broad. Her elegant fashion sense and understated vocal style make her sound like a woman from another time, an unflappable sophisticate with a warm, slightly world-weary persona. She was born in the United Sates but after a trip to France, she decided to become a jazz singer. In the early '90s she landed in Oxford where she met her husband, musical director/sax player Jim Tomlinson. Tomlinson also produces Kent's albums, and this time out, he composed several charming tunes that sound like potential standards, plus collaborations with lyricist Kazuo Ishiguro, author of "Remains Of The Day". Original tunes like "The Ice Hotel" and "I Wish I Could Go Traveling Again" are full of wry humor, and Kent delivers them with her usual effortless
"This label debut confounds expectations that the singer would spend her whole career producing one finely crafted American Songbook set after another. Husband Jim Tomlinson has produced a delightful post- Peyroux album of warm acoustic jazz-pop full of gentle surprises and exotic touches. Tomlinson's four originals co-written with Kazuo Ishiguro are modest marvels of jazzy elegance." - 4 Stars - Mojo, December 2007
"This jazz disc is vocalist Stacey Kent's first recording project for Blue Note, and it's a thoroughly captivating debut." - Billboard, October 2007
"This vinyl re-mastering of Breakfast On The Morning Tram is a perfect vehicle for Kent and her silky voice. Despite the higher pitch, there is great richness and texture. The guitars (both acoustic and electric) have a fuller resonance and complexity. As usual, the glossy packaging and gatefold cover are first-rate." - Robbie Gerson, www.audaud.com, 4/5 Stars!!
After a dozen albums, singer Stacey Kent has become a household name around the world. It’s four years now since her last solo recording, and with Breakfast on the Morning Tram she leaves the Great American Songbook at home and turns out her most eclectic selection of songs yet, featuring French chansons and Jim Tomlinson originals.
Storytelling has always been Stacey’s forte, so it’s no surprise that she’s chosen a novelist, Kazuo Ishiguro, to write lyrics for her. (Husband and sax player Jim has set them to music.) The four Ishiguro songs on Breakfast On The Morning Tram are sketches of relationships, all narrated by travellers. “The Ice Hotel” is a ballad described perfectly in Stacey’s crisp, clear vocals, while the title track, also by Ishiguro, is faster-paced. Light funk and blues alternate with toe-tapping swing, and it’s packed with comfort-food rhymes (‘pancake’ with ‘heartache’!) that Stacey sings with an audible smile in her voice.
On the Franco-Brazilian “Samba Saravah”, the most upbeat track on the album, Stacey’s intimate vocals dance nimbly with the rhythm section, but Jim Tomlinson’s Getz-ish tenor is a bit pedestrian, while a laid-back arrangement of “Hard Hearted Hannah” comes across more wimp than vamp. Tomlinson’s other arrangements get it right, though, by focusing on the nuance and intimacy that suits his wife’s gossamer voice. He’s back on form with “Landslide”. Stacey makes good, folky sense of this Stevie Nicks torchsong, her dead-on pitch whispering to John Parricelli’s warm and lyrical guitar.
Stacey’s language skills are impressive on the handful of songs she sings, very convincingly, in French. “La Saison des Pluies” is a pearl of a song, Stacey’s little-girl voice shifting the pace gently forward or dragging it slightly back, to a stripped-down accompaniment by Parricelli on guitar. Another gem, “Ces Petits Riens” is treated to a tinge of Piafian vibrato and darkness, against Dave Chamberlain’s elegant plucked bass.
The material and line-up may have shifted on Breakfast On The Morning Tram (pianist Graham Harvey has replaced David Newton and John Parricelli has replaced Colin Oxley) but the product inside the packaging hasn’t changed. Stacey continues to deliver intimate ballads with perfect timing and control.
Stacey Kent - voice
Graham Harvey - piano and Fender Rhodes;
John Parricelli - guitars
Dave Chamberlain - double bass
Matt Skelton - drums and percussion
Jim Tomlinson - tenor sax, alto sax, soprano sax, flute
LP1 - Side A:
1. The Ice Hotel
3. Ces Petits Riens
LP1 - Side B:
1. I Wish I Could Go Travelling Again
2. So Many Stars
3. Samba Saravah
LP2 - Side C:
1. Breakfast On the Morning Tram
2. Never Let Me Go
3. So Romantic
LP2 - Side D:
1. Hard-Hearted Hannah
2. La Saison des Pluies
3. What A Wonderful World
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!