I don’t think so. Here’s Mark Wilder on the VMP pressing: AW: How long did the remaster process go for Sorcerer in specific, and the catalog in general? MW: Remastering the Sorcerer LP took a little more than a day. First, we did hi-res (24/192) flat transfers (direct from the tape) of the best available masters. These tapes have seen a few plays over the years and they are not as fresh as they have been in the past. Over the years, we have made copies for our worldwide affiliates. In the case of Sorcerer, the best tapes were copies made for the UK in 1967. They did not have as much wear as the US, original masters, so we used these. I then put on headphones and QC’d the transfers; fixing technical glitches. For this album, besides technical ticks and slight tape deterioration, I removed quite a bit of hum. This really opened the door for more clarity in the low frequency. Once I have the prepped files edited and in place in the computer, the comparative listening starts. Both Steve Berkowitz and I listen to the original pressing side-by-side with the prepped files and make decisions to match the sound. It’s all analog processing, and mostly these changes are to match the differences in the audio chains from 50 years ago and any processing that was done in mastering at the time. Once we have a sound, we print that tune and move to the next.
Wow! That's quite the stare Sonny is putting on O. Maybe the caption should be....who you callin' Sonny, sonny?
Rabih Abou-Khalil – Nafas (ECM Records) — Rabih Abou-Khalil: oud; Selim Kusur: nay, voice; Glen Velez: frame drums; Setrak Sarkissian: darabukka
The 5.0 track really does not offer anything in the way of a surround experience. The 2.0 is the way to go! I'll have to try playing it in a non-region-free player to see if it is in fact a B/2 Blu-Ray.
Sonny is a visual artist...by that I mean seeing his body swaying, swooping and moving all over the stage, and his imploring eyes riveted on the audience is an integral part of the music that the records don't capture. Many (or even most) sax players are rather motionless, but not Sonny. Then, after it is all over, he takes a brief rest before greeting his friends.
That was because Obama addressed him as Theodore. It is too bad that Sonny's wife did not live to see that day.
Pretty early in our marriage I took my wife to see Sonny here in Nashville. At that point her jazz education was in the early stages, but she enjoyed the music & was particularly taken with Sonny's stage presence. That was the third & last time I saw him, in the early-to-mid 90s.
Recorded 11/28/52, when I was five months old. With Peterson (p), Barney Kessel (g), Ray Brown (b) & J.C. Heard (d). Includes a Lester vocal on "Tea For Two", as he improvises some off-color lyrics. I love his other-worldly sound & phrasing, so "modernistic" but so rooted in the early days of jazz. 1997 CD remastered by Chris Herles at PolyGram Studios.
Another good one, recorded 1/13/56. With Gene Ramey (b) & Jo Jones (d). I was wondering why Lester on "Love Me Or Leave Me" reminded me so much of him on "Lullaby of Birdland" on a live Pablo recording until it dawned on me that the Shearing tune is based on the earlier song by Walter Donaldson & Gus Kahn. 1986 remastering by Dennis Drake. Original producer: Norman Granz.
Sonny Rollins always brings a smile to my face, but Lester always brings joy and tears together. I feel as if I met him and knew him, having spent time with some who were close to him and his son. He spent his entire life in a search for beauty. He found it everywhere, despite those demons that tried to stop him. His son insists that his life was a celebration of joy, and that is true.
I've seen Sonny a bunch of times over the years -- sometimes sitting up close in small clubs, sometimes sitting a little farther back in small theaters. I never really thought of him as a visual artist. Still don't. There's not really a visual presentation. There's no light show, slides, video, theatrical costumes, etc. Yeah he moves around a ton, yeah he whips up the audience. We were speaking before about gospel music, and there's an element that's not dissimilar to some pentecostal preachers or gospel music performers in that regard -- and he's sometimes use some of their techniques like repetition to whip people into a frenzy. You can't see Shirley Ceasar on record either. But I think you can hear the musical impact of what she's doing on the recordings even if you can see the actual movement. For me, anytime I ever went to see Sonny, the abiding need I had when I cam home was to play my instrument -- I'm primarily a pianist. I remember all the time, if I was coming home late from a show I had seen alone and my wife was asleep plugging headphones into an electric keyboard and just playing. I just wanted to play. He was such a torrential music maker, and the flow of music coming from him, not just the music that was in that flow, but the sheer, gusher-like flow of it just carried me on its rushing stream even after the show was over.
That is my understanding as well. But the differences between the VMP and MOFI reissues of Sorcerer are down to mastering (and in Wilder’s case, effects processing) and not mixing. They both use original mix down master tapes.
In exploring mode this morning. Let’s see Eric Dolphy ‘out to lunch’ Freddie Hubbard and Bobby Hutcherson?! Sign me up! Nope. Definitely not my thing.
WP Paul Desmond - Ten (RCA) Japanese cd NP McCoy Tyner - Inception (Impulse) 1997 20bit reissue. On a different note, I played John Martyn's Solid Air last night for a friend who had never heard of him/it. I think it blew his mind a bit. The album does sound very good with these radial speakers. Talk about a 3D effect, amazing, especially the title track.
Mr Lonson made a Jobim post the other day, so blame him (if you had enough of reading about this one ) for making me go back to: Getz/Gilberto, produced by Creed Taylor 1963 (1997 CD verve master edition). An all-star team of Brazil composers: Jobim, Gilberto and Vinicius + the sound of Getz. It's so easy to like it, that it's sometimes hard for me to look at it as a Jazz record. Today while reading Steve Hoffman's post on "Jazz: What made you like it ?", I remembered that Getz was the one that took me there. "O grande amor" - the solo from Stan... That's not an instrument playing, it's a voice full of feelings. Wish you could understand Portuguese so you could appreciated this album even more.
I've only tried it once and felt the same but now might be a good time for another. I mean right now I'm watching Cash Cab on TV,have The Shape Of Jazz To Come sampling on youtube and downing a bag of Ghirardelli chocolate chips....bring it on!
