Showing posts with label Eddie Gomez. Show all posts
Showing posts with label Eddie Gomez. Show all posts

Saturday, December 31, 2022

Joanne Brackeen - Take A Chance (1994)

This is a delightful set, a program of eight Brazilian tunes and three of pianist Joanne Brackeen's originals. With strong assistance provided by bassist Eddie Gomez, drummer Duduka da Fonseca and percussionist Waltinho Anastacio, Brackeen adds beauty and adventure to such numbers as "Recado Bossa Nova," "Estate," "The Island" and a pair of Milton Nascimento songs. The pianist stretches the songs a bit in spots but never neglects their melodies or the original moods. Well worth several listens. ~ by Scott Yanow, AMG. 

Concord Picante, CCD-4602, 1994
Recorded 15th-16th June, 1993 at Skyline Studios, New York 

Musicians:
Joanne Brackeen - Piano
Eddie Gomez - Bass
Duduka Da Fonseca - Drums
Waltinho Anastacio - Percussion, Vocals (#9) 

Tracks:
01. Recado Bossa Nova {Luis Antonio, Djalma Ferreira} (7:04)
02. Children's Games {Antônio Carlos Jobim, Gene Lees} (8:02)
03. Estaté {Bruno Martino, Bruno Brighetti} (5:39)
04. Canção Do Sal {Milton Nascimento} (5:58)
05. Frevo {Egberto Gismonti} (6:31)
06. Mountain Flight {Toninho Horta} (5:25)
07. The Island {Ivan Lins, Vitor Martins} (6:18)
08. Take A Chance {Joanne Brackeen} (4:21)
09. Ponta de Areia {Milton Nascimento, Fernando Brant} (4:12)
10. Duduka {Joanne Brackeen} (4:51)
11. Mist On A Rainbow {Joanne Brackeen} (4:53) 

Total Time: 63:19 

Credits:
Executive Producer - Carl E. Jefferson
Producer, Recording Engineer - Paul Wickliffe
Producer - Allen Farnham
Assistant Recording Engineer - Hiro Ishihara
Remixing - Phil Edwards [PER, Hayward, CA]
Mastering Engineer - George Horn
Production Coordinator - Elizabeth Bell
Art Direction - Abby Andrews
Photography [Cover] - Teri Bloom 

Full Album

Sunday, October 2, 2022

Bill Evans Trio - Live In Switzerland (1975)

This album comes from a live 1975 concert by the Bill Evans Trio, which was broadcast by Radio Suisse in Switzerland. The pianist is in superb form, joined by longtime bassist Eddie Gomez and newcomer Eliot Zigmund on drums. The sound is excellent, without the annoying announcers or distortion, so this release could have very well been produced from the master tape itself. The set is wide-ranging, including both recent and older compositions by Evans, "Gloria's Step" (the best-known work by former Evans sideman Scott LaFaro, who died far too young), along with standards like a buoyant "My Romance." The leader's treatment of his ballad "Turn Out the Stars" is rather upbeat, while his somewhat avant-garde composition "T.T.T.T." (also known as "Twelve Tone Tune Two") is a modern masterpiece. Perhaps the greatest surprise was Evans' inventive treatment of pop singer Bobbie Gentry's "Morning Glory." ~ by Ken Dryden, AMG. 

Gambit Records, 69232, 2005
Recorded 6th February, 1975 Live at Epalinges, Switzerland

Musicians:
Bill Evans - Piano
Eddie Gomez - Bass
Eliot Zigmund - Drums 

Tracks:
01. Sugar Plum {Bill Evans} (7:26)
02. Midnight Mood {Bill Evans} (8:23)
03. Turn Out The Stars {Bill Evans} (4:55)
04. Gloria's Step {Scott LaFaro} (7:09)
05. Up With The Lark {Jerome Kern} (6:19)
06. T.T.T. [Twelve Toned Tune] {Bill Evans} (7:10)
07. Morning Glory {Bobbie Gentry} (4:24)
08. Sareen Jurer {Earl Zindars} (6:59)
09. Time Remembered {Bill Evans} (5:38)
10. My Romance {Lorenz Hart, Richard Rodgers} (7:53)
11. Waltz For Debby {Bill Evans} (5:57)
12. Yesterday I Heard The Rain {Cole Porter} (5:42) 

