Paul Desmond - Summertime (1969) [Vinyl-180g]-aksman

Paul Desmond - Summertime [Speakers Corner 180g LP] 24-bit/96kHz
Posted By : aksman | Date : 17 Oct 2010 11:46:50 |


Paul Desmond - Summertime
Speakers Corner 180g LP (A&M/ CTI SP-3015)
Mastered by Willem Makkee @ EBS, Hannover
Vinyl rip in 24-bit/192kHz | FLAC | m3u, cue & Tech Log
Artwork | 840 mb |& Filefactory | Jazz | 1969

Allmusic.com rating: 4.5 / 5

The result is a beautifully produced, eclectic album of music that revives Desmond's *bossa antigua* idea and sends it in different directions, directly toward Brazil and various Caribbean regions, as well as back to the jazzy States.
- Richard S. Ginell/AMG



Seventeen years a member of the Dave Burbeck Quartet, a long and highly successful career, thousands of miles of travelling all over the globe, more than 50 LPs, and that all-time favourite *Take Five* to boot - and then Paul Desmond decides to go it alone in 1967! Unfortunately, he was granted only a few years in which to concentrate on his solo career before his untimely death - and we fans have only a few LPs to listen to and enjoy his soft and gentle timbre and his rhythmic qualities which, thank heavens, are not dominated by the ΓΓé¼╦£man at the pianoΓΓé¼Γäó.
Don Sebesky knew how to enhance the highly varied compilation *Summertime* with Paul Desmonds tenor saxophone. The numbers range from Louis Armstrongs *StruttinΓΓé¼Γäó with Some Barbecue* (Satchmo would probably have some trouble in recognizing his theme!) to the Beatles White Album and *Ob-La-Di, Ob-La-Da*. Film music such as *Lady In Cement* and the waltz *Someday My Prince Will Come* offer Paul Desmond an opportunity to display his talents and to sparkle with his special hallmark of playing tricky 5/4 and 7/4 metres.
The climax he has reserved for the final number: his version of GershwinΓΓé¼Γäós *Summertime* from *Porgy and Bess* is one of the most lovely and lyrical ever ΓΓé¼ΓÇ£ and completely free of schmaltz.
This CTI album from Paul Desmond is, despite the large number of horns, a real pleasure - thanks to that magician in the recording studio, Rudy von Gelder, whose genius has captured this large ensemble on tape for our enjoyment.



Track listing

A1 Samba With Some Barbecue 4:20
A2 Olvidar 5:30
A3 Ob-La-Di, Ob-La-Da 2:10
A4 Emily 4:45
A5 Someday My Prince Will Come 3:05

B1 Autumn Leaves 3:00
B2 Where Is The Love? 5:30
B3 Lady In Cement 3:06
B4 North By Northeast 4:30
B5 Summertime 4:00



Credits

Bass - Frank Bruno (tracks: A3) , Ron Carter
Drums - Airto Moreira (tracks: A1, B3) , Leo Morris
French Horn - Jim Buffington , Ray Alonge , Tony Miranda
Guitar - Bucky Pizzarelli (tracks: A3) , Eumir Deodato (tracks: B3) , Jay Berliner (tracks: B2, B3, B5) , Joe Beck (tracks: A1)
Piano - Herbie Hancock
Saxophone - Paul Desmond

Notes

Recorded at Van Gelder Studios
Rudy van Gelder, Engineer
Recorded October 10, 16, 24;
November 5, 20; December 26, 1968


Technical Log

RCM Hannl limited with Rotating Brush
Music Hall MMF 9.1 Turntable
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge: Nagaoka MP-500
Brocksieper Phonomax (Tube Phono PreAmp)
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5
WaveLab 6 recording software
iZotope RX Advanced 1.21 for resampling and dithering

Vacuum cleaning - TT - Brocksieper Phonomax - E-MU 0404 - WaveLab 6 (24/192) - manual click removal - analyze (no clipping, no DC Bias offset) - converted to 24/96 (16/44.1) with iZotope RX Advanced 1.21 - split into individual Tracks - FLAC encoded (Vers. 1.21)

No silence been removed, please burn gapless to match original tracklayout.


Personal Note

With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high.