Direct from the original master tapes
Jeden ze znanych amerykańskich recenzentów jazzowych, publikujący w stołeczne prasie napisał najkrótszą recenzję tej płyty: "The Best Jazz Recording of the Century"! I TAK JUŻ ZOSTAŁO. Historia nagrania płyty to wręcz scenariusz filmu. Oprócz niespotykanej nigdzie indziej radości ze wspólnego muzykowania - realizatorom udało się uzyskać nieprawdopodobną jakość techniczną dźwięku. Coś wspaniałego! (i ma kontynuacje! Także cz. 3!) ...Today (1992) in my fifties, I can look back on over thirty years in the recording business, and I am thus also able to survey my whole career in a certain perspective. I recognize my quest for that tight and harmonious sound of those early records in my childhood. Maybe they have been there in my sub-conscience all the time, directing me in my ”sound pictures” in a way that makes musicians feel comfortable. After years in multi-track studios with all their over-emphasis on the very latest technology, such as overdubbing and that painstaking splicing that nearly made me a legend, I simply, in the mid-seventies, withdrew to only two Neumann U47 microphones and a Nagra stereo recorder. For several years I recorded only folk music all over Scandinavia and – once – even in India! These recording activities have given me invaluable experiences of exposure to living sound in full dimensional stereo. I started to challenge myself in trying to focus the microphones so close to the music that I could catch the same recorded sound that I remembered from the old records. I said to myself; if they could do it over 60 years ago with just one single microphone it must be possible for us with our utterly sophisticated technology also... (Gert Palmcrantz, Recording Engineer)