Total Time: 78:00 

Credits:
Concept and Design - Pep Faura
Photography [Cover] - Gai Terrell, Redferns
Liner Notes - Matías Rinar

Sunday, October 24, 2021

Steps - Step By Step (1981)

The '70s proved to be a challenging time for jazz in general. As the last strains of progressive rock gave way to the decade end's disco boon, jazz found itself in an uncertain position. Fusion had seemed to play itself out and acoustic music was becoming as rare as those proverbial "hen’s teeth". As the '80s approached, Wynton Marsalis would emerge as a voice in support of refurbishing the jazz tradition. Also, a part of this milieu, the group Steps (later to be dubbed Steps Ahead) would turn their regular jam sessions at Michael Brecker's NYC jazz club, Seventh Avenue South, into a forum for presenting contemporary jazz in a well-versed and sagacious manner. It would be a few years before American audiences would catch wind of Steps and its musical modus operandi due to the fact that their early work was released only in Japan on Nippon Columbia. The brainchild of vibraphonist Mike Mainieri, the initial incarnation of the band included Brecker, the late pianist Don Grolnick, bassist Eddie Gomez, and drummer Steve Gadd. This album while short on duration it more than makes up for things by presenting a heady mix of straight ahead and fusion tendencies, particularly notable is Mainieri’s "Bullet Train." ~ Extract by C Andrew Hovan, AAJ. 

Better Days, YF-7020-N, 1981
Better Days, 28CY-2867, 1988
Recorded 8th & 10th December, 1980 at Nippon Columbia Studio, Tokyo, Japan 

Musicians:
Mike Mainieri - Vibraphone
Michael Brecker - Tenor Saxophone
Don Grolnick - Piano
Eddie Gomez - Bass
Steve Gadd - Drums 

Tracks:
1. Uncle Bob {Don Grolnick} (11:00)
2. Kyoto {Mike Mainieri} (6:57)
3. Belle {Mike Mainieri} (7:49)
4. Bullet Train {Mike Mainieri} (5:31)
5. Six Persimmons {Don Grolnick} (6:09) 

Total Time: 37:29

Credits:
Producer - Mike Mainieri
Executive-Producer - Christine Martin
Recording & Mixing - Neil Dorfsman
Engineer [Assistant] - Tsukasa Aoyama
Photography [Front & Inner] - Susan Aimee Weinik
Photography [Back] - Akira Aimi
Liner Notes - Hisashi Ikegami

Thursday, August 19, 2021

Joanne Brackeen - Where Legends Dwell (1992)

Jazz pianist Joanne Brackeen is not well known, so her unabashed confidence may seem brash or cocky to those unfamiliar with her music. But, at 53, Brackeen is in peak form, being compared favorably by critics to the great jazz pianists who came before her. In truth, she's merely a realist in touch with her own substantial abilities. Brackeen's newest recording, "Where Legends Dwell," released in February, has impressed critics. This reunion with bassist Eddie Gomez and drummer Jack DeJohnette, which features 12 of her original tunes, earned a respectable 4 1/2 of a possible five stars in Downbeat. The jazz magazine also heaped praise on the re-issued "Special Identity," Brackeen's initial 1981 recording with Gomez and DeJohnette. Produced by Helen Keane, who also produced the late jazz pianist Bill Evans, "Where Legends Dwell" finds Brackeen running the gamut from McCoy Tyner-like percussive attacks to Cecil Taylor-ish free-form storms and more introspective, lyrical moments reminiscent of Evans. Brackeen wrote five of the songs in a whirlwind four-day artistic maelstrom, working on a tight deadline with her much-in-demand sidemen. She is pleased with the results. "Our energy level is in an amazing place, but it’s always been like that. If we never see each other for 10 years, when we get together it’s the same thing, very, very close, some kind of spiritual level," said Brackeen, who looks younger than her age and attributes her vitality to a daily two-hour regimen of martial arts. ~ Extract by Dirk Sutro, latimes.com. 

