Pure Pleasure Records Ltd

06/10/2025

New to Sale- Now only £16.45

25/09/2025

23/09/2025

LAST STOCK

22/09/2025

Thank you for all your orders this weekend. Great selection of Duke Ellington & Cab Calloway.

16/09/2025

LAST STOCK!
Archie Shepp & Mal Waldron : Left Alone Revisited
£‪48.80‬

LAST STOCK!

Pure Pleasure Records has done an excellent job in re-mastering Let Alone Revisited to 180-gram vinyl. The overall mix is clean and uncluttered. More importantly, it keeps the historical role of jazz in American culture alive. Robbie Gearson -Auiophile Audition

Abdolute Sound: https://www.theabsolutesound.com/articles/left-alone-revisited Jeff Wilson

Review:Archie Shepp & Mal Waldron - Left Alone Revisited - Pure Pleasure Records – Audiophile Audition (audaud.com)

Jazzwise Magazine Issue 269- Review

The net result is an engrossing journey through ballad territory by two masters who, like few others, conveyed all the romanticism and nostalgia of jazz. Its many lived-in tales of love, loss and longing. Kevin Le Grande

Format: 180 gram LP x 2 gatefold sleeve

Mal Waldron's first tribute to Billie Holiday, titled Left Alone, was recorded in 1959, mere months before the singer's death. He returned to salute the legendary vocalist on several occasions since then, with this recording likely being his final tribute, recorded less than a year before his own death. Waldron, who worked with Holiday during her last years, is intimately familiar with her takes of the six standards heard on this disc, along with her own "Lady Sings the Blues." Archie Shepp's often gritty tenor sax is reminiscent of the texture of Holiday's voice, yet he perfectly complements Waldron's lush piano.

They also pack a punch with their stark performance of "Left Alone" (Shepp's occasional reed squeaks seem deliberate, as if to imitate breaks in her voice). Waldron also recites Holiday's lyrics set to his composition at the conclusion of the LP. Shepp switches to soprano sax for an emotional take of "Everything Happens to Me" and "I Only Have Eyes for You," with the latter song sounding as if the unheard singer is being ignored by her love interest. Shepp's "Blues for 52nd Street" is both sassy and swinging. This instrumental salute to Billie Holiday is one of the best albums ever to honour her memory. by Ken Dryden/AMG

Almost 2 decades have elapsed since the

01/09/2025

New to Sale, Adele Sebastian

22/08/2025

Happy birthday John Lee Ho**er : Get Back Home
£‪45.80‬



Double lp
Recorded when Ho**er was well into his '60s "comeback," Get Back Home features the bluesman in a solo performance (a mode that best reveals the subtleties of his work). The session was recorded in France, and Ho**er must have been feeling a bit homesick, as the first song is "Get Back Home In The USA," where he describes in detail, over his trademark boogie rhythm, his return to his homeland and the joy he knows he will feel.

After this momentary ray of sunshine, though, things soon return to more familiar climes, with the bleakness of the slow blues "T.B. Is Killing Me" and the unbridled despair of "When My First Wife Left Me." Ho**er recorded this tune many times over the years, but this is one of the finest versions, plumbing the depths of shame and regret. Ho**er's raw, biting guitar work is at its best here. Even the umpteenth recording of the Ho**er chestnut "Boogie Chillen" is invested with uncommon verve. With the addition of six powerful bonus cuts, Get Back Home is both an excellent introduction into the sultry, menacing world of Ho**er and a vital addition to the collections of his hardcore fans.

Personnel: Jonh Lee Ho**er - Vocals and Guitar

Tracklist:

Side A: 1.Get Back Home In The USA 2.TB Is Killing Me 3.Cold Chills 4.I Had A Dream Last Night

Side B: 1.Love Affair 2.Little Rain 3.When My First Wife Left Me 4.Big Boss Lady

Side C: 1.Back To Your Mother 2.Boogie Chillen 3.Sitting Here Thinking 4.I Wanna Ramble

Side D: 1.Hi-Heel Sneekers 2.I'm So Worried Baby 3. I'm Going Upstairs 4.Crazy Bout You

Released: April 2006

Produced: John Lee Ho**er

Re-Mastered by: Greame Durham at The Exchange from the orginal Master tapes.

Recorded: November 30th 1969 in Pau, France at Monsestier-Lemay Studio.

Session Supervision by: Jaques Morgantini

22/08/2025

50% Off over 50 titles. Whilst stock lasts.

20/08/2025

Now only £22.90

19/08/2025

NOW ON SALE!
Lee Konitz: Inside Hi-Fi
£‪16.45‬

This excellent recording features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are "Everything Happens to Me", "All Of Me", and "Star Eyes", but all eight performances are well played and swinging.

