Descripción
(i) Debido a su alta calidad, las muestras pueden demorar unos segundos antes de comenzar a ejecutarse.
USD 9,90 – USD 11,90
En 1961 Ray Charles conquistó Francia. A finales de julio realizó una serie de presentaciones en el festival Antibes, donde actuó con su “pequeña Big Band” (Big Band con la que había girado en los Estados Unidos en la primavera del 61).
Poco después de su triunfo en Antibes, Ray Charles regresó a Europa…
Ray Charles Orchestra:
Ray Charles (chant, organ)
Marcus Belgrave, Wallace Davenport, John Hunt & Phil Guilbeau (trumpets)
Henderson Chambers, James Lee Harbert, Keg Johnson & Leon Comegys (trombones)
Rudy Powell & Hank Crawford (alto saxes)
David ‘Fathead’ Newman (tenor sax, flute)
Don Wilkerson (sax tenor)
Leroy Cooper (baritone sax)
Sonny Forriest (guitar)
Edgar Willis (bass)
Bruno Carr (drums)
The Raelettes : Margie Hendricks, Gwen Berry, Pat Lyle & Darlene McCrea (vocals)
Los arreglos para los temas instrumentales como Moanin’, fueron tomados del libro de arreglos para la Quincy Jones Big Band. Mientras que los arreglos para temas como Come Rain Or Come Shine, Georgia On My Mind and Just For A Thrill, habían sido recientemente escritos por especial pedido de Ray Charles por Quincy Jones.
Características de la Restauración:
Sin Compresión ni Denoiser alguno para evitar perder o deformar la calidad de sonido y conservar el rango dinámico original.
Por deterioro de la fuente original y limtaciones técnicas de la época, se corrigieron las pérdidas de volúmen dentro de cada uno de los tracks.
Asi mismo, y por el deterioro del paso del tiempo, algunos de los tracks mostraban cambios de la calidad sonora a lo largo de los mismos; esto fue corregido a partir de una re-ecualización (en los sectores deteriorados) que reestablece una calidad sonora en forma sostenida y poder apreciar el contenido y lenguaje musical en una escucha más amable.
Se aplicaron controles para sonidos fuera de registro o “rotos”, con el fin de amabilizar la escucha.
Sonidos saturados provenientes de la grabación original han sido reparados. Los arreglos musicales (en especial la línea del contrabajo), y armónicos tanto de voz de Ray Charles como de los instrumentos de la orquesta, pueden escucharse en balance sonoro con la mayor transparencia y definición posibles por primera vez en 61 años.
In 1961 Ray Charles conquered France. In late July he performed a series of performances at the Antibes festival, where he performed with his “small Big Band” (Big Band with which he had toured in the United States in the spring of ’61).
Shortly after his triumph in Antibes, Ray Charles returned to Europe for a tour from 18 to 24 October 1961. Concerts in Zurich (18), Lyon (19), and four days of concerts with his new Big Band at the (then new) Palais des Sports in Paris (21 – 24).
These two concert series definitely consolidated Charles’ fame in France, where he not only became the number 1 jazz artist for many years, but also a seasonal phenomenon, that would be warmly welcomed in the largest venues and festivals in the country almost every year for the next 40 years.
The Ray Charles company gave a series of 7 concerts at the Palais des Sports in Paris in October 1961. The seventh concert, exclusively for U.S. troops stationed in France. The total series of concerts summoned a total record of 35,000 people
Lantower Records Presents 2022 Restored Version of Sunday Evening Concert October 22nd.
Ray Charles Orchestra:
Ray Charles (chant, organ)
Marcus Belgrave, Wallace Davenport, John Hunt & Phil Guilbeau (trumpets)
Henderson Chambers, James Lee Harbert, Keg Johnson & Leon Comegys (trombones)
Rudy Powell & Hank Crawford (alto saxes)
David ‘Fathead’ Newman (tenor sax, flute)
Don Wilkerson (sax tenor)
Leroy Cooper (baritone sax)
Sonny Forriest (guitar)
Edgar Willis (bass)
Bruno Carr (drums)
The Raelettes : Margie Hendricks, Gwen Berry, Pat Lyle & Darlene McCrea (vocals)
Arrangements for instrumental songs such as Moanin’ were taken from the Quincy Jones Big Band arrangement book. While arrangements for songs such as Come Rain Or Come Shine, Georgia On My Mind and Just For A Thrill, had recently been written by special request of Ray Charles by Quincy Jones.
Restoration features:
No Compression nor Denoiser to avoid losing or deforming the sound quality and preserve the original dynamic range.
Due to deterioration of the original source and technical adjustments of the time, the volume losses within each track were corrected.
Also, due to the deterioration of the passage of time, some of the tracks showed changes of the sound quality along them; this was corrected from a re-equalification (in the deteriorated sectors) that re-establishes a sound quality in a sustained way and be able to appreciate the content and musical language in a more friendly listening.
Controls were applied for sounds out of register or “broken”, in order to ease the listening.
Saturated sounds from the original recording have been repaired. The musical arrangements (especially the double bass line), and harmonics of both Ray Charles’ voice and the orchestra’s instruments, can be heard in sound balance with the greatest possible transparency and definition for the first time in 61 years.
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