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Charles Rouse - Two Is One - 180g LP

Product no.: SES19746

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Charles Rouse - Two Is One - 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 / Strata East - SES-19746 - 180 Gram Virgin Vinyl 

AAA 100% Analogue - Mastered by Ray Staff at Air London

Limited Edition - Pressed  at Pallas Germany

The sound is rich and analogue, you can hear the vintage but mainly in a lack of processing. This is live, direct and often very funky. Jason Kennedy 5/5 HIFI Choice

" had the fortune of sitting down with a past treasure from the hallowed walls of Strata-East that had been given new life courtesy of the vinyl connoisseurs from Pure Pleasure. From the all-star quartet comprising of Stanley Cowell, Billy Harper, Reggie Workman and Billy Hart, their ‘Such Great Friends’ project – originally recorded back in 1983 – was given its due courtesy of being lovingly gift-wrapped for an all-new generation."Imran Mirza UK Vibe 4.5/5

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

It seems that every major jazz artist has a one-off sort of record in their discography, be it with strings, voices, spoken word or - as in this case - a foray into the funkier side of jazz. Charlie Rouse (going here as Charles Rouse) gets his chance on Two Is One, a funky soul jazz excursion on Strata-East, the artist-run label where creativity and pushing boundaries was at the forefront. Playing mostly with a group of session musicians, Rouse put together an album that may stray a bit from his hard bop roots, but is nonetheless an enjoyable and at times inventive record.

The style of music played here - sophisticated soul jazz with some post bop and spiritual jazz thrown in for good measure - is very much a product of it's time. 1974 saw a whole slew of artists stretching the boundaries of what jazz music could be, combining elements from the past two decades into electric jazz adventures. The piano-less group that Rouse put together is a funky one, with lots of rhythmic playing behind either the searching solos of Rouse on the tenor or some inventive electric guitar work from either George Davis or Paul Metzke  who appear together on all but a couple of tracks. Cal Scott gets plenty of time to shine throughout on what sounds like an electrified cello, an unusual instrument for modern jazz to be sure, but one that manages to fit in just fine here.

The first side of the album is all slow burning soul jazz, highlighted by the opening track "Bitchin'" where Rouse shows off that he is more than capable of setting down soulful lines over a funky backbeat. The second side is where the group gets a whole lot more inventive, particularly on the title track where they mix some post bop madness with the soul jazz sound. "Two Is One" features different tempos throughout: in the "first section" the bass plays in 9/8 time, the drums in 6/8 time and the cello and tenor are in 3/4 time. For the "second section" the rhythm section switches to 7/8 time while cello and tenor move to 4/4 time. Stanley Clarke is on bass here and his deep and twisty electric bass line is placed prominently up front.

"Two Is One" is certainly the highlight of the album from a pure jazz standpoint, and it lives up to it's title, which according to Gene Lewis' liner notes is taken from a Thelonious Monk phrase meaning two people so in tune with one another that they become one. The album finishes off with "In His Presence Searching," a spiritually informed jazz number that is reminiscent of the work being done during this period by the likes of Pharoah Sanders and Gary Bartz, (while not being quite as out there as their best work). The tune is all rhythmic glory, with Rouse and Scott playing introspective and penetrating solos throughout. It's a nice album closer, and a good reminder that while Two Is One may be best known for it's funkier excursions, Rouse had a few tricks up his sleeve and the album, when taken as a whole, is a complete statement from a legendary jazz musician.

Re-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London
Recorded at The Warehouse, 320 W. 46th Street NYC, 1974
 
Musicians
Charlie Rouse tenor sax, bass clarinet (B2)
George Davis guitar (A1, A3, B2)
Paul Metzke guitar
Martin Rivera bass (A1, A3)
Stanley Clarke bass (A2, B1, B2)
Calo Scott cello
Azzedin Weston conga (A1, A3)
Airto Moreira percussion (A2, B1, B2)
David Lee drums
 
Selections
Side A:
Bitchin
Hopscotch
In A Funky Way
Side B:
Two Is One
In His Presence Searching
 
Charles Rouse - Two Is One - 180g LP
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
 
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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.

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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.

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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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