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 ‘man at the piano’. Don Sebesky knew how to enhance the highly varied compilation *Summertime* with Paul Desmonds tenor saxophone. The numbers range from Louis Armstrongs *Struttin’ 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 Gershwin’s *Summertime* from *Porgy and Bess* is one of the most lovely and lyrical ever – 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.

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perekdick (2010-11-11)

Thank you !
Everything is perfect !!!

moocow45 (2012-06-16)

Super sound quality. Really approaches the ambiance of vinyl. well done.