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Categories JAZZ Miroslav Vitous - Infinite Search - 180g LP
Miroslav Vitous - Infinite Search - 180g LP
Product no.: PPANSD524Usually 7-21 Days
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Pure Pleasure / Embro - PPAN SD 524 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Audiophile Mastering - Pressed at Pallas - Limited Edition
Mastered by Ray Staff at Air Mastering London - Embryo SD 524
The mastering is pretty exciting on this LP. Vitous’ bass playing is both distinct, rhythmic and full of impact which oozes detail and energy while the almost angelic tenor sax from Joe Henderson seems to hover in the sky like an ominous UFO. I was impressed too with the improv technique of John McLaughlin, who darts into the gaps like a shoal of fish occupying every available sea space. Fans of more contemporary jazz releases will be very familiar with Vitouš as a recording artist for ECM. If you are, then this album will be an eye-opening glimpse into the man’s glittering past. A superb album. Paul Rigby - Theaudiophileman
Sound: 8.7 - Pressing: 9.6 - Value: 9.3 - I don’t know if this reissue is the very best pressing of this record in existence, but I’m willing to bet it’s close - Daily Audiophile
With John McLaughlin, Herbie Hancock, Joe Henderson, and Jack DeJohnette, this group rivaled the best fusion bands of the day. It must have been an intimidating challenge for a young Czech bassist to lead such a group on his debut album as a frontman, especially since he composed five of the six tracks. Recorded in late 1969, roughly the same time as the historic Bitches Brew, and the year before Vitous began a stint with the innovative Weather Report, this was trend-setting fusion. It's produced by Herbie Mann, for whom Vitous played on such albums as Memphis Underground and Stone Flute.
Miroslav's first album; superb even in the 21st century. If you are interested in finding out about the beginnings of "jazz-rock fusion" this record is absolutely crucial. DeJohnette and Mclaughlin both had something to prove at the time and it shows. Vitous had won a scholarship to Boston's Berklee school of music but on this evidence, he didn't need it at all and probably scared the heck out of the teaching staff before he left to go with Herbie Mann, the occasional Miles gig, and the album sessions with Shorter and Zawinul that led to Weather Report. A brilliant and influential debut from a prodigious talent; buy this one
Bassist Miroslav Vitous was only 22 years old when he recorded his debut album for Herbie Mann’s label, Embryo. Vitous was a part of Mann’s band at the time, and Herbie handled the production duties. Miroslav was a major young talent on the bass and was awarded a scholarship to the Berklee School of Music after being raised in what is now the Czech Republic. He immediately made a scene in New York working with major names including Freddie Hubbard, Clark Terry and Art Farmer.
Infinite Search made such a strong impression on the burgeoning jazz rock fusion community that Vitous was asked to be an original member of Weather Report. Quite the accomplishment for such a young player.
Infinite Search was an easy choice for an audiophile upgrade from PurePleasure on 180 gm vinyl. As an early jazz fusion issue from 1969, it featured a dream line-up of Joe Henderson, John McLaughlin, Herbie Hancock,and Jack DeJohnette. What is quite incredible for a grouping of this caliber is that Vitous, on acoustic bass, is clearly the leader. It would have been easy for him to just revel in the fact that he was among this group of fusion elite, content to soak in the talent of his esteemed mates. Not so, as he wrote five of the six tracks, and he gets nearly all the featured space.
On Eddie Harris’ “Freedom Jazz Dance” Miroslav takes right off propelled by DeJohnette, with Hancock percolating on electric piano. Not to be outdone, McLaughlin goes on a tear and Joe Henderson blows freely. “When Face Gets Pale” puts Vitous with the rhythm section only, and his bass chops are clearly prodigious.
The title track is introspective with McLaughlin supporting, and Herbie providing electric piano accents. Joe Henderson returns on “I Will Tell Him on You” and the sound stage opens before Miroslav again paints his palette of bass colors. For me the track goes on a bit too long, and some boredom sets in before the guitar solo section provides some more inspiration. My favorite track is the closer, “Epilogue” where Joe Chambers takes over the drum chair. It’s the most melodic number on the LP, quite ethereal with Hancock and Chambers setting a sonic cloud for Vitous to expand. Lovers of jazz fusion with rock sensibilities will find this reissue to be worth their consideration
Musicians:
Miroslav Vitous, bass
Herbie Hancock, electric piano
John McLaughlin, guitar
Joe Henderson, tenor saxophone
Jack DeJohnette, drums
Joe Chambers, drums
Tracklisting
Side A :
Freedom Jazz Dance
Mountain In The Clouds
When Face Gets Pale
Side B:
Infinite Search
I Will Tell Him On You 3. Epilogue
Recorded at A & R Recording Studios, New York, 1969
Recording Engineer: Dave Green
Produced by Herbie Mann
Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped 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 to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
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Its tangible, you can feel it, see it, study it, muse/dream over it, it’s real, someone has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be.
The music and the physical record. Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover, the sleeve notes, you are holding a unique package, produced by craftsmen.
Pure Pleasure Records bring you vinyl albums of quality Jazz - Blues - R+B - Soul - Funk, remastered by some of the best engineers in the world and pressed on 180 gram audiophile vinyl at what is probably the best pressing plant in Europe
Pure Analogue Audiophile Mastering
Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl
Released in Limited Quantities
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