AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Pure Pleasure / Roulette - PPAN SR52056 - 180 gram Virgin Vinyl - AAA 100% Analogue
Limited Edition - Pure Analogue Audiophile Mastering - SR52056 Roulette
Mastered by Sean Magee at Abbey Road - Pressed at Pallas Germany
In this re-release we hear not only a brilliantly acting Count Basie Orchestra, but we actually experience it - how it stomps and rages, the dust stirs and blows the listener away the brain. The recording is from 1960 and has been released in the original at Roulette, the mentioned reissue comes from Pure Pleasure.- Must Have Records LP Magazine
This is ambitious music from the two greatest large ensembles in jazz history ] and the presentation and sound of these reissued LPs are top notch.” – John Crossett, www.theaudiobeat.com, 4/5 Music, 4/5 Sound!
A whole record devoted to Benny Carter – an altoist, composer and bandleader in his own right – by Basie, one of the most important and significant swing bandleaders ever. Recorded over two sessions in 1960, in Los Angeles, California, the 10 original songs form a suite and link to Basie’s past; specifically, the clubs that he played during the 30s. The band, including Thad Jones, Sonny Cohn and Basie himself on piano, swings beautifully over a rich arrangement that reveals the light and shade of raw, big band power and Basie’s own delicate keyboard touch. 5/5 RecordCollector
A session from 1960 with Basie and his Orchestra on absolute top form. It's hardly surprising when you see the line up of star players and also the fact that every single selection was written by Benny Carter.
The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions.It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to. He has written an original modern jazz suite that is flavored with the elements of Kansas City stomp jazz, and tailored for the big brash sound of the Basie band of today
To Benny Carter, the different streets and places in Kansas City, where so many of these jazz greats lived and worked, and where so much of jazz history was written, evokes a mood, a rememberance of things past. He has, for this reason, titled the selections of this suite after these very same streets and places. The Kansas City of the '20s and 30s is now a legend, and the music that saw it's beginnings there has since developed and moved into the mainstream of today's jazz. It has reached its full maturity and greatness in the music of Benny Carter, and through the dynamic force of the great Basie band!
''The Kansas City that Count Basie found himself in had become the hard core of vital new jazz. It was a place where the musicians who expressed this new jazz could, from night through morning, and on again the next night, sit in on numerous jam sessions. It was a place where musicians like Walter Page, Benny Moten, Lester Young, Ben Webster, Andy Kirk, Coleman Hawkins and many more, could be found working, experimenting and Living their music. This was Count Basie's Kansas City, and this is the Kansas City that Benny Carter has dedicated this music to." - from liner notes
These two 1960 sessions gave Benny Carter a unique chance to write a full program for Count Basie's orchestra. Arranged as a type of suite, the ten originals pay tribute to the various Kansas City clubs that were active in the '30s when Basie was a resident. The band swings throughout as usual, with concise solos adding color to this memorable modern session.
Classic big band swing
Musicians:
Sonny Cohn
Thad Jones
Joe Newman
Henry Coker
Al Grey
Benny Powell
Marshall Royal
Frank Wess
Billy Mitchell
Frank Foster
Charles Fowlkes
Count Basie, piano
Freddie Green, guitar
Eddie Jones, bass
Sonny Payne, drums
Selections:
1. Vine Street Rumble
2. Katy Do
3. Miss Missouri
4. Jackson County Jubilee
5. Sunset Glow
6. The Wiggle Walk
7. Meetin' Time
8. Paseo Promenade
9. Blue Five Jive
10. Rompin' At the Reno
Recorded at United Recorders, Los Angeles, California on September 6 & 7, 1960.
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!
