Freddie Hubbard and Stanley Turrentine - In Concert Volume One & Two - 180g 2LP


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Freddie Hubbard and Stanley Turrentine - In Concert Volume One & Two - 180g 2LP

Product no.: CTI6044/49

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Freddie Hubbard and Stanley Turrentine - In Concert Volume One & Two - 180g 2LP
£43.99
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Speakers Corner / CTI - CTI 6044/49 - 180 Gram Virgin Vinyl 

Mastered from the Original Mastertapes by Willem Makkee at Emil Berliner

AAA 100% Analogue  - Limited Edition -  Audiophile Mastering - Pressed  at Pallas 

AAA 100% Analogue This Speakers Corner LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head 25 Years pure Analogue

The producer was certainly on the ball when he recorded a concert with CTI stars on a short tour of the USA in 1973. Thus the beginning of the jazz-rock era was documented in jazz's country of origin. Liberated from the often-sterile atmosphere in a studio, Freddie Hubbard, Stanley Turrentine and friends (here also without a sometimes stifling studio band) could exhibit their amazing improvisational talents as soloists in lengthy works.
 
This was greatly facilitated by the groove conjured up by Herbie Hancock, Ron Carter and Jack deJohnette — who had all profited from Miles Davis's tutoring. And let's not forget Larry Gale, a not unknown or bad guitarist, who transported hot Jamaican rhythm to the wintery Chicago and Detroit.
 
To release both versions of "Gibraltar" and "Hornets" is certainly justifiable and is hardly worth discussing, keeping in mind the greatness of the improvising soloists. (You could, for example, listen to one version on Sunday and the other on Monday!) It also makes sense to offer the two LPs, originally released separately, together, since they both deliver an important testimony of the years between 1970 and 1975 — a time when jazz aficionados of the old school were shaken to their foundations by the new electric instruments, the loudness and the fire of the new generation of musicians. Back in those days, some will have covered their ears in horror, but this is no longer 'in' 45 years later. This jazz was never a 'no go' and it will never be.
 
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.
 
Recording: March 1973 live at Chicago Opera House and Ford Auditorium, Detroit, by Charles Buchanan. Remixed by Rudy Van Gelder
 
Production: Creed Taylor
 
Musicians:
Freddie Hubbard, trumpet
Stanley Turrentine, saxophone
Eric Gale, guitar
Herbie Hancock, piano
Ron Carter, bass
Jack DeJohnette, drums
 
1. Povo (Detroit)
2. Gibraltar (Chicago)
3. Hornets (Chicago)
4. Interlude
5. Hornets (Detroit)
6. Gibraltar (Detroit)
 
Freddie Hubbard and Stanley Turrentine - In Concert Volume One & Two - 180g 2LP
AAA 100% Analogue   This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 25 Years pure Analogue
 
MADE FROM THE ORIGINAL MASTER TAPES
AAA 100% ANALOGUE - PURE ANALOGUE AUDIOPHILE MASTERING
We use the Original Tapes and work with only the Best Mastering Studios Worldwide
180 GRAM VIRGIN VINYL  PLATED & PRESSED AT PALLAS GERMANY
Faithful Reproduction of the Original Artwork and Labels
LIMITED EDITION Released in Limited Quantities
All Licences and Mechanical Rights Paid
 
                    Image result for pallas group germany vinyl pressing                  
 
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
 
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
 
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
 
Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s. 
 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
 
60 Years Pallas
 
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 
 
 
 
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