Sometimes, I think that we shoot ourselves in the foot by playing (and demo-ing) music we love way too much. One of the guns that we use often is Jazz at the Pawnshop. However, of late since it's no longer fashionable to use it at audio shows, I've had a respite from it for the past couple of years.
Coming back to it recently, I found that I still love this album - both the music and the sound. It has its detractors who say that neither the performance nor the recording lives up to it's legendary reputation, but I disagree. It brings infectious fun, and it is real enough to transport me to the Stampen. I hear the band, the acoustic space, and the small round tables around the room with PEOPLE WHO CAN'T KEEP QUIET. The sound quality of the recording even surprised Gert Palmcrantz..... and it may have been due to him holding his Nagra IV tape recorder on his lap.
What is not well known is that the second reel of the original master tape went missing in the early 1980's, and it wasn't until Erland Boethius, son of Proprius founder Jacob Boethius, found it by sheer accident in mid 2000's. Besides the first pressing, all re-issues (including all CDs) were made with a copy of the second reel - until the K2HD version by Winston Ma, FIM in 2007. As a part of Winston's swan song, he wanted to produce the definitive version of Jazz in the Pawnshop, and I share his passion for this title.
So, here's the Fifth and Ultimate Version of Jazz at the Pawnshop.
I have almost every single re-issue of JatP, including the German ATR, and this one is simply better. More natural, with better space between the players and ambience. When it comes to a superlative recording, I don't find the dynamics to be what attracts me. It's the space and rest between the notes. Compared to the first pressing, it has a little less air, but my first press has been played so often that it's noisy, and I find myself enjoying this one so much more. The pressing by QRP is supremely clean and quiet.
I've got to admit though, that Winston gave me his test pressing. However, even if the production copies turn out to be 90% of the test pressing, this is still the re-issue to get if you don't have an lightly-played copy of the first press.
The album was re-mastered by Michael Bishop and cutting mastering by Doug Sax. I also had a small hand in production - carrying the mastertapes on my lap from Seattle back to Sweden. Robb brought them here, and I had to bring them back. No couriers allowed for first generation master tapes.
It's not on Winston's website yet http://www.firstimpressionmusic.com/
Quantities are limited, so give Henry at the FIM sales office a call at (425) 883-3330 to get your copy.
Coming back to it recently, I found that I still love this album - both the music and the sound. It has its detractors who say that neither the performance nor the recording lives up to it's legendary reputation, but I disagree. It brings infectious fun, and it is real enough to transport me to the Stampen. I hear the band, the acoustic space, and the small round tables around the room with PEOPLE WHO CAN'T KEEP QUIET. The sound quality of the recording even surprised Gert Palmcrantz..... and it may have been due to him holding his Nagra IV tape recorder on his lap.
What is not well known is that the second reel of the original master tape went missing in the early 1980's, and it wasn't until Erland Boethius, son of Proprius founder Jacob Boethius, found it by sheer accident in mid 2000's. Besides the first pressing, all re-issues (including all CDs) were made with a copy of the second reel - until the K2HD version by Winston Ma, FIM in 2007. As a part of Winston's swan song, he wanted to produce the definitive version of Jazz in the Pawnshop, and I share his passion for this title.
So, here's the Fifth and Ultimate Version of Jazz at the Pawnshop.
I have almost every single re-issue of JatP, including the German ATR, and this one is simply better. More natural, with better space between the players and ambience. When it comes to a superlative recording, I don't find the dynamics to be what attracts me. It's the space and rest between the notes. Compared to the first pressing, it has a little less air, but my first press has been played so often that it's noisy, and I find myself enjoying this one so much more. The pressing by QRP is supremely clean and quiet.
I've got to admit though, that Winston gave me his test pressing. However, even if the production copies turn out to be 90% of the test pressing, this is still the re-issue to get if you don't have an lightly-played copy of the first press.
The album was re-mastered by Michael Bishop and cutting mastering by Doug Sax. I also had a small hand in production - carrying the mastertapes on my lap from Seattle back to Sweden. Robb brought them here, and I had to bring them back. No couriers allowed for first generation master tapes.
It's not on Winston's website yet http://www.firstimpressionmusic.com/
Quantities are limited, so give Henry at the FIM sales office a call at (425) 883-3330 to get your copy.
