180g 200g 45rpm Box Sets.

Weather Report - Live in Tokyo - 180g 2LP

Product no.: SOPJ12~13

In stock

Weather Report - Live in Tokyo - 180g 2LP

£52.99

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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 / CBS Sony - SOPJ12-13 - 180 Gram Virgin Vinyl

AAA 100% Analogue - Limited Edition - Audiophile Mastering - Pressed at Pallas

Speakers Corner 30 Years pure Analogue

"The sound is first class and points up every note and even, indeed, every footstep across the stage" Jazz Journel

The legendary Weather Report set the music world on fire back in the early seventies with their hypnotic blend of progressive-fused jazz with funk, prog-rock and soul, augmented with the brilliant and skillful musicianship of their superstar founders Wayne Shorter on saxophone and various electronic reeds and the late great Joe Zawinul on a stunning array of keyboards and electronic instruments.

Both of these legendary musicians/composers worked with Miles Davis on his classics like Bitches Brew, plus solid tenures with legends like Cannonball Adderley (Zawinul) and Art Blakey (Shorter) all of which would prove to become the huge catalyst for things to come.

Throughout the seventies and beyond, Weather Report’s fine arsenal of recordings would take the band to the top of all the popular music charts. The 1972 fusion live masterpiece Live In Tokyo would go on to yield one of the most important albums of their career as it hit the top rungs of the jazz charts, plus major showings in the pop and r&b charts.

No stone is left unturned, as this masterwork is loaded with stellar classics and long extensive live workouts on smashes like Wayne Shorter's Eurydice and Tears, the Shorter/Zawinul collaboration Umbrellas and Joe Zawinul favorite Orange Lady.

As one of the most enduring albums in their massive career catalog, Live In Tokyo in its original vinyl form took their fans by storm, paying hundreds of dollars for the original Japanese import if they were lucky to find one.

Do you remember what you did you on the evening of 13 January 1972? A multitude of Japanese jazz lovers walked or drove to the grand Shibuya Public Hall in Tokyo where they enjoyed a veritable firework display of a concert, which was – without exaggeration – a milestone in the history of jazz. The technicians from the Japanese subsidiary of Columbia, Sony, had placed their microphones and tape machines with great care and captured this memorable concert live.

Two of the numbers had already been recorded in New York with the same group of musicians for the album I Sing The Body Electric. But to experience Weather Report live with this ensemble was only granted to the enthusiastic Japanese jazz fans.

The concert programme consisted of long medleys composed by Wayne Shorter and Joe Zawinul, which were dissected and put together again with interplay between the rhythm group and the soloists. Wayne Shorter, who plays the tenor and soprano saxophone and the virtuoso Joe Zawinul, who loved to alternate between the acoustic and electric piano, were quite rightly awarded with frenetic applause from the audience.

The most recognizable numbers are probably "Doctor Honoris Causa", (which Cannonball Adderley also often liked to perform this piece in public), and "Directions" (just listen once again to the version which Wayne Shorter recorded with Miles Davis!).

Most of today’s vinyl fans will have missed out on the tour back then. That’s why it is especially pleasing that this live event is available once again as a vinyl double album. And what is more: one can enjoy an enhanced sound thanks to the superb reproduction techniques of the 21st century.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.

Musicians:
Wayne Shorter, soprano saxophone, tenor saxophone
Joe Zawinul, piano, electric piano
Miroslav Vitous, bass, electric bass
Eric Gravatt, drums
Don Um Romao, percussion

Selections:
Side One:
1. Medley: Vertical Invader / Seventh Arrow / T.H. / Doctor Honoris Causa
Side Two:
1. Medley: Surucucu / Lost / Early Minor / Direction
Side Three:
1. Orange Lady
Side Four:
1. Medley: Eurydice / The Moors
2. Medley: Tears / Umbrellas

AAA 100% Analogue This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 25 Years pure Analogue

MADE FROM THE ORIGINAL MASTER TAPES

AAA 100% ANALOGUE - PURE ANALOGUE AUDIOPHILE MASTERING

We use the Original Tapes and work with only the Best Mastering Studios Worldwide

180 GRAM VIRGIN VINYL PLATED & PRESSED AT PALLAS GERMANY

Faithful Reproduction of the Original Artwork and Labels

LIMITED EDITION Released in Limited Quantities

All Licences and Mechanical Rights Paid

Image result for pallas group germany vinyl pressing

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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