Yusef Lateef - The Doctor Is In ...And Out - 180g LP

Product no.: PPANSD1685

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Yusef Lateef - The Doctor Is In ...And Out - 180g LP
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Pure Pleasure / Atlantic -  PPAN SD1685 - 180 Gram Virgin Vinyl 

AAA 100%  Analogue -  Pressed at Pallas Germany - Limited Edition

Mastered by Ray Staff at Air London - Atlantic SD 1685

Many people thought that this legendary, Detroit-born, tenor saxophonist, oboe player, bassoonist and flautist, who also played a range of esoteric instruments (what, no spoons?), was a dedicated bop or hard bop merchant but Lateef didn’t quite see it that way. He was a boundary breaker and saw himself as such. In fact, he saw himself as a free spirit. He even disliked to be pigeon-holed into a jazz corner. Maybe the reason was that this legendary player tackled world music vibes before anyone had even thought up the genre.   His talent flowed with abundance and major figures who hosted him in their bands, in the world of jazz, such as Hot Lips Page, Roy Eldridge and Dizzy Gillespie would confirm that.   He played with Charles Mingus in 1960, Donald Byrd and the Cannonball Adderley Sextet before becoming a leader of his own group. This LP was released in 1976 with Lateef lifting his favourite world music constructions and evolving each to new sophisticated heights with layers of complexity in musical construction but also in terms of instrumentation (he used a synth here to create musique concrete constructions) that extended and honed their minor key impact to the listener. The task was a big one, though, which meant that the musicians used would be numerous and included talent such as Kenny Barron, Ron Carter, Al Foster, Billy Butler and more.  Mastering has a wonderfully under-stated feel to it. Almost as if the mastering has been mainly hands-off in terms of its affect and application. This is a ‘good thing’ because this recording is already awash with detail. I expect, at the the very least, that the music has been cleansed and shined up a bit to aid clarity. Wholly strange but wholly wonderful. - Paul Rigby Theaudiophileman 

In 1976, Yusef Lateef's as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as Eastern Sounds, Cry!/Tender, and Other Sounds, brought to bear in much more sophisticated, complex, and grooved-out ways -- after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef's interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary.

For this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways. There's the deep minor-key meditation on blues and evolving thematic variations on "Hellbound" that becomes a Latin funk tune; the airy, contemplative, and skeletal "Mystique," which may use a repeating rhythmic phrase but explores every inch of its margins via a string section and Lateef's flute solo; the smooth, urban, bluesy funk of "Mississippi Mud"; the completely out electronic musique concrète of "Technological Homosapien" that becomes a series of synth squeals and an erratically tumbling bassline; and the wonderfully warped mariachi variation (sung in white-boy English) that featured the band playing bluesy hard bop over an age-old recorded track on "In a Little Spanish Town."

It's a weird way to end a record, but then, it's a weird and wonderful record.

• Re-mastering by Ray Staff at Air Mastering at Air Mastering, Lyndhurst Hall, London

Musicians:

Yusef Lateef, Alto Saxophone, Tenor Saxophone, Flute, Oboe, Flute(bamboo) 
Jimmy Buffington, French Horn
Billy Butler, Guitar 
Anthony Jackson, Bass 
Robert Cunningham, Bass
Ron Carter, Bass 
Kenneth Barron, Keyboards
Al Foster, Drums 
Dom Um Romao, Percussion 
Dana McCurdy, Synthesizer 
Jack Jeffers, Trombone 
Joseph Wilder, Trumpet
Leonard Goines, Trumpet
Jonathan Dorn, Tuba

Selections:
Side A:
1. The Improvisers 
2. Hellbound 
3. Mystique

Side B:
1. Mississippi Mud 
2. Mushmouth
3. Technological Homosapien 
4. Street Musicians 
5. In A Little Spanish Town (T'was On A Night Like This)

1976 Atlantic Recording Corporation

Yusef Lateef - The Doctor Is In ...And Out - 180g LP

 

 
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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

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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