Deodato - Deodato 2 - 180g LP


Deodato - Deodato 2 - 180g LP

Product no.: CTI6029

Usually 7-21 Days

Deodato - Deodato 2 - 180g LP
£29.95
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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

Speakers Corner / CTI  - CTI 6029  - 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

Working with Rudy Van Gelder’s source engineering is always a plus. This vinyl re-mastering is polished and is captured with rich tonal agility and finesse. The warmness of the strings and electric piano are exquisitely juxtaposed with the crispness of the horns and sharpness of the electric guitar. The stereo separation is flawless. The gatefold has a high-quality glossy finish. Vinyl aficionados will be thrilled with Deodato 2. Sound 4.5/5 AudiophileAudition

 
In his early years, Deodato, 'the gift of God', cultivated a highly original art of give and take in his music. His score for Stanley Kubrick’s science fiction film "A Space Odyssey 2001" – a funky, jazzed-up adaptation of Richard Strauss’s bombastic orchestral work "Also sprach Zarathustra" – opened the ears of innumerable cinema-goers to classical music. 
 
On the present album Deodato again rocks and grooves with works from past eras: Gershwin’s "Rhapsody In Blue" is reworked rhythmically and enriched, while Ravel’s "Pavane" unfolds hesitatingly over a velvety carpet of sound. And why not win new fans for major musical works? Deodato, the master, and his complex musical apparatus impart a true Latin feeling to these covered works.
 
The 'new' classic "Nights In White Satin" too, one of the most congenial gigantic hits from the '60s, is staged by Deodato as a miniature slow rock drama just as perfectly as he cultivates his own very pure funky style ("Super Strut"). In Deodato’s arrangements, the powerful instrumental forces open out almost effortlessly and evolve into a gentle flow of sheer pleasure. Everything appears to be simple, although nothing is simple! And therein lies the uniqueness of 'the gift of God'.
 
Musicians:
Eumir Deodato, keyboards
Jon Faddis, trumpet, flugelhorn
Wayne Andre, trombone
Joe Temperley, baritone saxophone
Hubert Laws, flute
John Tropea, guitar
Stanley Clarke, bass
Billy Cobham, drums
 
Recording: April and May 1973 at Van Gelder Studios, Englewood Cliffs, NJ (USA), by Rudy Van Gelder
Production: Creed Taylor

    1. Nights In White Satin
    2. Pavane For A Dead Princess
    3. Skyscrapers
    4. Super Strut
    5. Rhapsody In Blue
 
Deodato - Deodato 2 - 180g LP
 
                               
20 Years pure Analogue
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head
 
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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