Duke Ellington - At Newport - 140g LP Mono


Duke Ellington - At Newport - 140g LP Mono

Product no.: MOFI1-035


can be shipped within WAITING REPRESS days

Duke Ellington - At Newport - 140g LP Mono
£39.95
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Possible delivery methods: UK Tracked with Signature, Airmail Standard, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item

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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

Mobile Fidelity - MOFI 1-035 - 140 Gram Virgin Vinyl 

AAA 100% Analogue - Numbered Limited Edition -  Pressed at RTI  

Pure Analogue Mastered by Paul Stubbleline from the Original Master  Tape  at MFSL

Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System

This is high energy jump swing and he never lets up. Finally Duke steps in with his vibrant piano. This music is not big band nostalgia, but creative up-tempo heat with a variety of influences. A screeching trumpet and group dynamism throw the Newport Jazz Festival into pandemonium. It remains one of the greatest live performances of all time. Mobile Fidelity has done an outstanding job re-mastering this monaural recording. The orchestra swells are prominent and the quieter piano lines are clear and precise. The volumes of the trumpets, clarinets and saxophone are mixed well and have minimal shrillness.  Ellington At Newport is a jazz masterpiece!  - Sound 5/5 Audiophileaudition Review

Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance  Ellington’s Legendary Comeback Punctuated by Paul Gonsalves’ 27-Chorus Saxophone Solo

Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity’s World-Renowned Mastering System and Pressed at RTI

One of the Most Riveting and Important Jazz Recordings Ever Made

Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance It spurred Duke Ellington’s comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue.

It is jazz of the highest order, played at an almost rock n’ roll pace, and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd’s reaction as the collective lit into each new stanza. It is Ellington’s best-selling album. It is Ellington at Newport. Like few records before or since, the 1956 set owes as much to context and circumstance as it does instrumental execution.

Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted tradition big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards. The iconic arranger/composer’s foresight comes into fruition throughout the white-hot set, never more so than on “Diminuendo and Crescendo In Blue,” on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe—and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.

The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through “Festival Junction” with a requisite balance of poise and panache, and kicking heels on "Newport Up" via Ellington’s spry piano riffs, Jimmy Hamilton’s spicy clarinet feeds, and Clark Terry’s trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.

And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on our world-renowned mastering system and pressed at RTI (America’s best record plant), this numbered limited edition Silver Series LP of Ellington’s triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke’s 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It’s that simple.

 

Recorded At – Newport Jazz Festival
Recorded in performance at the American Jazz Festival at Newport, R.I., on July 7, 1956

• Limited Edition
• Numbered
• MoFi Silver Label Vinyl Series
• Mastered & Cut on the famous MoFi Sound Lab state-of-the-art Tim de Paravacini-designed mastering system
• Pressed at RTI on Audiophile-Grade Standard Vinyl

Duke Ellington Ellington At Newport Track Listing:

1. Festival Junction
2. Blues to Be There
3. Newport Up
4. Jeep’s Blues
5. Diminuendo and Crescendo In Blue

Duke Ellington - At Newport - LP Mono
 
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GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases.

The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (*It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!)

First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first.

As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most.

 

RTI HQ-Vinyl

Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world.

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