Jazz

Holdsworthian said:
Well, it may have started with the master tapes, but it's definitely a marketing tactic. Lots of verbal gymnastics here:

"Original Scotch 201 master tape playback was done with a Mike Spitz, ATR Services rebuilt Ampex ATR100 series tape machine equipped with new Flux Magnetics heads using the finest Aria (David Neill – Cranesong) discrete class-A reproduce amplifiers. A Maselec MTC-2 transfer console was used for analog routing and monitor control. Audio was monitored using main ATC SCM-150 and alternate Ocean Way HR4-S tri-amplified monitor speakers. Clicks and hum were fixed using iZotope RX-7 audio restoration software running at 384 kHz sampling rate, 32 bit floating point. New analog cutting master tapes were recorded using the same ATR100 series tape machine precisely calibrated for use with Recording The Masters SM911 low print, high output tape, at 15 IPS, 2-track stereo. Merging Horus digital to analog converters at 384 kHz sampling rate were used to reproduce the restored audio. There is virtually no loss in sound quality from the original analog recording when using this extremely high resolution digital setup for restoration work. The frequency range of 10 Hz – 192 kHz of such a system is even capable of preserving the residual bias signal from the original tapes and is well over twice the audio frequency range that can be recorded onto analog tape. The dynamic range of more than 120 dB is also much greater than the dynamic range of typical analog tape, which is about 90 dB. The new analog master tapes for lacquer cutting retain the warmth of analog audio but with underlying imperfections in the original source corrected."

Regardless, very interested but it is awfully expensive at $39 shipped. I mean, the price is VMP high.
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Hardly a marketing tactic, but a high level of transparency.

Why get the analog tapes and go through the trouble and expense of making such a high quality transfer only to transfer that back to tape?

The answer is, the original tape is in terrible shape. This is not a major label tape, well stored, in pristine condition. It was undoubtedly stored in one of the player's basements, has plenty of deterioration, sounds like shit, and could not have been used as it is.

Looks like these folks went all out to get this obscurity right.
 
Dtknuckles said:
Every time one of the first gen of ECM musicians’ career ends I always think about who is going to carry on the torch for when it’s Manfred’s time.
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Amen to that. All I know is that it will never be the same, and that’s very sad. But good wishes for the future and here’s hoping the company will land in good hands with deep respect for its legacy.
 
dropsonde said:
Amen to that. All I know is that it will never be the same, and that’s very sad. But good wishes for the future and here’s hoping the company will land in good hands with deep respect for its legacy.
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I wonder if he thinks about that, and if he feels that ECM should carry on without him? I doubt anyone would ask him that in an interview. From what I understand it a pretty small and tight knit group that keep it together.
 
Dtknuckles said:
I wonder if he thinks about that, and if he feels that ECM should carry on without him? I doubt anyone would ask him that in an interview. From what I understand it a pretty small and tight knit group that keep it together.
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I haven’t come across any news about succession planning. The label is built so much on his taste and singular vision that it wouldn’t be surprising to see it end with him. Hopefully it continues in some form. Brand recognition would still carry some clout if its output isn’t significantly compromised.
 
dropsonde said:
Amen to that. All I know is that it will never be the same, and that’s very sad. But good wishes for the future and here’s hoping the company will land in good hands with deep respect for its legacy.
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He‘s managed to attract a younger generation of musicians, so he must be looking ahead a bit.
 
mingerton said:
Terrible news about Keith Jarrett's health. Looks like he won't be playing live again.

www.nytimes.com

Keith Jarrett Confronts a Future Without the Piano (Published 2020)

The pathbreaking musician reveals the health issues that make it unlikely he will ever again perform in public.
www.nytimes.com www.nytimes.com
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Man, reading this really hit me. Every time I come across a story of an artist who's health no longer allows them to do what they love it breaks my heart. Plus, Keith Jarrett is one of my favorite musicians of all time. I held a tiny dose of hope that one day he would return to live performances, and I would be able to see him.
 
agutierrezb said:
Man, reading this really hit me. Every time I come across a story of an artist who's health no longer allows them to do what they love it breaks my heart. Plus, Keith Jarrett is one of my favorite musicians of all time. I held a tiny dose of hope that one day he would return to live performances, and I would be able to see him.
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Him and Ornette are to musicians I deeply regret not going to see when they cam to LA.
 
Selaws said:
I was just looking through the list for the RSD Black Friday items and the 3 I am looking forward to are all Resonance Records releases. I really need to find a cheaper shop though as my local has them priced at:

£45 Bill Evans - Live At Ronnie Scott's
£45 Monty Alexander - Love You Madly: Live At Bubba's
£76 Sonny Rollins - Rollins In Holland: The 1967 Studio & Live Recordings

I kind of expected the £45 prices but the £76 is insane. Im really hoping its an error. Even at 3LP's, that's crazy high. So, if anyone does see any of these online cheaper than above (UK and Europe), a heads up would be greatly appreciated.
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I've been wondering why I could't see any listings for these & then realised they are all coming out on RSD drop 4 🤦‍♂️ This RSD thing needs to stop :)
 
Selaws said:
This looks like an exciting release coming up from @britprogjazz. This will be a killer one for sure!!!

jazzinbritain1.bandcamp.com

Jazz In Britain's Community

Join Jazz In Britain's community to access exclusive messages from the artist and comments from fans. You'll also be the first to know when they release new music and merch.
jazzinbritain1.bandcamp.com jazzinbritain1.bandcamp.com

View attachment 71481
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This is the one I've been waiting for. Really hope it's a good sounding record.
 
@britprogjazz not sure if this is something you would feel comfortable to answer, but I just wondered how the rights work with this? I often wonder in the BBC get a cut of these kind of releases, or if its in the public domain (im assuming not).
 
Selaws said:
@britprogjazz not sure if this is something you would feel comfortable to answer, but I just wondered how the rights work with this? I often wonder in the BBC get a cut of these kind of releases, or if its in the public domain (im assuming not).
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If BBC have the tape, they get paid. It can only be public domain if it was previously published.
 
Scotish jazz? Yes please.

1603644696830.png

acidjazz.bandcamp.com

Dreams Fulfilled, by Nimbus Sextet

6 track album
acidjazz.bandcamp.com acidjazz.bandcamp.com

Introducing Nimbus Sextet, a major new talent on the UK Jazz scene. Led by pianist/keyboardist Joe Nichols, the Glaswegian contemporary jazz outfit play infectiously original music that spans the musical spectrum. Nimbus Sextet's fresh take on jazz blends instantly relatable melodic hooks with driving grooves, sophisticated musicianship and episodic compositions.

The core of the Nimbus Sextet sound comes courtesy of Joe with long-time collaborators Alex Palmer and Mischa Stevens. The trio met while studying at Edinburgh University and have continued to perform together ever since. Nimbus Sextet was fully formed in 2018 with the addition of Martin Fell and Euan Allardice joining the line-up with James Mackay arriving later.

It was around this point the band started to compose and record the first shoots of what would become Nimbus Sextet’s blend. A decidedly well-balanced alchemy, arrived at somewhat naturally by way of the varied musical influences and contributions from each of its culturally diverse members. You’re as likely to hear elements of Herbie Hancock and Gil Scott-Heron as easily as The Roots and Robert Glasper.
 
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