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On the FMR label...recorded in Nov. 2006 and now finding it's way into New Releases.
Drawn to same because - first and primo - a live session!
Secondly, have been following leader (drummer) Harris Eisenstadt's output as a result of his work on a friend of mine's label - Songlines Records - of Vancouver BC. (Eisenstadt is an Eastern Canada - Toronto - native.)
Anyways, what sets this particular recording apart is the - what's word - unabashed(?) omnipresent (?) Right-In-Your-Ear(s) recording balance on the drumset.
It does not overwhelm the listening experience, however. The drums are an integral, yet equal, portion to the mix.
I listened with my 10-speaker setup (including two large towers front & back) and I can't recall any other release that had this particular feel (of the drumset).
Needless to say, you probably have been to a concert-or-other where the drummer is behind a baffle...common to most studio jazz recordings.
But, to repeat myself - on this one the pulsations are as vital as the listener's heartbeat...
Taylor Ho Bynum is the single horn...if it weren't for the fact he is playing either cornet or flugel, you might confuse his sound with (superb) Peter Evans!
Last edited by charles t; 30-04-11, 04:00.
Reason: resize
When I posted about the recording ambiance - with an equal emphasizing of the (Harris Eisenstadt) drums on The Convergence Quartet Live At Oxford release...I have in the interim, had the advantage of a sorta interactive liner notes session.
Translate: I e-mailed Eisenstadt.
He commented in his reply, that a listener of this album, was hearing the [dynamic] reverberance of the Jacqueline Du Pre Music Building in Oxford.
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