[SACD-R][OF] Duke Ellington & His Orchestra - Masterpieces by Ellington - 2014 (Swing)

Duke Ellington & His Orchestra Masterpieces by Ellington Формат записи/Источник записи: [SACD-R][OF] Наличие водяных знаков: Нет Год издания/переиздания диска: 1951/2014 Жанр: Swing Издатель(лейбл): Analogue Productions Продолжительность: 00:55:38 Наличие сканов в содержимом раздачи: Нет Треклист: 1. Mood Indigo 2. Sophisticated Lady 3. The Tattooed Bride 4. Solitude 5. Vagabonds 6. Smada 7. Rock Skippin’ at the Blue Note Контейнер: ISO (*.iso) Тип рипа: image Разрядность: 64(2,8 MHz/1 Bit) Формат: DSD Количество каналов: 2.0 MONO Доп. информация: Analogue Productions – CAPJ 4418 SA (2014) recorded at Columbia’s 30th Street Studio. Released in 1951. Recording engineers Fred Plaut & Harold Chapman. Recorded on an Ampex 200, using 3M-111 magnetic tape running at 15 inches per second. Источник (релизер): ManWhoCan (PS³SACD)   Состав Duke Ellington, piano Billy Strayhorn, piano Russel Procope, saxophone Paul Gonzalves, saxophone Johnny Hodges, saxophone Jimmy Hamilton, saxophone Nelson Williams, trumpet Andrew Ford, trumpet Harold Baker, trumpet Ray Nance, trumpet William Anderson, trumpet Quentin Jackson, trombone Lawrence Brown, trombone Tyree Glenn, trombone Mercer Ellington, horn Sonny Greer, drums Wendell Marshall, bass Yvonne Lanauze, vocals     Об альбоме (сборнике) This SACD has the long-hidden full tracks. Not constrained by vinyl limits as when 1st released, these tunes are like being in a nightclub with the band. Well worth getting. A historic record — recorded just 4 years removed from the dawn of the analogue tape era! Remastered by Ryan Smith at Sterling Sound from the original analogue tapes. Recorded originally for Columbia on an Ampex 200, using 3M-111 magnetic tape running at 15 inches per second. Praise for the Analogue Productions LP version of Masterpieces: “Most highly recommended (the record is now on the QRP presses). It’s 1 of my ‘Records to Die For’ in the February 2015 Stereophile. You won’t have to die to get a copy. $30 will do & it’s well worth the money. A true classic both musically & sonically & a historical work of art you can now own.” — Music = 11/11; Sound = 11/11 — Michael Fremer, AnalogPlanet.com. “The best album ever made by Duke Ellington, which is to say, 1 of the best albums in jazz — is also one of his least known. … now, a leading audiophile record label, Analogue Productions of Salina, Kansas, has brought it out on pristine vinyl (it’s also, despite its vintage, 1 of the best-sounding jazz albums ever), & the time has come to take notice. … the new, remastered Analogue Productions LP, which is to the CD as a high-def television is to a circa-1980 Trinitron. Played on a good sound system, it’s a sonic time machine, hurling you into Columbia’s 30th Street Studio with the Ellington orchestra. Horns sound brassy, drums smack, cymbals sizzle, you hear the air pass through the woodwinds. When saxophones play in harmony, the overtones bloom like a sonic bouquet; when the musicians take a quarter-note pause, you hear them breathe in.” — Fred Kaplan, Slate, Dec. 9, 2014 “Mood Indigo,” “Sophisticated Lady,” “The Tattooed Bride” & “Solitude” recorded at Columbia’s 30th Street Studio on Dec. 19, 1950. Masterpieces By Ellington shines from an astonishingly brief period of history that gave the recording industry 2 of its greatest achievements — the introduction of magnetic tape recording & the 33 1/3 LP, or long-playing record. Four years. That’s all it took to go from the discovery by Americans, of German advancements in the field of sound recording, to the marketing of tape decks in the U.S. by the Ampex company, to Columbia’s unveiling of its 12” LP, & the 1st long-playing record to be sold to consumers. The 4 selections contained here catapulted the Maestro Ellington into the LP era, as the great composer/arranger/pianist & his matchless orchestra took full advantage of the possibilities afforded by magnetic tape recording & the still-new 33 1/3 RPM LP to, for the 1st time, capture uncut concert arrangements of their signature songs. BONUS TRACKS: On “Vagabonds” the personnel is Francis Williams, Harold Baker, Willie Cook, Clark Terry, Ray Nance (trumpet). Quentin Jackson, Britt Woodman & Juan Tizol (trombones). Willie Smith, Russell Procope. Jimmy Hamilton, Paul Gonsalves, Harry Carney (saxophone & clarinet). Duke Ellington, piano. Wendell Marshall (bass) Louie Bellson (drums). Recorded at Columbia’s 30th Street Studio on Dec. 11, 1951. On “Smada” & “Rock Skippin’ At The Blue Note” the personnel is Nelson Williams, Harold Baker, Ray Nance, Andrew Ford (trumpet). Quentin Jackson, Britt Woodman, Juan Tizol (trombones). Willie Smith (alto sax, soprano sax). Russell Procope (alto sax, clarinet). Jimmy Hamilton (tenor sax, clarinet). Paul Gonsalves (tenor sax). Harry Carney (baritone sax). Billy Strayhorn (piano). Wendell Marshall (bass). Louie Bellson (drums). Recorded at Columbia’s 30th Street Studio on Aug. 7, 1951. Note: The reverb heard on these 2 selections were in the original recordings. This album wouldn’t have been possible without a chain of events starting at the end of World War II. Recorded in December 1950, just 5 years after Germany fell to the Allies, revealing the Germans’ advances in magnetic tape recording, Ellington’s master work holds its wonder still today & the recording quality hands-down betters the sound of many modern-day albums. 