Ken Music, KEN-021, 1992
Recorded 3rd & 4th September, 1991 at Giant Sound, New York City 

Musicians:
Joanne Brackeen - Piano, Arranger
Eddie Gomez - Bass
Jack De Johnette - Drums 

Tracks:
01. Where Legends Dwell (6:31)
02. Oahu Lizard (6:48)
03. Picasso (8:43)
04. Helen Song (6:10)
05. Cosmic Ties And Mud Pies (2:47)
06. Doris And Anders (6:11)
07. Edgar Irving Poe (6:12)
08. For Stan (6:11)
09. Can This McBee? (5:09)
10. Asian Spell (7:10)
11. Jump In Jack (4:43)
12. How To Think Like A Millionaire (3:56) 

All Compositions by Joanne Brackeen 

Total Time: 70:24 

Credits:
Producer - Helen Keane
Executive-Producer - Ken Fujiwara
Recording - Malcolm Addey
Recording [Assistant] - Ron Allaire
Digital Mastering - Joe Brescio, Kevin Flynn
Photography [Cover] - Frank Lindner
Photography [Inside] - Lesley Peacock
Liner Notes - Gene Lees

Thursday, February 18, 2021

LeeAnn Ledgerwood - You Wish (1991)

LeeAnn Ledgerwood, who played in New York clubs for most of the 1980s, finally made her debut as a leader on this set, which is comprised of six of her originals, two from flutist Jeremy Steig and a pair of standards. Throughout, the pianist often recalls Chick Corea (especially on "Nardis" and the intense "Terribillis"), performing with a trio, a quartet and solo (a largely unrecognizable "I Want to Talk About You"). Ledgerwood takes several impressive improvisations, but Jeremy Steig really dominates the four songs he appears on, while tenorman Bill Evans (who is on two selections) is quite effective on "Smash and Grab." With either Eddie Gomez or Steve LaSpina on bass in addition to drummer Danny Gottlieb, this well-rounded set was a good start for LeeAnn Ledgerwood's solo career. ~ by Scott Yanow, AMG. 

Triloka Records, 320187-2, 2002
Digitally recorded 4th-5th January, 1991 At Power Station, New York City 

Musicians:
LeeAnn Ledgerwood - Piano, Keyboards
Jeremy Steig - Flute
Bill Evans - Tenor Saxophone, Soprano Saxophone
Eddie Gomez, Steve LaSpina - Bass
Danny Gottlieb - Drums 

Tracks:
01. Robins Row {Jeremy Steig, LeeAnn Ledgerwood} (3:53)
02. Taisho Pond {LeeAnn Ledgerwood} (4:50)
03. Miss Perfect {Jeremy Steig} (5:32)
04. Chance {LeeAnn Ledgerwood} (5:39)
05. Nardis {Miles Davis} (8:09)
06. Afterglow {Jeremy Steig} (3:12)
07. You Wish {LeeAnn Ledgerwood} (7:02)
08. Smash And Grab {LeeAnn Ledgerwood} (4:20)
09. Terribillis {LeeAnn Ledgerwood} (6:31)
10. I Wanna Talk About You {Billy Eckstine} (2:58) 

Total Time: 52:06 

Credits:
Producer, Remixing - Walter Becker
Executive-Producer - KD Kagel, Mitchell Markus, Paul A. Sloman
Engineer, Digital Editing, Mastering - Roger Nichols
Engineer [Assistant] - Dan Gellert
Remixing [Assistant] - Tom Hardisty

