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[Jazzbo]

Good morning Mr. Astor,

Thank you for your thoughts regarding the writings of Mr. Clare Fischer. He was indeed a wonderful musician who could write excellent big band charts and play a mean piano . He had a keen ear for each band instrument and how they would sound playing alone or together.

I am waiting for someone who has access to master tapes of Stan Kenton. He was, in my humble opinion, a great arranger who was able to hire great musicians who could write outstanding musical charts for him. Just to name a few writers, Pete Rugolow, Pete Candoli, Bill Holman, and Bill Russo who composed much of Stan's musical charts. Gerry Mulligan wrote a few charts for Stan as well. Some of the more haunting band pieces were, "My Lady, Improvisation, Portrait Of A Count, My Funny Valentine, Lush Life and a few others. Thanks again for sharing your thoughts here.

jazzbo

 

[jonathanhorwich]

Thank you all for your kind words on my jazz tape releases. It is so appreciated. I met many of you at RMAF at a nice meal and that was wonderful. On the technical aspects of my tapes, I don't publish them too much as the whole point is the music, the jazz. Yes I'm a tape nut case. I just started dealing with digital 3 years ago when I finally found a great digital recorder and A to D that sounded like music. But the point is the jazz. The Tape Project and other projects vinyl, have gotten out much of the hard bop (bop--think Charlie Parker/Dizzy Gillespie/Bud Powell--with a blues, gospel, church infused character, think Blue Note Records such as Horace Silver, Lee Morgan, Jimmy Smith, etc.) to the public. I was brought up on different jazz and honed into another focus. That is what my CD reissues and tape reissues and new issues tend to manifest, a different type of jazz. I try and only put out first class to classic jazz (Marsh, Fischer) that anyone can buy and with patience and listening (if needed) be introduced into a different world of jazz. I try not to concentrate on the equipment used. Just the sound. if the sound enhances the music or allows it to shine, I'm good. I want my publics to trust me on the sound and hear it themselves, no matter the medium. But with that said, I've now started all analog recordings with nothing in the path but tape for my tape program. Mid November I do my next recording which is a two mic job on piano and tenor sax. So maybe someday I'll start publishing the equipment used, maybe even on this upcoming two mic job which might use a C12 stereo mic, or a U67 or whatever, but my main focus is putting out great sounding jazz that tape (and separately CD) people can really enjoy. And approximate that presence and life that one hears in live music. Thanks to all again for your interest.

 

[Listens2tubes]

In my conversations with Jonathan he told me his tapes are directly from his multitrack mixes.

 

[Jazzbo]

Hello Jonathan,

Thanks for your expert comments regarding the tapes you produce. I still don't know how you produce such quality tapes and packaging at the prices you charge. At any rate, I am looking for more music from you sir.

bob

 

[jonathanhorwich]

To clarify, when I use multitrack, I take the mixed down two track master and make the tape copies right from that two track master. Not from a copy of a copy of the two track master. This is vital as you really start losing fidelity after two copies down the road. And as an aside I am working on a purpose to make multi track closer to two mic recordings so one hears the room the musicians were recorded in rather than an artificial sound associated with most multi tracks. The Berman (Chicago Retro) tape was my first published recording in this direction. I'm told that it has a sense of life and presence, which is what I'm trying to achieve with multi mic. With two mic recordings, it is almost inherent in the technique. Hope this helps.

 

[Jazzbo]

To clarify, when I use multitrack, I take the mixed down two track master and make the tape copies right from that two track master. Not from a copy of a copy of the two track master. This is vital as you really start losing fidelity after two copies down the road. And as an aside I am working on a purpose to make multi track closer to two mic recordings so one hears the room the musicians were recorded in rather than an artificial sound associated with most multi tracks. The Berman (Chicago Retro) tape was my first published recording in this direction. I'm told that it has a sense of life and presence, which is what I'm trying to achieve with multi mic. With two mic recordings, it is almost inherent in the technique. Hope this helps.

Jonathan, thanks for providing this information regarding your recording technique. One of the great experiences I have had listening to recordings is when I can actually hear the room where the musicians play. I want to hear the muffled coughs and conversation. I want to hear the walls of the room. This in my humble opinion, provides the kind of musical experience that moves me from my listening room to the venue where the music is being played. WOW! I love that experience. Keep moving in that direction sir.

jazzbo

 

[flez007]

Hello "Listens2Tubes",

It's wonderful how technical you are in order to get photos of the tapes on the forum. And, you've hit it right. I don't understand how Jonathan can do what he does for the low, low, low prices he charge. And the music is awesome. I am totally pleased with all 3 or the recordings I have purchased to start my collection. Thanks for this posting sir.

jazzbo

just don´t make Jonathan aware

(the truth is that it is just 1 reel, so price is competitive) I have 4 of them now and waiting for the 5th. that, according to Jonathan, will be ready in late November.

 

[Jazzbo]

just don´t make Jonathan aware

(the truth is that it is just 1 reel, so price is competitive) I have 4 of them now and waiting for the 5th. that, according to Jonathan, will be ready in late November.

Hello sir,

I will try to keep my peace but I remain amazed at how Jonathan does it. You have all 4 tapes. I have the first 3, but not the 4th. Can you share your feelings about the 4th tape? Thanks much.

jazzbo

 

[flez007]

The four titles I have are:

Per Henrik Wallun, 4th balcony jump
Josh Berman Trio, Chicago Retro
Claire Fischer Orchestra, Extension
Warne Marsh, Atvthe Ice House

Which one you are missing so I can share my listening notes with you?

 

[Asamel]

The Clare Fischer is drop dead gorgeous.

Bruce

 

[c1ferrari]

So maybe someday I'll start publishing the equipment used, maybe even on this upcoming two mic job which might use a C12 stereo mic, or a U67 or whatever, but my main focus is putting out great sounding jazz...

Were you considering using a pair of C12's?
I'm unaware that a single C12 could be considered a stereo mic; albeit, it is capable of multiple polar patterns.

Looking forward to hearing your recordings

 

[Jazzbo]

Hello Flez007,

I don't have the Josh Berman Trio tape. I have the other three. Does this trio sound anything like the Bill Evans, T Monk or McCoy Tyner Trio? I am sure the sound is awesome. I'd love to hear what you think about the music please. Thanks much sir.

jazzbo

 

[MylesBAstor]

Hello Flez007,

I don't have the Josh Berman Trio tape. I have the other three. Does this trio sound anything like the Bill Evans, T Monk or McCoy Tyner Trio? I am sure the sound is awesome. I'd love to hear what you think about the music please. Thanks much sir.

jazzbo

Get it, you'll like it for both the music and sound.

The Josh Berman Trio, Chicago Retro, 2012
Recorded on a 16 track analog tape recorder, this recording was done specifically for IPI’s tape issue program on 27 July 2012. It is probably the first time in recording history where sessions were recorded specifically to be published on analog tape and no other medium. In fact, only enough music was recorded to fill one 30 minute, 15ips reel. The production master, from which copies are run, was copied directly off the 16 track master, reducing the number of tape copies by at least one or two generations from the usual procedure. The session features the Chicago trio of Josh Berman (cornet, guitar and bass) playing modern/retro jazz, which although very easy to listen to, has the conceptual and harmonic depth of the current vibrant Chicago jazz movement. A must for those who love both great analog sound and jazz.