URZEKAJĄCA!

I oto znów przekroczona została BARIERA DŹWIĘKU. Kolejna. Czy ostatnia? Co jeszcze będzie w stanie zrobić współczesna inżytnieria genetyczna dźwięku, której obsesyjnym wręcz celem jest klonowanie Taśmy Matki w postaci coraz to nowych technik remasteringu i opracowywania doskonalszych nośników. Ale im bardziej współczesne płyty CD zbliżają się do jakości muzyki reprodukowanej z płyt winylowych, tym bardziej właśnie winyle w swojej prostocie a zarazem doskonałości - wyznaczają nowe standardy dla złaknionych sukcesu inżynierów i akustyków , którzy niczym mityczny Tantal, cierpią z powodu ograniczeń jakie stawia im technologia CD w uzyskiwaniu "klonu" Taśmy Matki w wydaniu właśnie CD. Coż się stało? Oto po udanej premierze w roku 2009 z kilkoma komercyjnymi tytułami, amerykańska wytwórnia ORG (ORIGINAL RECORDINGS GROUP) raz jeszce sięgnęła po mastery najsłynniejszych i najlepszych nagrań jazzowych wszech czasów, poddała ów materiał niezwykle precyzyjnemu procesowi przeniesienia na nośnik cyfrowy by przygotować i wytłoczyć WINYLE zgodne ze standardem A PANORAMIC TRUE HIGH FIDELITY RECORD. ************************ Gerry Mulligan Meets Ben Webster The swing and bop start right here on this legendary 1959 session between baritone saxophonist Gerry Mulligan and tenor man Ben Webster. The opening track, Billy Strayhorn's "Chelsea Bridge," is lush and emotional and truly sets the tone for this album. With Jimmy Rowles on piano (his intro on "Sunday" sounds like a ragtimer like Willie "The Lion" Smith just pushed him off the stool before the band came in), Mel Lewis on drums, and always superb Leroy Vinnegar on bass present and accounted for, the rhythm section is superbly swinging with just the right amount of bop lines and chords in the mix to spice things up. The ghost of Duke Ellington hovers over every note on this record (Billy Strayhorn was one of his main arrangers), and that is a very good thing indeed. There's a beautiful understated quality to the music on this session that makes it the perfect "relaxing around the house on a rainy day" disc to pop in the player. File this one under cool, very smooth, and supple. by Cub Koda Courtesy All Music ************************************ Although baritone saxophonist Gerry Mulligan was briefly typecast as an "heretical modernist" by jazz purists (his piano-less quartet with Chet Baker in 1952 was considered radical), he was really just extending the tradition of swing-era sax giants like Lester Young and his idol, Ben Webster. This laid back, intergenerational summit, recorded in late 1959, grew out of informal Sunday jam sessions Mulligan and Webster had been having at Mulligan's house in L.A. The vibe here is definitely "cool," West Coast-style, with each track soaked in quiet, luminous intensity. Along with the uncluttered accompaniment of pianist Jimmy Rowles, bassist Leroy Vinnegar and drummer Mel Lewis, the saxophonists add breathy life to chestnuts like "Chelsea Bridge" and "What Is This Thing Called Love," while Mulligan originals like "The Cat Walk" show off Webster's sly bluesiness. The two-CD set contains all of the original masters, plus six full-length alternate takes and nine extra tracks of breakdowns, rehearsals and studio discussions, providing listeners with an intimate peak into the creative process of these two renowned geniuses. When jazz giants Gerry Mulligan and Ben Webster collaborated for this legendary 1959 session, history was made, as was a classic record for the ages. This smooth and supple set is included among NPR's "Basic Jazz Record Library". The tunes are lush and emotional, driven along by a rhythm section that swings with just the right amount of bop. "In listening to Gerry Mulligan," Dave Brubeck once said,"you feel as if you're listening to the past, present, and future of jazz, all in one tune, and yet it's done with such taste and respect that you're not ever aware of a change in idom." - from liner notes by Nat Hentoff "The rhythm section for this date is uncommonly right for the Webster-Mulligan meeting. Rowles, Lewis, and Vinnegar all base their playing on a knowledge of 'the history of the language' they're using, and all three have secure, relaxed time. Furthermore, all three get solid, rounded sounds from their instruments..." - from liner notes by Nat Hentoff >>> Płyty winylowe należy przechowywać WYŁĄCZNIE w NAJLEPSZYCH NA ŚWIECIE koszulkach produkcji legendarnej wytwórni MOBILE FIDELITY. 100% gwarancji na pozbycie się trzasków będących w istocie w 90% efektem ładunków elektrostatycznych a nie uszkodzeń mechanicznych płyty! <<<