Saturday, January 23, 2021

Andy LaVerne - Liquid Silver (1984)

A Tribute to Bill Evans
===================
The CD under review here was recorded 30 October - 3 November 1984 for DMP. In 1984 LaVerne received an NAE grant to organize a Carnegie Hall tribute to his mentor Bill Evans. This CD is a studio version of that concert. The musicians are LaVerne (piano), Eddie Gomez (bass), Peter Erskine (drums), John Abercrombie (guitar), and the Essex String Quartet. All in all, the music on this CD is a nice tribute to Bill Evans, except the last track. The music is not for everyone as it often seems more like an intellectual exercise rather than an emotional outlet. The music does not swing, especial the string quartet tracks. If you are looking for Andy LaVerne jazz, look elsewhere. If you are looking for "chamber jazz" or a cross between classical music and jazz, this may be for you. ~ Extract by D.R.L., Amazon.com.

DMP Records, CD-449, 1984
Recorded 30th-31st October At A&R Studios and
3rd November At Clinton Recording Studio, 1984

Musicians:
Andy LaVerne - Piano
John Abercrombie - Guitar (#2,3,7,8)
Eddie Gomez - Bass (#1,3,4,6-8)
Peter Erskine - Drums (#1,3,4,6-8)

The Essex Quartet (#5,9):
Patricia Smith - Cello
Amy Dulsky - Viola
Sebu Sirinian - Violin [I]
Jennifer Cowles - Violin [II]

Tracks:
1. IRS [It's Really Something] {Andy LaVerne} (7:18)
2. Liquid Silver {Andy LaVerne} (6:00)
3. One Page Waltz {John Abercrombie} (5:19)
4. Laurie {Bill Evans} (9:02)
5. Letter To Evan {Bill Evans} (7:05)
6. How My Heart Sings {Earl Zindars} (5:37)
7. Turn Out The Stars {Bill Evans} (6:33)
8. Alpha Blue {Andy LaVerne} (6:20)
9. King's House One {Andy LaVerne} (17:18)

Total Time: 70:32

Credits:
Producer, Liner Notes - Andy LaVerne
Producer, Engineer - Tom Jung
Engineer [Assistant] - Jean Jung, Rebecca Everett
Editing - Greg Squires
Design - Jim Henderson
Illustration - Lee Christiansen
Photography - Dave Horner, Richard Laird

Wednesday, August 28, 2019

Emily Remler - Catwalk (1985)

Guitarist Emily Remler's fourth and Concord recording makes one regret even more her premature death at age 32. While her earlier dates were very much in the bop mainstream, this one (in a quartet with trumpeter John D'Earth, bassist Eddie Gomez and drummer Bob Moses) finds her looking ahead and partly finding her own voice on her seven diverse originals. Although she never became an innovator, Remler certainly had a lot to offer the jazz world and this fairly adventurous effort was one of the finest recordings of her short career. ~ by Scott Yanow, AMG.

Concord Jazz, CCD-4265, 1985
Recorded August, 1984 At Coast Recorders, San Francisco, California

Musicians:
Emily Remler - Guitar
John D'Earth - Trumpet
Eddie Gomez - Bass
Bob Moses - Percussion

Tracks:
1. Mocha Spice {Emily Remler} (4:30)
2. Catwalk {Emily Remler} (7:24)
3. Gwendolyn {Emily Remler} (4:40)
4. Antonio {Emily Remler} (4:29)
5. Pedals {Emily Remler} (6:58)
6. Five Years {Emily Remler} (5:53)
7. Mozambique {Emily Remler} (7:45)

Credits:
Producer - Carl E. Jefferson
Recording & Remixing Engineer - Phil Edwards
Mastering Engineer - George Horn
Photography - Veryl Oakland
Art Direction - Tom Burgess
Liner Notes - Nat Hentoff

