|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
98.70.109.18
Josh Berman Trio: Chicago Retro
29 minutes, 15 ips, IEC equalization, 10-1/2" reel, $150It's so rare to come across a new commercial reel tape release that when one appears, it deserves a careful listen and review. That's the treatment we'd like to give the latest title in Jonathan Horwich's small but growing list of jazz recordings available in the reel format on his International Phonograph label.
Titled "Josh Berman Trio: Chicago Retro," the tape I auditioned is a 29-minute program of five blues-leaning tunes played by Josh Berman on cornet (a trumpet-like instrument), Matt Schneider on electric guitar, and Jason Roebke on acoustic bass. While the music is identified only by name, a quick search revealed that "Foolin' Myself" and "I Wished On the Moon" were popularized by Billie Holiday in the mid-1930s; "Blue and Sentimental" was a tune first recorded by Count Basie in 1938; and "Countless Blues," also from the 1930s, is attributed to the saxophonist and clarinetist Lester Young.
According to the notes on the album cover, the session was recorded on July 27, 2012 in Chicago. Horwich told me the original master was recorded on a 16-track deck (presumably using 2" tape), then mixed down to a 2-channel running master. This was then duplicated at 15 ips (1:1) using IEC equalization to ATR Magnetics 1/4" back-coated tape. The commercial package includes an aluminum 10-1/2" reel housed in a sturdy plastic case, presumably supplied by ATR. It would be helpful to have brief liner notes telling us a bit more about the players and the songs, as well as technical details of the recording that audiophiles always love to read.
The sound lives up to expectations, and fulfills Horwich's goal to release quality jazz on his "favorite medium," analog reel tape. Duplicated at a high level, the instruments are reproduced with amazing accuracy and presence, the cornet on the left, the bass dead center, and the guitar on the right. There's a wide dynamic and frequency range, not a trace of distortion, and no background noise except for the slightest pre-echo that is inaudible once the music begins.
I played the tape for several friends, mostly musician/audiophiles, who were as attuned to the music as to the sonics. All agreed that the sound was superlative, but argued over aspects of the performance. They were unanimous in praising the bass player for his compelling riffs and brilliant technique, especially the bowing. Horwich meets the challenge of recording this difficult instrument, capturing its wide range from the low end through the most subtle overtones. The cornet - particularly its upper end - is stunningly captured, becoming at times overpowering in intensity. That's not entirely surprising, Berman being the leader of the group. The electric guitar is the least interesting of the three, perhaps because the sound is limited by the instrument's own amplification system, but also due to Schneider's choice to remain a competent but unobtrusive rhythmic accompanist, always present but somewhere in the background.
Nearly everyone who listened felt they missed the shimmer and sizzle of a drum set to showcase the potential of wide range analog recording. This led to discussions about the size of the group and the combination of instruments. As a reference, I pulled off the shelf my Pablo records from the late 1970s, an assortment of duos and trios assembled by the late, great Norman Granz. While the Berman trio didn't quite match the polish and magic of Duke Ellington/Ray Brown, or the Jon Faddis or Roy Eldridge duets with Oscar Peterson, what musicians today would?
Before writing this review, I had to ask Jonathan Horwich one question that was nagging me. Given the highly advanced tape technology currently available, would it be possible to replicate this result using 7-1/2 ips, NAB equalization, and 1:1 duplication? In other words, could one find a 'compromise' format that would make these tapes available at a lower price to a broader, less affluent, but still discriminating audience? Horwich said the idea was appealing, but hadn't tried it. But he might, he added. I would personally love to hear the results.
In the meantime, this 'perfectionist' version will have to do. And considering the prices vintage tapes are garnering these days, the cost of Sony's curiously recorded Shins album ($109), and the $300+ prices of other newly released reels, the $150 tag on this tape seems justified and reasonable, if not an outright bargain. For an example of how good music can sound on tape, try it!
Edits: 01/19/13Follow Ups:
Hello Michael22,
Thank you for this review. I have the other 3 tapes produced by Jonathan and am happy with the production, presentation and the sound. He is an excellent producer and outstanding at what he does. He also does a great job at DJ.
I have gone on the internet to listen to some of the music of Mr. Josh Berman and find him a bit more avantgarde than I am use to. He has excellent musical skills and is easily the equal of any trumpet player out there but...... Perhaps if Mr. Berman was doing some traditional jazz tunes, ie, Round Midnite, Summertime, For all we know, Blue n Green, etc., I would take a chance and order the tape. However, I understand that Jonathan heard Mr. Berman play and liked what he heard. I am just a little more traditional. Finally, the people who heard T. Monk and Bud Powell heard music as Jonathan does and that's the reason we were blessed with two of the greatest musicians to hit the music scene. And, I came to love both. Perhaps I will grow to appreciate Mr. Josh Berman and that will be a good thing. I will go back to the internet and see if I can find him playing at least a few tunes I am familiar with.
music man bob
An African American audio, classical & jazz music lover. I love all great jazz, classical and folk music. Am also a lover of 1/2 track (15ips) reel to reel tape decks.
When I listened to this tape for the first time, I recognized at least two of the tunes, although not by name. These are pretty solid 30s standards. I know what you mean by wanting to listen to 'recognizable' tunes; Thelonious Monk believed in the supremacy of the 'tune,' as did producer Norman Granz (Norgran, Verve, Pablo) whose albums form a virtual encyclopedia of what has become known as The American Songbook.
Cool - Thank you! I'm gonna search for that one.
Thanks for the review...I wonder if your observations about the sound of the drums were due to the mic-ing approach used?
Also...I'm set up for playback with RMG 911 & LPR35; there shouldn't be any issues playing back ATR tape with IEC eq., correct?
And oh yeah...I assume that you can purchase this release online...do you happen to have a link to do this?
thanks again!
There were no drums on this recording, so the comment was entirely theoretical.
I didn't mention in the review that I listened to the tape on a Revox A700 with NAB (rather than IEC) equalization, and it sounded just fine. The noise level was negligible and I adjusted the tone controls on my Luxman receiver for what I considered natural musical reproduction.
This list is supposed to be non-commercial so I didn't want to provide a link to the website, but the tape is available from International Phonograph Inc which can be found via Google search.
Post a Followup:
FAQ |
Post a Message! |
Forgot Password? |
|
||||||||||||||
|
This post is made possible by the generous support of people like you and our sponsors: