Wynton Kelly Trio - Smokin` At The Half Note - 180g LP


Wynton Kelly Trio - Smokin` At The Half Note - 180g LP

Product no.: V68633

In stock

Wynton Kelly Trio - Smokin` At The Half Note - 180g LP
£32.95
Price includes VAT, plus delivery


Possible delivery methods: UK Tracked with Signature, Airmail Standard, UK Express, Airmail Tracked with Signature, UK Standard

Speakers Corner / Verve - V6-8633 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Limited Edition - Pure Analogue Audiophile Mastering - Pressed  at Pallas Germany

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head AAA 100% Analogue 20 Years pure Analogue
 
The best recording of Wes Montgomery I've ever heard is Smokin' at the Half Note, a Verve LP reissue (V6-8633) recently issued by the German Speaker's Corner label - Stereophile
 
A Tremendously Important Historic Jazz Record That Pairs Guitar Virtuoso Wes Montgomery With Miles Davis' Rhythm Section - Paul Chambers and Jimmy Cobb
 
This is timeless music that has inspired innumerable jazz guitarists and aficionados. In fact, jazz guitar great Pat Metheny has said, "I learned to play listening to Wes Montgomery's Smokin' At The Half Note." Metheny additionally said that the solo on "If You Could See Me Now" is his favorite of all time.
 
This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history.
 
Highlights include the Miles Davis opener, "No Blues" and the following track, Tadd Dameron's "If You Could See Me Now." And the album's versions of "Unit 7" and "Four On Six" have helped to establish these songs as jazz standards.
 
An American jazz critic once said that Wes Montgomery was the “best thing that could happen to a guitar”. Grand words, one might say, quickly racking one’s brains to come up with other great names. But after only a few minutes of listening to this live recording made in 1965 at the Half Note in New York, you will forget your brain-storming and concentrate on the unfussed performance of this brilliant guitarist and the superb Wynton Kelly Trio. 
 
The very first number of this album, which despite its tongue-in-cheek title No Blues is full of the spirit of black jazz, makes plain Montgomery’s unique talents. Highly polished arching melodies, sharply dissonant chordal runs and free improvisation displaying brilliant technique are the characteristics of this wizard of the “semi-acoustic” guitar. The quartet’s thrilling mixture of Blues, Latin and Soul is as fresh, modern and compelling as it was 30 years ago. This is music which gets down to the nitty-gritty, is always cool and straight with no fuss or frills getting in the way: the message comes over clearly – and it makes the blood surge through one’s veins! The almost tangible atmosphere of the recording venue and the pure sound quality further enhance this collector’s item and guarantee a jazz happening of the very highest order.
 
The best recording of Wes Montgomery I've ever heard is Smokin' at the Half Note, a Verve LP reissue (V6-8633) recently issued by the German Speaker's Corner label - Stereophile
 
 I listened to several Wes Montgomery records; with Smokin’ at the Half-Note, with the Wynton Kelly Trio (LP, Verve/Speakers Corner V6 8633), I got a real sense of the warm yet poppy sound of a vintage Gibson L-5 -- the cozy, liquid-chocolate resonance of that big hollow-body guitar. Acoustic bass, too, was fabulous - Soundstage
 
June 1965 im Half Note, New York von Rudy Van Gelder / Production: Creed Taylor
 
Wynton Kelly, piano
Wes Montgomery, guitar
Paul Chambers, bass
Jimmy Cobb, drums
 
1.   No Blues
2.   If You Could See Me Now
3.   Unit 7
4.   Four On Six
5.   What's New 
 
Wynton Kelly Trio - Smokin` At The Half Note - 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 20 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.
 
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! 

Customers who bought this product also bought

* Prices include VAT, plus delivery

Browse this category: JAZZ