rudy van gelder sound

Yes, when I hear some of this stuff, I'm re­minded of all the problems I had, particu­larly on these outtakes. Initially this was a project intended for Izaak, my son, who’s only two years old right now, but I think they’d be quite interesting for any true classic bop and hard bop jazz lovers. I feel that way very often myself, the way you described, being able to hear the music better than ever. This blog posting features a collection of six articles on George Russe... , copyright protected; all rights reserved. That coincidence sent me immediately to my vinyl reissue of “Speak No Evil,” which Mr. I would recommend to all musicians: Don't let the outtakes get out of your hands. The sound on Blue Note’s albums had a “presence” that wrapped the listener in an audio environment which was dynamic and vibrant. I don't even think of it that way. But what you hear on “Moment’s Notice,” which was taped to two-track mono, shows how he could evoke a band’s sound in physical space. You're familiar with his. There was a long period of time parallel to those years when I was working for Vox, a classical company. label. I treat every session ... every session is important to me. But in ret­rospect, the Prestige recordings of Miles Davis, the Red Garland with Philly Joe Jones, the Jackie McLean and Art Taylor, the early Coltrane—sessions like that—turned out to be equally if not more important. Though Van Gelder’s sound defines the classic age of the jazz LP, he had no vinyl-centered nostalgia in the digital era. Did he have you splice solos? Yet jazz was among the first music to be electrically recorded, and quickly became a specialty among audio engineers. Here's another   JazzProfiles  editorial staff  effort to bring separate postings, in this case, the eleven chapters of Bob Gordon'... © -Steven Cerra, copyright protected; all rights reserved. So, we should honor Rudy Van Gelder perhaps not so much as a wise and knowledgeable wizard, but as a sort of nerdy jazz fan turned “hi-fi” anorak who found a way to stop time and translate a charismatic performer's extemporaneous expressions into a sort of anodyne audio duende recognizable to anyone. Rudy Van Gelder created that uncanny sound on tape, and when Miles moved on to Columbia Records he insisted that the elite, erudite professional engineers there re-create it — over their dead bodies. Savoy, Riverside, and other labels all employed Van Gelder, but it was Blue Note that became most closely identified with his particular sound. Richard Cookcalled Van Gelder's characteristic method of recording and mixing the piano "as distinctive as the pianists' playing" itself. Scroll Down. Most recording studios do not get involved in this process. These mastering decisions on reissues are being made by someone else, someone affiliated with the company who now owns the material. Hackensack quickly became a familiar, comfortable destination for musicians and producers who were happy to get away from the city and its distractions and depredations.

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