℗ 2021 2xHD
Released | February 12, 2021 |
Duration | 35m 45s |
Record Label | 2xHD |
Catalogue No. | 2XHDRE1196 |
Genre | Jazz |
The Lost 1965 New York Studio Sessions
Bob James
Available in 352.8 kHz / 24-bit, 192 kHz / 24-bit, 96 kHz / 24-bit AIFF, FLAC and 11.2896 MHz, 5.6448 MHz, 2.8224 MHz DSD high resolution audio formats
1.1
|
Long Forgotten Blues
Bob James; Bill Wood; Omar Clay |
9:02 | |||
1.2
|
Indian Summer
Bob James; Bill Wood; Omar Clay |
5:11 | |||
1.3
|
Solar
Bob James; Bill Wood; Omar Clay |
5:20 | |||
1.4
|
Airegin
Bob James; Bill Wood; Omar Clay |
4:42 | |||
1.5
|
Serenata
Bob James; Larry Rockwell; Robert Pozar |
7:09 | |||
1.6
|
Variations
Bob James; Larry Rockwell; Robert Pozar |
4:21 | |||
Digital Booklet
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Resonance Records and 2xHD excitedly release Bob James’ Once Upon a Time: The Lost 1965 New York Studio Sessions, a collection of important, previously unheard 1965 recordings by the pianist’s trio cut by Resonance’s founder and co-president George Klabin.
The Lost 1965 New York Studio Sessions comprises sessions recorded by Klabin, then a freshman at Columbia University in New York, with two iterations of the trio fronted by James, who was working in Manhattan as vocalist Sarah Vaughan’s pianist along with bassist Larry Rockwell and drummer Omar Clay. At that point, the keyboardist had issued only one LP, the 1962 Mercury Records debut Bold Conceptions, produced by Quincy Jones, which had attracted Klabin’s attention as a boarding school student.
Much of the material on the collection, crisply recorded at Columbia’s Wollman Auditorium, finds James working in the swinging, lyrical style that made him a commercial force in jazz from the 1970s into the new millennium. But it also spotlights the spiky, experimental aspect of the musician’s playing, which has been little represented on disc until now.
The more freewheeling, clamorous material on the album is heard in the January 20, 1965 session, on which James is backed by bassist Larry Rockwell, who was also a member of the Sarah Vaughan band, and drummer Robert “Cleve” Pozar; the risk-taking percussionist, who knew the pianist from his days as a University of Michigan student, also appeared on Bold Conceptions
The second session on the album is drawn from a comparatively sedate but no less exciting October 9, 1965, trio date with the rhythm section of Detroit-bred bassist Vishnu (Bill) Wood and drummer Omar Clay, another associate from James’ University of Michigan days. The tracks include probing interpretations of Sonny Rollins’ “Airegin” and Miles Davis’ “Solar.”.
352.8 kHz / 24-bit, 192 kHz / 24-bit, 96 kHz / 24-bit PCM and 11.2896 MHz, 5.6448 MHz, 2.8224 MHz DSD – 2xHD Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.67 -8.12 to -1.18 | -25.07 -30.38 to -22.31 | -22.43 -27.60 to -19.90 | 13 12 to 14 | |
1 | Long Forgotten Blues | -2.04 | -24.52 | -22.4 | 14 |
2 | Indian Summer | -8.12 | -30.38 | -27.6 | 14 |
3 | Solar | -1.18 | -23.41 | -21.1 | 14 |
4 | Airegin | -1.75 | -22.82 | -20.7 | 13 |
5 | Serenata | -3.59 | -22.31 | -19.9 | 12 |
6 | Variations | -5.34 | -27.00 | -22.9 | 12 |