Duke Ellington Blues in Orbit DSD Gold CD Neu OVP Sealed UDCD 757 mit J-Card SACD Hybrid

Erscheinungsdatum: 1999
Label: Mobile Fidelity Sound Lab
Import aus: USA
Format: Audio CD SACD Hyprid

Tonträger SACD
Besonderheiten Limited Edition, Remastered, Special Edition, 24kt. Gold-CD
Jahr 1999
Orig. Release 1959
Zeit 36:18
Plattenfirma MFSL
Herstellungsland USA
Musikrichtung Blues
EAN-Nr. 015775475724
Katalog-Nr. UDCD 757


     Tracks


1. Three J`s Blues 2:54   
2. Smada 2:39   
3. Pie Eye`s Blues 3:28   
4. Sweet And Pungent 4:02   
5. C Jam Blues 4:52   
6. In A Mellow Tone 2:43   
7. Blues In Blueprint 3:42   
8. The Swingers Get The Blues Too 3:08   
9. The Swinger`s Jump 3:55   
10. Blues In Orbit 2:29  
11. Willes Ville Is The Place, Man 2:26


Weitere Infos
Die erste SACD von MFSL!

Die hier aufgeführte CD gehört zu der Reihe der von MFSL produzierten Gold-CD`s.

Begonnen hat das Ganze im Februar 1987 mit der Veröffentlichung des Jazz Samplers (Katalog-Nr. 501). Die letzte in dieser Serie veröffentlichten CD`s war in September 2003 von John Lennon (Imagine, Katalog-Nr. 759). Mittlerweile gehören die MFSL-Gold CD`s in audiophilen Kreisen zu den weltweit am meisten gesuchtesten CD`s.

Die Ingenieure wollten damals eine ganz besondere Mastering-Technik anwenden, angelehnt an die Entwicklung der schweren Vinyl-LP's, mit denen MFSL seinen Ruhm in Sachen Mastering begründete. Auf dieser Suche nach dem optimalen Remastering der Masterbände für die CD`s haben die Mo-Fi Ingenieure das sogenannte GAIN 2™ System entwickelt und hierdurch zum ersten Mal Wärme und Räumlichkeit auf einer CD wiedergeben können.

In seiner heutigen Anwendung erlaubt das GAIN 2 System bis dato unmögliche Annäherung an den Klang des ursprünglichen Masterbandes. Alle veröffentlichen CD`s waren in Ihrer Stückzahl limitiert, leider gibt es keine genauen Angaben über die Stückzahlen der jeweiligen produzierten Gold-CD's.

Auch die von MFSL verwendeten Lift-Lock-Jewel-Cases waren ein Novum für die Aufbewahrung der CD's. Man musste nur die Hülle aufklappen, und schon kam einen die CD entgegen

Review by Bruce Eder
Blues in Orbit lacks the intellectual cachet of the suites and concept pieces that loomed large in Ellington's recordings of this period, but it's an album worth tracking down, if only to hear the band run through a lighter side of its sound — indeed, it captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter. Ellington and company were just back from a European tour when the bulk of this album was recorded, at one after-midnight session in New York on December 2, 1959, to arrangements that had to be hastily written out when the copyist failed to appear for the gig. So on the one hand, the band was kicking back with these shorter pieces; on the other, the group was also improvising freely and intensely at various points. The title-track, recorded more than a year before most of the rest, is a slow blues that puts Ellington's piano into a call-and-response setting with the horns, with Ellington getting in the last word. "Villes Ville Is the Place, Man" is a bracing, beat-driven jaunt, highlighted by solos featuring Ray Nance, Harry Carney, and Johnny Hodges on trumpet, baritone sax, and alto, respectively. "Three J's Blues" shows off composer Jimmy Hamilton playing some earthy tenor sax in a swinging, exuberant blues setting. "Smada" features Billy Strayhorn on piano and Johnny Hodges on alto, in a stirring dance number. "Pie Eye's Blues" is a hot studio improvisation featuring Ray Nance and Jimmy Hamilton trading three solos each, while Ellington's piano and the rest of the band try their emphatic best to get in a word or two. Nance shows up on violin as part of a string of soloists (including Matthew Gee, Paul Gonsalves, Bootie Wood, and Jimmy Hamilton) for "C Jam Blues," whose four minutes' running time affords the group a chance to jam without overdoing it, or extending matters past the breaking point. Wood is the featured player on muted trombone on the slow, smooth "Sweet and Pungent." A pair of more reflective, less extroverted numbers show off the more subtle side of the band, the slow, downbeat "Blues in Blueprint," with Jimmy Woode's bass and Harry Carney's bass clarinet as the major featured players, with Strayhorn sitting in on piano and Ellington snapping his fingers; and "Swingers Get the Blues, Too," featuring Matthew Gee on baritone horn. The finale, "The Swinger's Jump," does just that, with Ellington, Hodges, Nance, Gee, Hamilton (on tenor and clarinet), Wood, and Johnson romping and stomping all over the basic riff. The CD edition of Blues in Orbit offered a trio of tracks off the same sessions when the album came — the bracing "Track 360," an unpretentious jazz band's impression of a train ride; and the soaring, lovely "Brown Penny," a number originally written for Ellington's attempted interracial musical Beggar's Holiday 13 years earlier; and the moody, reflective "Sentimental Lady," both featuring Johnny Hodges very prominently. Blues in Orbit was issued on CD by Columbia records in 1988 in a good-sounding edition, then reissued by Mobile Fidelity in 1999 in a gold-plated audiophile CD with Super-Audio CD encoding. Both were out of print as of early 2002, and either is worth owning.
 

jeweils 2 ganz kleine Folienlöcher vorne und hinten, siehe Scan.

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