Secrets of the BN vaults

[Brad]

Thanks for bringing the interview again Dmitry. I missed it the first time around.

[David Ayers]

I'd like to know what sort of gear RVG and Lion auditioned those typical blue notes on, and I'd like to know what sort of equipment they envisaged that the LPs would be played on. The typical BN sound from late 50s to mid 60s has the horns dominant in the mix, the piano recessed (though bizarrely still peak distorted), the drum strokes yes all there but without too much attack, and the bass a little muffled. In other words the horns dominate and there is not the even or if you like more democratic mix of beats and accents which I for one would prefer to hear in a jazz recording. Sounds like horns plus backing, with piano solos (usually weakly thought-through right hand tinkling affairs) as a concession to the pianist but hardly ever a highlight. So the recordings cater to the idea that jazz is an art of heroic hornmen, and tend to disassemble the music both hierarchically and spatially (which is why it usually sounds better in mono which at least brings all the accents together and gives more life to the 'interplay' or counterpoint). Now, I know when you hear a more modern recording which tries to set this right it can be fatiguing, but I wouldn't say that BN got it so very right - I think they made us hear soloists rather than music.

[JSngry]

I think they made us hear soloists rather than music.

And Billy Higgins.

[Dan Gould]

Sounds like horns plus backing, with piano solos (usually weakly thought-through right hand tinkling affairs) as a concession to the pianist but hardly ever a highlight.

My immediate thought is of Kenny Drew on Bluesnik, and I think to myself, what the fuck is he talking about?

[AllenLowe]

I pretty much agree with david ayers, above, however....one nice thing about the emphasis of older recordings is the soloist as dominant voice, with the accompaniment behind him sonically - if done with taste it can still reflect an accurate sound. One of the big problems with multi-track, particularly multi-track with isolation, is the changing of the sonic image - everything is in your face, equally dominant (especially drums that have been recorded with 24 mics) - and this is also a problem. My model of accuracy is more Contemporary and Riverside, and Rudy when he recorded at his parents' house. (btw see my other thread on recording - I think there are some basic truths about the whole art of it which are often missed) -

[Rooster_Ties]

One of the big problems with multi-track, particularly multi-track with isolation, is the changing of the sonic image - everything is in your face, equally dominant (especially drums that have been recorded with 24 mics) - and this is also a problem.

That kind of "everything in your face" sound drives me crazy (and not in a good way).

I'm thinking of some Chesky recordings (McCoy Tyner's "New York Reunion" in particular), that suffer from such a treatment.

[Son-of-a-Weizen]

http://www.collectorsweekly.com/articles/secrets-of-the-blue-note-vault-michael-cuscuna-on-monk-blakey-and-the-one-that-got-away/

"At one of his first sessions, with the Port of Harlem Jazzmen, he was very nervous. The only way to get upstairs was to call from the sidewalk downstairs. One of the musicians said, “Billie Holiday is standing outside. She wants to come up.” Alfred said that he didn’t know what he was doing, and that he was so nervous that he wouldn’t let her up. He told me later how much he regretted that—she could have come up and sung something great, but he was just too nervous."

Huh? Review his life journey and you're left with the impression that he was as aggressive as a Wolverine....a non shrinking violet of a fellow. This bit just sounds slightly off in a funny sorta way. Eh, no matter.

[DMP]

Not really understanding the technical descriptions above, I never really thought that Blue Note albums were anything special, audio-wise. My idea of a good sounding LP was something on Columbia (the Byrd/Gryce "Jazz Lab" album comes to mind) or maybe Capitol. And of the jazz labels, Contemporary. (With Argo being the worst.) But I'm talking late '50's-early '60,s, with a Heath Kit amp and a Garrard (sp?) table, I could be all wet on this.

[Dmitry]

Duke Pearson was Blucher, obviously. He came in later.

http://www.horsepresence.com/shop/media/Sounds/22Loudsqueakwhinny2000.aif