Louie Bellson - Note Smoking
Hans Christian Dörrscheidt
am looking for this Louie Bellson album. Originally released on the
Discwasher label, it has obviously been re-released on CD Voss V2-72936. It
seems to be quite rare, not even listed on GEMM. Any ideas where to get a
copy?
Thanks,
HCD
"Note smoking": Louie Bellson and Explosion:
Conte Candoli, Snooky Young, Chuck Findley, Ron King, Walt Johnson
(tp,flhrn) Bill Booth, Alan Kaplan, Bob Payne (tb) Joe Romano, Ted Nash
(as,sop,fl,pic) Pete Christlieb, Don Menza (ts,fl,cl) Andy Mackintosh (bar)
Ross Tompkins (p,el-p) Peter Woodford (g) Gary Pratt (b,el-b) Louie Bellson
(d) Jack Arnold (perc)
Hollywood, August 14-15, 1978
1. Sambandrea Swing
Don Menza 5.05
2. Bustling
Sammy Nestico 3.49
3. I Can't Get Started
John Bambridge 3.49
4. Odyssey in Rhythm
George Romanis 4.43
5. Don't Get Around Much Anymore
Tommy Newsom 4.06
6. Spitfire
John Bambridge 3.00
7. Picture IV
Gordon Goodwin 4.12
8. Skin Deep
Louie Bellson 5.00
Jazzcorner
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W.B.
"Hans Christian Dörrscheidt" <h...@surfeu.de> schrieb im Newsbeitrag
news:c25jbo$1pk938$1...@ID-85725.news.uni-berlin.de...
Mark Bradley
> > Hollywood, August 14-15, 1978
>
I have this record. Are you sure it was recorded in 1978? My LP
shows it was released in 1974.
What makes this record rather unique is that it was originally
released on the Denon Discwasher series. A high-falutin' and
expensive state of the art high fidelity release of it's day, boasting
of a new recording process called "digital." A bit groundbreaking
historically of digital while in it's infancy, and the LP does sound
great on a technical level. It was also recorded "direct-to-disc,"
meaning the band had to record the entire side (one of two, for those
youngsters not familier with the old 33 1/3 LP format) of the record
in one take without stopping. The pauses from one song to the next
were literally a breather until moving on to the next song, and of
course if somebody flubbed (good thing I wasn't in the band) they'd
have to record the whole side again. Of course with the crack line
up, I doubt that happened. Notable performances by Conte Condoli and
of course Louis is his usual machine-like self.
Mark Bradley
>> > Hollywood, August 14-15, 1978
Well, you know what they say... in old age the eyes are the second
thing to go (I forget what the first thing is).
My LP does indeed say 1978 and not 1974. '74 would be a bit early for
digital technology.
Nou Dadoun
I'm a little confused then, I thought that the idea of direct to
disc was that by eliminating the intervening circuitry, filters
and processing in taking the recording directly to the lathe
you get a more dynamic immediate sound.
How does digital fit into that? Unless I'm drastically
misunderstanding something "digital direct to disc" is an oxymoron
or a 70s state of the art marketing slogan.
------------------------------------------------------> Nou
Nick
However, there *are* two excellent Louis Bellson recordings that were
released around 1974: "Explosion," and "150 mph." Lots of great
compositions and for the tenor nuts, terrific performances by Don
Menza and Pete Christlieb. Louis isn't too shabby, either. If you like
60's/70's Buddy Rich, you'll love this stuff. Both available on CD.
I also had "Note Smokin'" -- paid a fortune for it, and haven't heard
it in ages but don't remember liking it quite as much as the two I
just mentioned.
Mark Bradley
> I'm a little confused then, I thought that the idea of direct to
> disc was that by eliminating the intervening circuitry, filters
> and processing in taking the recording directly to the lathe
> you get a more dynamic immediate sound.
>
> How does digital fit into that? Unless I'm drastically
> misunderstanding something "digital direct to disc" is an oxymoron
> or a 70s state of the art marketing slogan.
You raise a good point. Maybe some technical geek can answer these
questions, but in the meantime I'll try to conject the following: The
LP has an insert discussing what they call "the digital recording
method" also named "PCM" by Denon (remember on this album they were
going a lengths to educate the buyer as to just why he paid 3 times
more for this album compared what a regular LP would cost in it's
day-- I got it as a cut out, by the way).
Notes say: "Digital recording converts music wave forms into 'pulse'
or 'codes' which are modulated back into the original music wave forms
as the master disc is cut in the studio. Since the music is stored in
a pulse or computer message on tape, only a train of pulses are used a
the storage method. No disortion or noise from standard magnetic
recording tape can be introduced in this processs.. total absence of
noise, flutter, etc are eliminated."
So you're right... this would indicate that the recording is indeed
going onto tape. However the liner notes point out that "During a
take of side one, while in the middle of 'Odyssey,' word came down
from the lathe operator that there was a small fire in the cutting
room. He explained that the highly-flammable tread of vinyl left in
the wake of the stylus had accidentally wrapped around the stylus tip
which became heated and ignited the vinyl, but caused serious damage."
Hence, the notes go on to cleverly infer, the "incendiary use of
drums" and hot band perhaps having an influence to the incident (and
no doubt contributing to the album title).
Which leaves Mr.Dadoun's querry still unanswered. Digital
direct-to-disc? I'm inclined to think that perhpas the miking was
digital and hence "taping" (into the digital pulses) what was then cut
directly to vinyl disc. Of course I could be worng, perhaps someone
with more technical prowess can clarify the issue...
Hans Christian Dörrscheidt
>
> Which leaves Mr.Dadoun's querry still unanswered. Digital
> direct-to-disc? I'm inclined to think that perhpas the miking was
> digital and hence "taping" (into the digital pulses) what was then cut
> directly to vinyl disc. Of course I could be worng, perhaps someone
> with more technical prowess can clarify the issue...
For a short article on direct-to-disc recording see
http://www.auldworks.com/AESDD/dd1.htm
I guess the digital part has to do with the mixing console, the thing
between microphones and the disc cutter.
HCD
Ira Chineson
plaque for this album for $480 dollars.