I Was Thinking Today

[MylesBAstor]

I was over my audiobuddies today listening to some music and we put on my stereo reissue copy of Standard Coltrane from Analogue Productions. A simply amazing recording, an amazing reissue and amazing playing all rolled up into one. I wasn't sure whether this album was recorded in the late '50s or '60s and sure enough it turned out SC was from 1962.

That got me to thinking. What a life Rudy van Gelder has lived! Interacting with and recording most of the greatest jazz artists in history (from the early '50s) not to mention seeing the development of the jazz genre period. That got me to thinking more (that can be dangerous!). If I could ask RVG one question, what would it be? That one was easy. When you look back at all the great musicians you recorded, what is the first thing that comes to your mind?

So here goes. What would be one question you would like to ask your favorite recording engineer?

[Analog21]

Myles, your post reminds of a scene from "Love and Mercy" (the Brian Wilson biopic, starring Paul Dano, John Cusack, Elizabeth Banks, etc). Brian is in the parking lot of the recording studio, struggling with getting the Pet Sounds arrangement from his head out into the recording studio, his legacy and personal struggles. One of the hired recording musicians comes out and says, "I've worked with them all - Elvis, Sam Cooke, Phil Spector, etc" and tell Brian that he is the most gifted and special of them all." I would probably ask a question along those lines. Of all the greats you've worked with, which artist was most uniqiue/stands out to you and why? or maybe, what was the most memorable album you worked on and why? I'm always fascinated by the behind the scenes stories of what really makes musicians tick, motivations, and driving force of their expression. Recording engineers get to see this play out in a way that none of us will ever see firsthand.

[MylesBAstor]

Ha! I almost watched Love and Mercy on Amazon last night. Trumbo won out. Maybe next week.

Oh and Trumbo is a must-see if you haven't by now.

[Analog21]

Excellent. I definitely check out Trumbo; haven't seen it yet!

[Goheelz]

Myles: why don't you ask RVG himself? Don't know whether his health is up to it, but he's still alive and living in NJ the last I heard.

Here's a fairly recent interview: http://www.jazzwax.com/2012/02/inter...er-part-1.html

[MylesBAstor]

Myles: why don't you ask RVG himself? Don't know whether his health is up to it, but he's still alive and living in NJ the last I heard.

Here's a fairly recent interview: http://www.jazzwax.com/2012/02/inter...er-part-1.html

Yes AFAIK, that's correct. I actually have an attorney friend who specializes in music contract law who worked with Rudy for a bit too. I could get his contact info--or more accurately RVG's personal assistant--to see if I could schedule something.

However, I can't get this out of my mind.

[Rob]

after BN and prestige, RVG was recording eng for CTI and their spin-off Kudu. lots of great records for sound and music on both labels, the later being more soul-jazz.

[Bill Hart]

I had that chance when I had dinner with Phil Ramone several years before he died. I told him about the fame of "The Look of Love" within the audiophile community and said there were all these theories about why it sounded so good, including lore about the "red tape," "absolute phase" (remember the book by Wood devoted to the subject) and how it was lauded by the likes of one Harry Pearson. Ramone raised he eyebrows, smiled and looked at me like I was crazy.

[Rob]

and I'm not getting why "the look" is so special, It never bowled me over. I'm also not surprised by PRs response to clark Johnson's assertions.

http://www.positive-feedback.com/Iss...woodeffect.htm

[MylesBAstor]

after BN and prestige, RVG was recording eng for CTI and their spin-off Kudu. lots of great records for sound and music on both labels, the later being more soul-jazz.

Don't forget Impulse! I think those are on the whole the best RVG recordings.

Plus stuff on Prestige spinoffs like Moodsville and Bluesville.

[MylesBAstor]

I had that chance when I had dinner with Phil Ramone several years before he died. I told him about the fame of "The Look of Love" within the audiophile community and said there were all these theories about why it sounded so good, including lore about the "red tape," "absolute phase" (remember the book by Wood devoted to the subject) and how it was lauded by the likes of one Harry Pearson. Ramone raised he eyebrows, smiled and looked at me like I was crazy.

"Red tape?" Are you referring to the recording tape?

[mep]

I had that chance when I had dinner with Phil Ramone several years before he died. I told him about the fame of "The Look of Love" within the audiophile community and said there were all these theories about why it sounded so good, including lore about the "red tape," "absolute phase" (remember the book by Wood devoted to the subject) and how it was lauded by the likes of one Harry Pearson. Ramone raised he eyebrows, smiled and looked at me like I was crazy.

Don't most musicians think audiophiles are the audio equivalent of Comic Con or Star Wars convention attendees?

[MylesBAstor]

I was thinking over dinner is how cool would it be to do an interview using questions submitted by fans. I don't think that has been done.

[Bill Hart]

Don't most musicians think audiophiles are the audio equivalent of Comic Con or Star Wars convention attendees?

Not necessarily, I think it depends on the individual. And, I was speaking of an engineer- those guys worked with industrial gear- tape, amps, processors, playback equipment, had to use their ears, know how mikes sounded, where to place them, etc. They were geeks but artistic geeks, and had to have the ability to work with talent. Also, a lot of working musicians aren't necessarily rich or even making a "middle class" (whatever that means) living- they couldn't afford the fancy gear even if they loved it.

[Bill Hart]

"Red tape?" Are you referring to the recording tape?

There was some anecdote I read years ago about the sessions and the "red tape" - it was probably in an old Absolute Sound, i have most of them here in boxes somewhere, don't remember much more than that- it was part of the question, since I'm not sure the piece really provided the answer- it was the "why?" about what made that recording, and particular track sound so "good."

[Bill Hart]

and I'm not getting why "the look" is so special, It never bowled me over. I'm also not surprised by PRs response to clark Johnson's assertions.

http://www.positive-feedback.com/Iss...woodeffect.htm

I'm not sure either. I like the track, rarely listen to anything else on that record. I bought the Wood book when it came out, and did experiment with polarity. I came to the conclusion that, at least with multi-track and overdubs, it was impossible to have a baseline, although I do play with relative polarity of the woofers and tweeters on my system (they are reversed compared to the midrange horn).

[MylesBAstor]

and I'm not getting why "the look" is so special, It never bowled me over. I'm also not surprised by PRs response to clark Johnson's assertions.

http://www.positive-feedback.com/Iss...woodeffect.htm

Of course I was the person who published the absolute polarity charts in Ultimate Audio. Think that had to be in '98 or '99? Of course, this list doesn't have any new labels.

Anyway, Kevin Tellekamp has Lar's charts for different labels on the SRA website. This is for CDs only; not sure if this pertains to LPs or not. 'Tis interesting though. Know Bob Katz and David Chesky always checked the polarity of their releases and they are in absolute phase according to Lars.

Bill is right too. Recordings like Sheffield were a mess; instruments both in and out of phase. Maybe another reason why the early recordings were better with just two mikes.

AbsolutePhaseChart(1).PDF