Grant Green - The Final Comedown : OST - 180g LP

Product no.: BST84415

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Grant Green - The Final Comedown : OST - 180g LP
£29.97
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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 / Blue Note BST84415 - 180 Gram Virgin Vinyl -

AAA 100% Analogue - Limited Edition - Pure Analogue Audiophile Mastering

Mastered by Sean Magee at Abbey Road  - Pressed  at Pallas Germany

Guitarist Grant Green is known for laid back non-chordal single note playing. He was underrated during his life, but is now seen as one of the greatest guitarists of his era. During the early 60’s, both his fluid, tasteful playing in organ/guitar/drum combos and his other dates for Blue Note established Green as a star. He was off the scene for a while in the mid-60’s, but came back strong in the late ‘60’s and ‘70’s when this album was recorded.

"The Final Comedown" was Blue Note’s first film soundtrack and is an excellent debut into the Blaxploitation soundtrack genre of the period. As Grant Green’s entry into this blaxploitation genre it does differ to a certain degree from his other works. There are pensive mood pieces along with more funky percussive tunes. Like any film score, the moods shift from tense to tranquil, featuring staccato horn punches, dramatic tympani, bongo driven beats and wah wah guitar. Grant Green brings a deeper jazz feel to the tracks with in particular the title track being more akin to his other Blue Note material of the period.

The Final Comedown is a soundtrack album for the film The Final Comedown (1972) by American jazz guitarist Grant Green featuring performances recorded in 1971 and released on the Blue Note label. It was the first soundtrack album released on Blue Note.

"The Final Comedown was Blue Note’s first film soundtrack and a departure for both the label and Grant Green. True, many of Green’s sessions from this period dipped into funk and R&B, but most of the tracks heard here are pensive mood pieces, conceived as the backing tracks to the blaxploitation film of the same name." - All Music Guide

The Final Comedown was Blue Note's first film soundtrack and a departure for both the label and Grant Green. True, many of Green's sessions from this period dipped into funk and R&B, but most of the tracks heard here are pensive mood pieces, conceived as the backing tracks to the blaxploitation film of the same name. As can be expected, there are a handful of cuts -- "Past, Present and Future," "Slight Fear and Terror," "Battle Scene" -- featuring things like staccato horn punches, dramatic tympani, and little in the way of instrumental soloing -- standard fare for the genre. Others, like the fantastic title track, showcase Green in a setting much more akin to his previous funk dates (Alive, etc.). Like any film score, The Final Comedown shifts moods as often as it revisits themes, so one should expect to hear a wide variety of styles held together by only a few common motifs. The most puzzling thing about this release, perhaps, is the fact that it was credited to Green at all. Wade Marcus composed and conducted every track and at least a few of them feature Green in nothing more than a supporting role. Recommended for fans of blaxploitation soundtracks and early-'70s jazz-funk.

Musicians:

  • Grant Green (guitar)
  • Wade Marcus (composer, conductor)
  • Richard Tee (piano, organ)
  • Irving Markowitz, Marvin Stamm (trumpet, fluegel horn)
  • Phil Bodner (flute, piccolo, alto saxophone, oboe)
  • Harold Vick (alto saxophone, tenor saxophone)
  • Gordon Edwards (electric bass)
  • Grady Tate (drums)
  • Ralph MacDonald (conga, bongo)

Track Listing:
1. Past, Present And Future 
2. The Final Comedown 
3. Father's Lament 
4. Fountain Scene 
5. Soul Food - African Shop 
6. Slight Fear And Terror 
7. Afro Party 
8. Luanna's Theme 
9. Battle Scene 
10. Traveling To Get To Doc 
11. One Second After Death 

Grant Green - The Final Comedown : OST - 180g LP

 
 
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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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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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