Emily Remler - Why, oh why did the good Lord take this wonderfully talented young lady from us at such a young age. She was only 32 when she died. Remler didn't get to make many recordings in her all too brief life and this is one of her finest. John D'Earth's trumpet perfectly complements Remler's full bodied guitar sound and the rhythm section of Eddie Gomez and overlooked Bob Moses keep things moving along quite nicely. Well, if some of what I've read is true, I hardly think it was the good Lord who was sticking that needle in her arm. Although not credited as the cause of her death surely it didn't help. Remler had herself one hell of a heroin addiction and that drug usage was the direct cause of the heart attack that took her life. So, I guess the Good Lord didn't have much to do with it other than not answering her prayers. ~ Stereophile.com.

Monday, May 18, 2015

Art Farmer with Joe Henderson - Yama (1979) [vinyl>flac, 24-bit/48khz]

Many critics have looked upon the majority of CTI recordings as a ploy to commercialise jazz, Scott Yanow being no exception. However, when approached again with newer ears and less prejudice, Creed Taylor has certainly left a legacy of some very fine albums. This album in particular finds Art Farmer playing beautifully alongside Joe Henderson’s solid tenor; producing some very powerful Jazz-Funk/Fusion interpretations. It is an LP which I have relished for many a year. Ripped to FLAC at 24-bit/48khz I hope you also will find it just as fascinating and enjoyable.

Trumpeter Art Farmer has recorded six albums in his name for the CTI label whose enigmatic "Guanabara" with Brazilian singer Ithamara Koorax, which was never published. It is also found on the album of Bob James' BJ4 "and that of Yusef Lateef" Autophysiopsychic ". His lyrical breath, his balanced phrasing, his game while retaining, at times reminiscent of Chet Baker. Throughout his career, he faced several music styles without losing his soul or his talent, as demonstrated by this recording from 1979 with a funky rhythm section. As usual, he plays in a duo orchestra. We remember the wonderful "Big Blues" with Jim Hall recorded a year earlier. But this time, the saxophonist Joe Henderson, another jazz legend, who shares the bill. His quick game lets out moments of incredible sweetness. The texture of his sound is unique in these moments. Despite the presence of excellent classmates (Steve Gadd, Will Lee, David Spinozza, John Tropea ...), the result is rather mixed. Vibraphonist Mike Maineri, in control for the first time, seems to fail creating a real osmosis between all these musicians.  ~ ctifanblog.

Flugelhornist Art Farmer's fourth and final LP for CTI also features tenor-saxophonist Joe Henderson. The material (which includes originals by Clare Fischer, Joe Zawinul, Don Grolnick and Mike Mainieri) is not the most memorable and the funky rhythm section (which is greatly expanded) does not really blend all that well with the styles of Farmer and Henderson so this set is not as exciting as one might hope. A decent but largely forgettable effort. ~ by Scott Yanow, AMG.

CTI Records, CTI 9000, 1979
Recorded and Mixed April 1979 at Power Station Studios, New York

Personnel:
Art Farmer - Flugelhorn
Joe Henderson - Tenor Saxophone
Don Grolnick, Warren Bernhardt, Fred Hersch - Keyboards
Mike Mainieri - Synthesizer, Vibraphone, Arranger
David Spinozza, John Tropea - Guitar
Eddie Gomez - Bass
Will Lee - Electric-Bass
Steve Gadd - Drums
Sammy Figueroa - Percussion
Suzanne Cianni - Synthesizer Programming

Track Listing:
A1. Dulzura {Clare Fischer} (8:21)
A2. Stop [I Think Again] {Barry, Robin & Maurice Gibb} (4:08)
A3. Young And Fine {Joseph Zawinul} (6:26)
B1. Lotus Blossom {Don Grolnick} (6:43)
B2. Blue Montreux {Mike Mainieri} (7:12)

Credits:
Producer - Creed Taylor
Associate Producer, Arranger - Mike Maineri
Engineer - Neil Dorfsman
Mastering - Rudy Van Gelder
Cover Illustration - Susannah Kelly
Cover Design & Photography [inside] - Alen MacWeeney
Design - Neal Pozner
Calligraphy - Bernard Maisner

