|
|
|
This is a landmark date in Mingus' musical legacy. In the period 1957-58, he was recording mostly for Debut and Bethlehem, small labels that could never afford to provide the high quality of production and engineering available in RCA's Studio A.
Based on a brief listening comparison between the first five tracks of the RCA Bluebird (First Editions) RBCD set and this SACD, it appears that Bernie Grundman had access to the same stereo master tape as the BMG Entertainment team.
I recommend both issues: the 2-CD set for the fascinating alternate takes and breakdowns, and excellent commentary; and the Original Recordings Group SACD for the clear sonic improvements.
|
|
|
|
|
|
undertone said:
This is a landmark date in Mingus' musical legacy. In the period 1957-58, he was recording mostly for Debut and Bethlehem, small labels that could never afford to provide the high quality of production and engineering available in RCA's Studio A.
Based on a brief listening comparison between the first five tracks of the RCA Bluebird (First Editions) RBCD set and this SACD, it appears that Bernie Grundman had access to the same stereo master tape as the BMG Entertainment team.
I recommend both issues: the 2-CD set for the fascinating alternate takes and breakdowns, and excellent commentary; and the Original Recordings Group SACD for the clear sonic improvements.
I have that Bluebird edition......for a RBCD I always thought it sounded pretty spectacular.
In 2010 Columbia/Legacy released yet another two disc RBCD set of Tijuana Moods with even more alternate takes........http://en.wikipedia.org/wiki/Tijuana_Moods
|
|
|
|
|
|
rammiepie said:
I have that bluebird edition......for a RBCD I always though it sounded pretty spectacular.
I agree, and that's a testament to the quality of the original engineering and editing, and to the archivists who preserved the now 58 year-old tape.
|
|
|
|
|
|
undertone said:
I agree, and that's a testament to the quality of the original engineering and editing, and to the archivists who preserved the now 58 year-old tape.
Undertone, I did play Tijuana Moods last night and was absolutely stunned at the incredible Bernie Grundman transfer.
For a 1958 recording it sounded like a 2015 one.
RCA's Studio A was a magic venue in which to record and TM is a testament to that.
HIGHLY recommended!
|
|
|
Post by cds23 May 13, 2015 (5 of 6)
|
|
Has anybody compared it to the Classic Records Gold CD? If there isn't much difference besides the usual benefits coming from DSD, I'll pass on this one. The Gold CD is already one of the best sounding CDs I know.
|
|
|
|
|
|
cds23 said:
Has anybody compared it to the Classic Records Gold CD? If there isn't much difference besides the usual benefits coming from DSD, I'll pass on this one. The Gold CD is already one of the best sounding CDs I know.
Gold RBCD is still 16/44.1 resolution and I will state, unequivocally, that this is one of the FINEST sounding SACD jazz reissues I have EVER heard.
If you're a Mingus fan don't pass it up as no one knows if ORG will continue producing SACDs in the future....and they ARE in limited production!
|
|