1944-45: Magnetic tape for sound recording spread to America after an American soldier, Jack Mullin, serving with the U.S. Army Signal Corps in the final months of WW II, received 2 suitcased-sized AEG ‘Magnetophon’ high-fidelity recorders & 50 reels of Farben recording tape that had fallen into American hands via the capture of a German radio station at Bad Nauheim. German engineers had perfected the technique of using Alternating Current bias — the addition of an inaudible high-fequency signal (from 40 to 150kHz) — to improve the sound quality of most audio recordings by reducing distortion & noise. 1947: Mullin became an American pioneer in the field of magnetic tape sound recording, after working to modify & improve the machines. He gave 2 demonstrations of the recorders at Radio Center in Hollywood in October 1947. A later demonstration for singer/entertainer Bing Crosby led to the use of magnetic tape for recording Crosby’s radio programs. Crosby became the 1st star to use tape to pre-record radio broadcasts. 1948: Crosby invested $50,000 in local electronics firm, Ampex, & the tiny 6-man concern soon became the world leader in the development of tape recording. Ampex revolutionized the radio & recording industry with its famous Model 200 tape deck, developed directly from Mullin’s modified Magnetophones. Units marked serial No. 1 & 2 were delivered in April 1948 in time to record & edit the 27th Bing Crosby show of the 1947-48 season. A 200A at the time retailed for $4,000 — nearly as much as a standard single-family home. Crosby gave 1 of the 1st production tape decks to musician Les Paul, which led to Paul’s invention of multitrack recording. The first production model 200A recorders were delivered to ABC & placed in service across the country. This marked the 1st widespread professional use of magnetic tape recording. Working with Mullin, Ampex rapidly developed 2-track stereo & then 3-track recorders. Mullin & Ampex developed a working monochrome videotape recorder by 1956. Here’s where it gets really interesting, as The Duke & history made matchless audiophile magic. It took Columbia Records until December 1950 — 2 years into the LP era, & the transition from disc to magnetic tape recording, to get Duke Ellington & his orchestra into the recording studio to cut a long-playing record. June 1948: Vinyl LPs had taken over as the standard for pressing records by the 1940s; in 1948 Columbia Records introduced its 12-inch Microgroove LP or Long Play record, which could hold at least 20 minutes per side. The 1st classical long-playing record, & the 1st 12″ LP of any kind— catalogue no. Columbia Masterworks Set ML 4001— was Mendelssohn’s Concerto in E Minor for Violin & Orchestra, Op. 64, played by violinist Nathan Milstein with the Philharmonic Symphony Orchestra of New York, conducted by Bruno Walter. December 19, 1950. Masterpieces by Ellington recorded at Columbia’s 30th Street Studio. Released in 1951. Recording engineers Fred Plaut & Harold Chapman. Recorded on an Ampex 200, using 3M-111 magnetic tape running at 15 inches per second. (3M-111 tape was also introduced in 1948, the year the Model 200 debuted). Suddenly, for the first time in his career, Ellington was able to forgo the 3 minutes-&-change restrictions afforded by the short running time of the 78 RPM disc. He & his band rose to the occasion with extended (11-minute plus) ‘uncut concert arrangements’ of 3 of his signature songs — “Mood Indigo,” “Sophisticated Lady,” with evocative vocals by Yvonne Lanauze, as well as “Solitude.” Masterpieces was also notable for the debut of the full-bodied, surprise-laden “The Tattooed Bride,” & for the swansongs of 3 Ellingtonian giants of longstanding: drummer Sonny Greer, trombonist Lawrence Brown & alto saxist Johnny Hodges (the latter 2 would eventually return to the fold). Masterpieces is a revelation & a throwback to a golden recording age. So much history & so much luck combined make this album truly special. “Even in this august company, ‘The Tattooed Bride’ is a swinging virtuoso piece that, as everyone present must have known, couldn’t possibly have been captured in this manner in any era before this session — this was also 1 of the last sessions to feature the classic Ellington lineup with Johnny Hodges, Lawrence Brown, & Sonny Greer, before their exodus altered the band’s sound, and so it’s a doubly precious piece (as is the whole album), among the last written specifically for this lineup.” ~AllMusic.com Note: The Bonus Tracks presented here were recorded with additional personnel at subsequent sessions.     Disclaimer / Отказ от ответственности Скачивая приложенные файлы, вы соглашаетесь, по крайней мере, с одним из нижеперечисленных пунктов: - вы являетесь законным владельцем SACD, аналогичного тому, с которого снята эта копия, и загружаете копию с целью архивирования, - вы являетесь законным владельцем легальной копии данного произведения, выпущенного на другом носителе (CD, DVD, Vinyl, альтернативный SACD и др.) или приобретенного вами в виде копии, предоставляемой для загрузки через сеть Интернет, и загружаете данные файлы по причине того, что данный SACD более не производится и/или недоступен в вашем регионе, - вы имеете намерение приобрести оригинальный SACD и загружаете данные файлы с целью предварительного ознакомления перед покупкой. 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