Pure Pleasure - PPAN SR-52116 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Limited Edition - Pure Analogue Audiophile Mastering - Roulette SR 52116
Mastered by Sean Magee at Abbey Road - Pressed at Pallas Germany
AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
If you like warmth and depth, this recording delivers Sound 9/10 Music 9/10 Michael Fremmer Stereophile
Sassy's years on the Roulette label (1960-64) have been called the legendary singer's finest hour, a time when Vaughan's musicality merged exquisitely with her unbridled vocal ardor to achieve the sublime. "Sarah Sings Soulfully", recorded at the close of that period, stands as a stunning testament to this claim - a divine collection of tracks that reveals an artist staking her soul on the rendering of each and every note, as well as the silences between them. Seductively spare, luxuriously poignant, and achingly honest all at the same time, Vaughan's vocals careen incandescently through the 12 standards presented here, swooping, sighing, and soaring with an intensity that remains unparalleled to this day. Listen to her reading of the "Just Let Our Love Take Wing" line on the version of Monk's "'Round Midnight" found here: the fat, luscious drop of the word "just", the long fermata on "love", and the dip and swell that pulls the phrase forward on "take". It's a moment of revelation - and incredibly, only one among the many that shimmer throughout this collection.
Vaughan takes unexpected, daring turns, both emotionally and physically, around every familiar melodic signpost. She’ll surprise throughout, as will Wilson’s arrangements. Both leave open spaces that seem to be dropping uncontrollably into musical chasms only to be rescued by yet another audacious, surprising recovery. Who takes these kinds of chances these days?
Sarah seems millimeters from the microphone diaphragm, where even the most fleeting of physical mistakes or emotional letdowns will be amplified but she makes not a one, investing the deepest commitment to every phrase she utters. It’s intense!
Ernie Freeman’s B-3 dominates on the right track that includes a deep, juicy keyboard driven bass line that you’ll never mistake for a stringed instrument, though there’s one there as well occasionally. It might sound distorted but that’s what it sounds like. Milt Turner’s drums are right behind. Carmell Jones’ oft-muted trumpet and Teddy Edwards’ tenor sax hold the left channel with a hollow bodied electric guitar not mentioned in the usually accurate Pure Pleasure product blurb. Sarah gets center stage and she fills every inch of it.
Sarah covers standards like “A Taste of Honey,” “What Kind of Fool Am I?” Steve Allen’s “Gravy Waltz,” “The Good Life” and a few others along with jazz titles like “Moanin’” and “Round Midnight.”
The recording is deep and pure with instruments popping dynamically out of black kissed by minor amounts of reverb. Vaughan’s voice is particularly well served by the recording. If you like warmth and depth, this recording delivers and if you’re not familiar with Sarah, this is a moody, cool period piece at the end of her Roulette Records years bound to make a life-long fan. Sound 9/10 Music 9/10 Stereophile
Sarah Vaughan's final Roulette session before going back to Mercury was one of her best. Sassy was near the peak of her powers during this era. Plus her renditions of "I Guess I'll Hang My Tears out to Dry," "Sermonette," "Gravy Waltz," "Moanin'," "'Round Midnight" and "Midnight Sun" are classics. Assisted by a sextet arranged by Gerald Wilson and including organist Ernie Freeman, trumpeter Carmell Jones and the tenor of Teddy Edwards, Vaughan is brilliant throughout this highly enjoyable reissue.
Sarah Vaughan, vocals
Teddy Edwards, tenor saxophone
Ernie Freeman, organ
Carmell Jones, trumpet
Milt Turner, drums
Gerald Wilson, arranger, conductor
1. A Taste of Honey
2. What Kind of Fool Am I?
3. I Guess I'll Hang My Tears Out To Dry
5. In Love In Vain
6. Gravy Waltz
7. The Good Life
9. 'Round Midnight
10. Easy Street
11. Baby, Won't You Please Come Home
12. Midnight Sun
Recording: June 1963 at United Recorders, Los Angeles, California
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!