Tuesday, July 16, 2013

Mike Nock - Ondas

I'd call this one of the overlooked masterpieces of ECM. Rarely have piano trios produced such astounding conversations, this is the territory of  Evans/LaFarro/Motian or Jarrett/Haden/Higgins, hallowed ground indeed, but I have no problem elevating this album to that status. You can read Thom Jurek's ecstatic review, but first here are Mike's memories:

"Manfred wrote me a letter after hearing In Out and Around, saying he wished that album had been on ECM and telling me he wanted to make a trio recording with Gomez, Christensen and myself.
I played quite often with Gomez on recordings and tours, but never with Christensen.
The first day in the studio the trio played quite differently - free high energy jazz, which was erased before I even heard it!  I loved the session but Manfred seemed disinterested.
The next morning he got up at dawn and we began recording around 9am.  By 11am we were finished as he knew he had what he wanted.
It was a very collaborative session.  The first piece; ‘Shadows of Forgotten Love’ was on In Out and Around but Manfred had his own vision for the piece, suggesting I just play the first 16 bars and forget about the bridge section.  We finished the first take and I saw Manfred gesticulating wildly in the control room for us to continue - which we did and which you can actually hear on the recording.  It was all very spontaneous and a wonderfully unusual collaborative experience for me.
I was very much into Brazilian music and culture at the time ('Ondas' means 'waves' in Portuguese) but interestingly enough I came up with the title while on one of my frequent visits to Nelson NZ, situated on Golden Bay.
Manfred loved the title, as apart from the sound of the word it also had a somewhat enigmatic quality, as he felt very few people would know what it actually meant".
Mike Nock - September 15, 2010

Mike Nock celebrated his 70th birthday on September 27, 2010.

I've got to say that I mourn that first session that Manfred erased so preemptively, how nice would it be to have a companion album with a completely different feel?

Friday, December 14, 2012

Jeremy Steig - Fusion (1972) [vinyl>flac]

One of the greatest jazz-rock flute players around. This double vinyl album puts together a compilation that clearly showcases his mastery.

Fusion pairs the entirety of Jeremy Steig's landmark 1971 Capitol release Energy alongside unreleased material from the same sessions. Energy is a miracle of alchemy -- Jeremy Steig transforms his flute from the ethereal to the elemental, forging a heavy, deeply funky jazz-rock record that defies gravity. Paired with keyboardist Jan Hammer, bassists Gene Perla and Eddie Gomez, and drummer Don Alias, Steig creates Technicolor grooves that float like butterflies and sting like bees. His music doesn't so much fuse jazz and rock as it approaches each side from the perspective of the other, exploring their respective concepts and executions to arrive at a sound all its own. If anything, the tonal restrictions of Steig's chosen instrument push him even farther into the unknown, employing a series of acoustic and electronic innovations to expand the flute's possibilities seemingly into the infinite. While some of the unissued content here is no less astounding, as a whole Fusion feels like too much of a good thing; one can't help but miss the focus and shape of Energy in its original incarnation. ~ By Jason Ankeny.

I think I'd avoided Jeremy Steig's 1971 album "Fusion" because, well, the word 'fusion' always carried connotations for me of lightning-speed distorted guitars separating twenty minute bass solos - not really my thing. And it had Jan Hammer on it, who I generally associate with the same masturbatory activity, albeit on synthesisers. So when I finally grabbed it. I was pleasantly surprised by its soulful funky rawness, great rhodes playing from Hammer and of course Steig's crazy flute. ~ Never Enough Rhodes

Groove Merchant, GM 2204, 2 × Vinyl, LP, Compilation, 1972
Recorded at Electric Lady Studios, 52 West 8th Street, New York

