The source of these recordings were long forgotten tape reels found in Brubeck’s home by his long time manager Russell Gloyd.īrubeck kicks things off by launching into one of his perennial favorites to open concerts, "St. Crowds turned out to catch the group for a final time, though this is only the fourth issued live recording from the tour, possibly recorded from the front of the concert hall, since the audience seems more prominent than usual, and the sound is in mono and not quite as well-recorded as the earlier releases, though the performances are of high caliber. Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that QRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI." - Sound = 4.In 1967, Dave Brubeck decided to disband his long-running quartet with Paul Desmond, Eugene Wright, and Joe Morello at the end of the year. It's a positive sign when the noise floor is defined by the hiss of the master tape, not the quality of the pressing or vinyl, and that's the case here. However, this current pressing is so much better than those that came before it, which were certainly very good, that it's obvious things have improved considerably over the past year. Before Time Out, I would have said that some positive trends were apparent from the earlier LPs I've heard. “I've now heard a number of LPs from Quality Record Pressings (QRP), Chad Kassem's year-and-a-half-old record-pressing plant. Having heard many, many Pallas and RTI pressings, the main competition for QRP, I would say that QRP pressings combine the strengths of both its competitors: the very low surface noise and bottom-of-the-groove quiet of Pallas LPs and the sharp delineation of musical detail of RTI." - Sound = 4.5/5 Music = 5/5 - Marc Mickelson, The Audio Beat, August 2012 It seems to me that as our gear gets ever more quiet, these QRP LPs continue to wring more musical nuance from the finest recordings." - Music = 5/5 Sound = 5/5 - Wayne Garcia, The Absolute Sound, January 2013. You'll hear it right from the familiar piano intro to "Blue Rondo a la Turk," where Brubeck's playing seems richer, more lyrical, more rhythmically alive. at least for the foreseeable here and now, Analogue Productions' newly mastered 45 RPM (Brubeck) is the edition to own. "The results speak for themselves: the platters from QRP are in my experience the most consistently flat and quiet being pressed today. Praise for the 200-gram 45 RPM version of Analogue Productions' Time Out reissue In fact, I am going to go listen to it now. I love the 200G by Analog Productions but its not on the list. Fortunately, I already have safety masters of Ah-Uh (on 1/4") and KOB (on 1/2"). I don't listen to any of the vinyl pressings anymore, now I have a 1/2" safety master tape.Ĭhad may be planning on releasing on tape TO and some of the other great Columbia jazz from the Classics reissues (Ah-Um, Sketches in Spain, KOB, maybe one or two others that I can't remember). I really enjoyed the 45, compared to the 33 Classics and the original Columbia I have which was bought used - replacing an original I bought in the '60's - first jazz album I ever bought.Ĭan't answer your question, since I didn't go beyond two Classic reissues (although I did buy the 33 and two 45 reissues of the Belafonte at Carnegie Hall and the Weavers Carnegie Hall Reunion). I bought the first 33, and then the first 45s from the mid 90's. Did anyone actually buy all the different versions (and you only list the 45's)? Then the 45 versions, then different vinyl formulations, then Chad buying Classics and reissuing the same titles, etc. Then they added some of the great Columbia jazz titles, again pulled from HP's TAS Superdisc list. Not sure how many people started with Classics when they first came out with their RCA Living Stereo reissues of the essentially unobtainable great recordings and having HP's stamp of approval on the reissues.
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