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The Gil Evans Orchestra - The Gil Evans Orchestra Plays The Music Of Jimi Hendrix - 180g LP

Product no.: CPL10667

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The Gil Evans Orchestra - The Gil Evans Orchestra Plays The Music Of Jimi Hendrix - 180g LP

£34.99

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Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item

Description

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / RCA CPL 1-0667 - 180 Gram Virgin Vinyl

AAA 100% Analogue - Limited Edition

Pure Analogue Audiophile Mastering - Pressed at Pallas Germany

Speakers Corner 25 Years Pure Analogue This LP is an Entirely Analogue Production

As for the audiophile content of this new ressing? From the the first delicate sounds that signals the beginning of Angel, you can hear thebroad nature of the soundstage which is expansive plus how fragile anddelicate are the treble frequencies that offer a clarity that is most attractive.- Paul Rigby Theaudiophileman

Jimi Hendrix was scheduled to record with Gil Evans' Orchestra but died before the session could take place. A few years later, Evans explored ten of Hendrix's compositions with his unique 19-piece unit, an orchestra that included two French horns, the tuba of Howard Johnson, three guitars, two basses, two percussionists and such soloists as altoist David Sanborn, trumpeter Marvin "Hannibal" Peterson, Billy Harper on tenor, and guitarists Ryo Kawasaki and John Abercrombie. Evans' arrangements uplift many of Hendrix's more blues-oriented compositions and create a memorable set that is rock-oriented but retains the improvisation and personality of jazz.

Critics find this album rather difficult to evaluate. Their judgement ranges from a colorful mixture to a successful cover album to a masterly fusion and an homage to an artist whose life came to an end far too soon — Jimi Hendrix. Jimi had long been gone when this album was recorded in 1974. But it is almost superfluous to look back to the legendary Hendrix if you focus on the great Gil Evans. After such milestones as "Birth Of The Cool" and "Sketches Of Spain" it isn't difficult to regard these late audiophile masterpieces as a logical development of Evans's exceptional skill as an arranger.

When you listen — or rather experience — how the crystal-clear sound in "Angel" is heightened to an emphatic ballad on the saxophone, or how rich soulful vocals storm ahead in a funky style ("Crosstown Traffic"), or fluffy, cloud-like sounds are built up on the flutes in "Castles Made From Sand," then it is no longer of importance who thought out the music. It is sufficient that it exists and is pleasing to all who hear it. It is also unimportant whether one reveres Hendrix's immemorable melodies or whether one pays homage to Evans's visionary soundworld: a recording such as this could only be born of the two.

Musicians:
Gil Evans, piano
David Sanborn, saxophone, flute
Billy Harper, saxophone, flute
Lewis Soloff, trumpet
Tom Malone, trombone, flute, bass, synthesizer
David Horowitz, electric piano, synthesizer
John Abercrombie, guitar
Don Pate, bass
Warren Smith, Jr., chimes, vibraphone, percussion
Bruce Ditmas, drums

Selections:

1. Angel
2. Crosstown Traffic / Little Miss Lover
3. Castles Made of Sand / Foxey Lady
4. Up From the Skies (Take 1)
5. 1983... (A Merman I Should Turn To Be)
6. Voodoo Chile
7. Gypsy Eyes

Reecording: 1974 at RCA's Studio B, New York City, by Bob Simpson

25 Years pure Analogue

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.

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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