Track Listing:
A1. Home {Jeremy Steig, Jan Hammer} (4:38)
A2. Cakes {Jeremy Steig, Jan Hammer} (4:50)
A3. Swamp Carol {Jeremy Steig, Jan Hammer} (4:09)
A4. Energy {Jeremy Steig, Jan Hammer, Don Alias, Gene Perla} (4:48)
B1. Down Stretch {Jan Hammer} (4:12)
B2. Give Me Some {Jeremy Steig, Jan Hammer} (6:43)
B3. Come With Me {Jeremy Steig, Jan Hammer} (8:00)
B4. Dance Of The Mind {Jeremy Steig, Don Alias} (2:20)
C1. Up Tempo Thing {Jeremy Steig} (5:21)
C2. Elephant Hump {Jeremy Steig} (5:53)
C3. Rock #6 {Jeremy Steig} (2:58)
C4. Slow Blues In G {Jeremy Steig} (6:31)
D1. Rock #9 {Jeremy Steig} (5:48)
D2. Rock #10 {Jeremy Steig} (4:13)
D3. Something Else {Jeremy Steig} (7:01)

Personnel:
Jeremy Steig - Flute, Alto Piccolo, Alto Flute, Bass Flute
Jan Hammer - Electric Piano, Chinese Gong
Gene Perla - Electric Bass, Electric Upright Bass
Eddie Gomez - Electric Upright Bass (#B1, B3)
Don Alias - Drums, Congas, Clap Drums, Percussion

Released on Groove Merchant Fusion is a double album compilation of Jeremy Steig’s work compiled by Sonny Lester. The first album contains all of the songs from Steig’s Energy LP released on Capitol, while the second slab contains new material. Standouts are, Home that opens up with an interesting piano line by Jan Hammer before the band gets a little funky. Similarly, Cakes starts with a nice bass and drum beginning by Gene Perla and Don Alias. Both of these beginnings could be looped. Swamp Carol, Down Stretch (with a short drum break at the beginning) and Give Me Some all feature some pretty funky rhythms. These songs are from the Energy album. The previously unreleased material, is a bit mellower, with a bluesy influence to most of them but worth a listen. Probably the best song is Up Tempo Thing, a soulful groover despite the name. Soulstrut

Thursday, August 9, 2012

The Incredible Ira Sullivan


The Incredible Ira Sullivan
Stash Records 1980

1) Lonely Moments (Salz)
2) Our Delight (Dameron)
3) Bernie's Tune (Miller)
4) Kim's Lament
5) I Can't Get Out of This Mood (McHugh, Loesser)
6) On the Seventh Day (Walrath)
7) Satin Doll (Ellington, Strayhorn)


NYC 1980



We have revisited so many Ira Sullivans lately and our previous offerings of this record were flawed so when I saw a slightly worn copy at the store I decided to see if I could coax a reasonable rip out of it. The previous post of this came from a Ron the Jazzman contribution but the actual rip came from his friend billd. The rip was decent but a little noisey and had a few full blown skips that marred it. I carefully cleaned my record twice in the hopes that most of it's problems were dirt and was rewarded with a fairly good and quiet return but with three or four places on each side where skips or sound anomalies were unfix-able.

Now I put on my Dr. Frankenstein lab coat and looked to the old rip from jazzman. Surely the two rips would not have anomalies in the same places! They did not, so after a little time matching up the volumes the cutting leaders so I could match up tracks side by side like two patients on adjacent operating tables. Slowly I marked the areas to be transplanted and the sites to receive them - it is not as hard as you might think if you listen carefully while magnifying the wave in Audacity until you can see the space between breaths and find landmarks that match up on the two waves - it takes good ears and good speakers or headphones but once you get the hang of it it is possible to make imperceptible cut and paste fixes. You may hear a couple other tiny sound bumps here that I didn't choose to fix (I spent most of a day on this) but none of the actual surgery is audible. So what we have here is something of a Frankenstein monster but the good looking elegant one that you can't tell is made of parts.