All My Yesterdays - The Debut 1966 Recordings at the Village Vanguard

Available in Audiophile 192kHz/24bit, 96kHz/24bit, DSD 2.8MHz & DSD 5.6MHz

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Album Name Dauer Format Auflösung Preis
All My Yesterdays - The Debut 1966 Recordings at the Village Vanguard 02:00:46 28,50 €
Buy Individual Tracks
# Track Title Dauer Format Auflösung Preis
1 Back Bone 12:53 192/24 Album only
2 All My Yesterdays 04:30 192/24 Album only
3 Big Dipper 05:50 192/24 Album only
4 Mornin' Reverend 04:37 192/24 Album only
5 The Little Pixie 15:25 192/24 Album only
6 Big Dipper (Alternate Take) 07:24 192/24 Album only
7 Low Down 04:35 192/24 Album only
8 Lover Man (Oh, Where Can You Be?) 05:18 192/24 Album only
9 Ah, That's Freedom 10:04 192/24 Album only
10 Don't Ever Leave Me 04:27 192/24 Album only
11 Willow Weep For Me 06:14 192/24 Album only
12 Once Around 12:49 192/24 Album only
13 Polka Dots and Moonbeams 03:53 192/24 Album only
14 Mornin' Reverend (21 March 1966) 05:44 192/24 Album only
15 All My Yesterdays (21 March 1966) 04:19 192/24 Album only
16 Back Bone (21 March 1966) 12:44 192/24 Album only

Preis wie konfiguriert: 28,50 €

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℗ 2016 2xHD
© 2016 2xHD

In February 1966, New York's Village Vanguard booked the new Thad Jones/Mel Lewis big band to play two Monday nights. That engagement got extended to a month and then some. The orchestra they founded is still playing Mondays at the Vanguard 50 years later. A new live set includes some music from their opening night. Jazz critic Kevin Whitehead says they got it right the first time

All My Yesterdays' Captures The Beginning Of A 50-Year Engagement’

KEVIN WHITEHEAD Jazz critic, BYLINE:

Thad Jones spent years playing trumpet with Count Basie and writing tunes and arrangements for his band. Some of his charts were a little weird for Basie and Jones filed them away with some other unheard music. Then he and drummer Mel Lewis started a rehearsal band with top musicians they knew mostly from New York's TV studios. They rehearsed Jones' music two or three months and then went into the Vanguard. The first Monday in February, 1966.

The place was packed. The crowd was friendly, and the band was drilled and ready. They had a quiver of good tunes, like Thad Jones' "Mornin' Reverend." It's very '60s Ellington, with a signature beat and silky saxophones under wah-wah brass.

That's like Ellington with a little more church in it, edging toward Charles Mingus territory. The Mingus influence was oddly pronounced on opening night in the cross talking horns and controlled chaos. Thad Jones would conduct the band out front, shaping details and phrasing with hand signals. Conducting improvisers is one of those eternally newfangled ideas band leaders have been using forever.

But that very first gig was the big band's big bang, an explosion of the creative energy it still feeds on long after the founders passed on. This orchestra has been going strong for 50 years now. That's big. I can't quite get my head around it.’

-Kevin Whitehead writes for Point of Departure and TONEAudio and is the author of "Why Jazz?" He reviewed "All My Yesterdays," the debut 1966 recordings at the Village Vanguard by the Thad Jones/Mel Lewis Orchestra.

2xHD Mastering by: René Laflamme and André Perry

2xHD Executive Producer: André Perry

 

THE 2XHD MASTERING PROCESS

 

For the 2xHD transfer of this recording, the original 1/4”, 15 ips NAB master tape was played on a Nagra-T modified with high-end tube playback electronics, wired with OCC silver cable from the playback head direct to a Telefunken EF806 tube. The Nagra T has one of the best transports ever made, having four direct drive motors, two pinch rollers and a tape tension head.   

We did an analog transfer for each high-res sampling and A & B comparisons were made with the original LP, using the KRONOS turntable with a BLACK BEAUTY tone arm.   

 

Each format (96kHz, 192kHz, DSD2.8mHz and DSD5.6mHz) was created using Merging Horus/Hapi A/D converter, calibrated to the required format, and a dCS Vivaldi clock  

2xHD was created by producer/studio owner André Perry and audiophile sound engineer René Laflamme.