Scott Yannow

The introduction of Konitz’s tenor during this period is emblematic of this. His premiere tenor recordings on ’56’s "Inside Hi-Fi" document how Konitz first translated the refinements of his alto conception to the larger horn, even on would-be barn burners as “Indiana” (which also features an excellent solo by pianist Sal Mosca), and began to apply the tenor’s capacity for broader, bolder strokes to such fine alto performances as the bluesy “Cork ‘N’ Bib”. The contrasts between Konitz’s alto and tenor are well-represented on “Kary’s Trance”, which includes choruses on both horns; the track is also one of guitarist Billy Bauer’s finest. Bill Shoemaker

A recent convert to Lee Konitz, the more I hear the more I like. Though he went on to record right up to the present day, the 50’s recordings are remarkably fresh, with his alto’s long fluid lines and swinging turns in direction. His alto has a refreshing lightness and his opening alto duet here with guitarist Billy Bauer on “Kary’s Trance” is a surprising sheer delight. Unusually, Konitz also picks up the tenor sax on several tracks for the first time, yielding a record with an additional layer of interest.

The selling point for me, however, was the cover. For any audiophiles out there (yes you Guy! ) the artifice of Konitz, photographed through capacitors, valves and wires in Rudy Van Gelder’s recording studio, is the ultimate Jazz Audiophile image. London Jazz Collector

Reviews: The Audio Beat b

18/08/2025

John Stubblefield: £16.45

UK VIBE REVIEW: 4/5*

"Overall, the album succeeds in capturing the essence of a journey and the memories that John Stubblefield, who left us almost eighteen years ago, together with the Bushman band wished to evoke with the recording. For a musician who attracted the attention of heavyweights Miles Davis, McCoy Tyner, Abdullah Ibrahim and Lester Bowie it sure does feel comforting to have the pleasure of his own Bushman Song on glorious 180-gram vinyl to enjoy with Stubblefield front and centre." Mark Jones

https://ukvibe.org/album_reviews/john-stubblefield/

4**** - Jazzwise Magazine - September 23

"Sad as it may be to think that not just the leader of this session, John Stubblefield- an underrated saxophonist- but also pianist Geri Allen and bassist Charnett Moffett, are no longer with us, this excellent album is a fitting memento of dear departed souls.

With material placed largely in Trane-0Tyner mode, this is music that will more than satisfy any listener who like to lend an ear to songs that have a stately, largely processional character (“East Side West Side’ is a 10-minute masterpiece) in which a concise theme, built on swooning long tones, opens up to flourishing improvisations.

Stubblefield – who was an invaluable sideman to both Tyner and Freddie Hubbard among others – Allen and Moffett all play beautifully but mention must also be made of Martiniquan percussionist Mino Cinelu who adds fine rhythmic and textual fills. An inspired session that has more than stood the test of time." by Kevin Le Gendre

Re-mastering by: Cicely Baston at Alchemy/Air Mastering

John Stubblefield was one of the most versatile musicians in jazz, an invaluable artist who expanded on the music's potential from within the tradition. Stubblefield's tenor and soprano saxophones told the story of four decades of diverse musical experience, from local R&B acts like Jackie Wilson and Solomon Burke (64) through Chicago's progressive Association for the Advancement of Creative Musicians (67- 70) to freelancing in New York with the renowned Tito Puente (72-74) and Kenny Barron (86) and everyone in between.

After moving t

18/08/2025

Cecil McBee Sextet feat Chico Freeman : Music From The Source NOW ONLY £16.45

"This overall mix is vibrant and cleaner with most ambient live “noise” eliminated. The stereo separation is excellent."

Robbie Gearson, Audiophiles Audtion

REVIEW: Audiophile Audition - Cecil McBee Sextet – Music From The Source – Pure Pleasure Records – Audiophile Audition (audaud.com)

Re-mastering by: Cicely Baston at Alchemy/Air Mastering

Recording with a sextet at the New York jazz club Sweet Basil in August 1977, McBee’s band included Chico Freeman on reeds, Dennis Moorman on piano, Joe Gardner on trumpet, Steve McCall on drums, and Famoudou Don Moye on percussion. Two complete albums of music were released by Enja Records from this engagement, the ground breaking recordings Music From the Source [1978] and Compassion [1979].

“Few groups today sound as fresh, generate as high an emotional charge, or leave as lasting an impression as McBee’s sextet,” Chris Albertson wrote upon the release of these recordings. “It is as if each member were a unique piece of a puzzle, carefully placed to complete precisely the breath taking picture intended. The music is adventurous enough to satisfy any aural daredevil who has not completely lost his or her sense of beauty, yet all the basic jazz values have been preserved with due reverence.” Chris Albertson

Tracklisting

Side A: 1. Agnez

Side B: 1. God Spirit 2. First Song In The Day

Personnel: Chico Freeman – tenor saxophone, flute

Joe Gordon – trumpet, fluglehorn

Dennis Moorman – piano

Cecil McBee – bass

Steve McCall- drums

Don Moye - conga

Produced by Cecil McBee

Recorded by Bob Cummins under difficult conditions live at The Sweet Basil, New York City, August 2,