Selection 1: Fools rush in (320 kbps MP3)
Recorded live in concert: Quintet: Brew Moore (tenor saxophone) Cal Tjader (vibes) Vince Guaraldi (piano) Eddie Duran (guitar) Dean Reilly (bass) Bobby White (drums) Concert, University of California, Berkeley, California, August 1955
Selection 2: Five Planets in Leo (320 kbps MP3)
Quartet: Brew Moore (tenor saxophone), Dick Mills (trumpet), Max Hartstein (bass), Gus Gustofson (drums), John Marabuto (piano) Recorded January 15, and February 22, 1956 at Marines Memorial Hall, San Francisco.
Ralph J, Gleason says of The Brew Moore Quintet album:
These (songs) all swing and even Brew, who is most critical of his own work (“I guess I never have been happy with anything I did”) had to say of this album, “It swings. You can say that.” Brew has two absolutely golden gifts. He swings like mad and he has soul. These are things you cannot learn by wood-shedding [practicing], or in any conservatory. You have to be born with them or learn them by living. Brew had them and he also has a priceless gift for phrasing. “Everything he plays lays just right,” one musician put it. It certainly does. … When Brew says it, he says it simply, but it rings true. That’s the best way there is.”.
A character who impressed beat generation writer Jack Kerouac, Brew Moore reputedly spent his very early musical years playing in sleazy joints behind burlesque acts, giving rise to a sly biographical observation of the young tenor player, that it was not until the age of twenty-one that he first saw a naked woman from the front.
Always on the move, from the Deep South, to New York, the West Coast, and finally Sweden, Brew never achieved the fame that perhaps he deserved as much as fellow tenors, Stan Getz and Zoot Sims. The curtain fell for Moore in 1973 when he died following an accidental fall in a Copenhagen club.
Vinyl: Fantasy 3-222 original marbled red label
Though like many West Coast albums, lacking in the production values and lamination department, the cover is remarkable for its day.
Souce: Ebay, from a Dutch seller last year, a record I never got around to blogging at the time. A modest score, but modest is the new exciting, really exciting not often seen on Ebay nowadays. I keep reading vinyl is dead., so how come so many people want it?
An in-flight magazine article was recently lionising the new High Resolution Audio format, of which I had never heard.
Sony says: “With the growth of High-Res Audio technology, we’ve now come full circle. By enabling digital lossless capture of original analog audio sources, it’s now possible to listen to performances exactly as the artist intended. Add in the decreasing cost of storage media, plus faster internet speeds and our ability to have music in its purest form wherever we go has never been greater.”
“CDs are standardized at 44.1kHz/16bit. An alternative way of digitizing an analog source is a method called DSD (Direct Stream Digital) which captures sound information as a sequence of single bit values with an extremely high sampling rate of either 2.8MHz or 5.6MHz. This is approximately 64 or 128 times the sampling rate of CD audio and is simply known as DSD 2.8MHz or DSD 5.6MHz. For some engineers, this is the closest a digital file sample can get to an original analog source”
Of course some of us have already discovered the beauty of the original analog source, pictured left. It’s called vinyl. Or pretty close to it. The problem (or virtue) of vinyl is its lack of portability and lack of availability. But even if Sony engineers and others have managed to close the gap in sound quality, there are some features I want to recommend to them to include in future High Res Audio players.
First, an ” improve musician’s ability” calibration dial, which adds years of instrument practice to each performer.
Second, an “increase listener attention-span” feature, which disables track changing before it is complete.
Incorporating these two features, Modern Jazz on Vinyl may at last have a rival worthy of the name. May be you can suggest others.