MJQ + Laurindo Almeida – London December 19th 1963

Previo a esa sesión de grabación, en Diciembre de 1964 hicieron una presentación en Inglaterra. Lantower Records presenta la Restauración del Concierto del Modern Jazz Quartet y Laurindo Almeda (en los temas One Note Samba y Fugue in A minor) que tuvo lugar en Londres el 19 de Diciembre de 1963.

John Lewis Piano
Milt Jackson Vibrafón
Percy Heath Contrabajo
Connie Kay Batería
Laurindo Almeida Guitarra (Tracks 3 & 4)

Características de la Restauración: Sin compresión. No se han usado filtros.
Se balancearon frecuencias para lograr un sonido general compensado. Se aplicaron controles para sonidos fuera de registro o “rotos”, con el fin de amabilizar la escucha.
Dada la diferencia de calidad sonora entre track y track durante el concierto se intentó dar un sonido general lo más homogéneo posible. En todos los temas se buscó conciliar el respeto por la estética original de las grabaciones en vivo de esa época con las posibilidades tecnológicas actuales en relación con la recuperación del timbre y de los fantasmas del sonido de cada instrumento, otorgando al registro el mayor realismo posible.
Sonidos saturados provenientes de la grabación original han sido reparados.

Brazilian guitarist Laurindo Almeida’s first foray into jazz was at the invitation of Stan Kenton in 1947, who incorporated him into his band in those years. In the 1950s Almeida recorded with Stan Getz, Bud Shank and Herbie Mann.

On July 21, 1964, at the RCA Webster Hall in New York, the recording of the album Collaborarion took place, which reunited the Modern Jazz Quartet with Laurindo Almeida.
Prior to that recording session, in May 1964 they performed in England. Lantower Records presents the Restoration of the Concert of the Modern Jazz Quartet and Laurindo Almeda (on the tracks One Note Samba and Fugue in A minor) that took place in London on December 19th.1964.

Restoration Features: No compression. No filters used.
Frequencies were balanced to achieve a balanced overall sound. Controls were applied for sounds out of register or “broken”, in order to ease listening. Given the difference in sound quality between tracks during the concert, an attempt was made to make the overall sound as homogeneous as possible. In all the themes it was sought to reconcile the respect for the original aesthetic of the live recordings of that time with the current technological possibilities in relation to the recovery of the timbre and the ghosts of the sound of each instrument, giving the register as much realism as possible. Saturated sounds from the original recording have been repaired.