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

Pure Pleasure / Tribe - PRSD-2212 -  180 Gram Virgin Vinyl - AAA 100% Analogue

Audiophile Mastering by Ray Staff  at Air Mastering London

Limited Edition - Pressed  at Pallas Germany - 

Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul - Intense soul-jazz. Recommended.

Oe of the rare early albums on the Detroit based Tribe label, now made legendary by the compilations on Soul Jazz and PVine. Tenor player Wendell Harrison leads a group that includes Marcus Belgrave, Charles Eubanks, and Phil Ranelin, and which features occasional poetry by the "Black Messengers". The groove is laidback and spacey, with some nice electric piano, and good mellow solos that have a nice soulful vibe to them. Other parts of the album are a little bit more out, and have a sharp edge to them. Tracks include "Mary Had An Abortion", "Angry Young Man", "Consciousness", and "Rebirth". Wild cover, too! 

"The Tribe is an extension of the tribes in the villages of Africa, our mother country. In Africa everyone had a talent to display. There were no superstars; just people and collectively all the people of the village played a vital role in shaping that culture. We see all the black communities within this country as villages and the tribes are the people residing within them. The Tribe is composed of creative artists from the Metropolitan Detroit area who have travelled extensively with many well known musicians and have returned with the intention of sharing these experiences with our people in order to broaden the cultural base in this city. They are some of the most original and creative artists in the area. We hope to bring out points, situations, and events that are happening in our communities by way of music, poetry, and dance and rapping to the people. You see pure music must reflect the environment that we live in if it is to be educational and beneficial to our culture. It must portray our way of life.  At this point in our history, harmony for the most part, is not reflected in our communities.

There’s a lot of rebellious tension and discord, even though we have some groovy or harmonious moments along the way. There are many people within this society, black and white, who don't understand what is happening in regards to the direction the black musicians are moving toward. Our music is reflecting more so than ever before the stress, tension, and discord that is taking place within our communities along with the positive and harmonious things happening. This is evident when one listens to the music of composers like the late the late John Coltrane, Archie Shepp, Ornette Coleman, and the late Albert Ayler. These guys understand the relationship between art and culture and they took the total vibrations, positive and negative of the whole culture and served as amplifiers or speaker systems through the arts. You cannot divorce art from its root culture and expect it to be relevant for both the artist and his culture.

The compositions we play are reflective of the music of our times whereby we play Jazz, Rock, and African music with its poly or many rhythms. I wrote all the tunes on this particular L.P. and it is written as a suite in 5 movements which means that the music can be performed along with poetry and dancers. On our last L.P. called “Message From The Tribe” we featured the compositions of our very talented composer, arranger, and trombonist Phil Ranelin. On one side he wrote all the compositions and on the flip side I wrote all the tunes. This album was produced by us on the Tribe record label. As far as the music on “Evening With The Devil” is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theatre group in Detroit called The Black Messengers.”

Extract from the sleeve notes of this album by Wendell Harrison.

Musicians:
Wendell Harrison, tenor sax & miscellaneous instruments
Marcus Belgrave, flugel horn & miscellaneous instruments
Charles Moore, trumpet & miscellaneous instruments
Will Austin, bass
Charles Eubanks, electric piano & miscellaneous instruments
Ike Daney, drums & miscellaneous instruments 
Phil Ranelin, trombone & miscellaneous instruments
Oba, poetry
Vajava, poetry

Selections:
Side A:
1. Mary Had An Abortion
2. Where Am I
3. Vol II Angry Young Men – Part I
Side B: 
1. Vol II Angry Young Men - Part II
2. Consciousness
3. Rebirth

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