Blue Note president and producer Alfred Lion criticized Van Gelder for what Lion felt was his occasional overuse of reverb, and would jokingly refer to this trait as a "Rudy special" on tape boxes. Change ), You are commenting using your Twitter account. Diese waren aber ihrem eigentlichen Sinn entsprechend technisch und personell auf die Produktion von Radiobeiträgen ausgerichtet. I've made thousands of LP masters. I’ve seen the RVG stamp in the deadwax of a few classical LPs released on VOX (don’t ask me which ones, I don’t remember.. although maybe one record was solo violin or cello and the other was an orchestra?). ( Log Out / , Van Gelder's recording techniques were closely guarded, to the extent that microphones were moved when photography of bands was taking place in order to disguise his means of recording. My understanding is that at that stage, recording techniques were in a state of flux, with multi-tracking and tracks being assembled on a piecemeal basis, rather than the individual takes that typified ’50’s and 60’s Jazz. As a digression, it’s a poorly informed and pretty biased Wiki, which reads like professional jealousy from some embittered sound engineer. Das Van Gelder Studio in Englewood Cliffs befindet sich noch heute auf dem neuesten Stand der Technik. He doesn’t like people to touch things and has a quick temper. (1965); Stanley Turrentine's Cherry (1972) and Don't Mess with Mister T (1973); Andrew Hill's Point of Departure (1964); Freddie Hubbard's Red Clay (1970) and Hank Mobley's Soul Station (1960). I first noticed this stamp on some ’80s titles recorded at Englewood Cliffs by Van Gelder for Bob Sunenblick’s Uptown Records (superb quality audio!). The only people who had quality equipment were the big companies. August 1959 für Coleman Hawkins With The Red Garland Trio. Flip back and forth for an insight into visceral versus sophisticated, you call the shots. Writer Fred Kaplan has argued that Van Gelder's reputation with the record-buying public was aided by Blue Note Records' conspicuous mentions of Van Gelder on their album covers: "Van Gelder was hardly the only great jazz engineer on the scene in those days; he may not even have been the best. May I suggest an essay that I have not read yet but that is the next one on my reading list : The Barbarians, by Alessandro Baricco, an Italian author. A quick check confirmed the self-same MASTER BY- VAN GELDER stamp. But I find that most people don’t flat out ‘hate’ his sound; his critics just seem really frustrated with certain facets of it. Critic Ira Gitler described the studio in liner notes for saxophonist Booker Ervin's The Space Book (1964): "In the high-domed, wooden-beamed, brick-tiled, spare modernity of Rudy Van Gelder's studio, one can get a feeling akin to religion". Jazz, like classical music, tends to attract well-heeled fetishists — of equipment, of original LP issues, and other such precious relics. Each of the tunes were selected as the best of Kenny Dorham’s catalogue, which as the liner notes observe, “exist only on albums unfortunately out of print” (since the ’60s). In der Anfangszeit versah Van Gelder jede dieser Folien von Hand mit der Signatur RVG. In 1959, Van Gelder moved to a new facility in Englewood Cliffs. Perhaps I was. In 1959, he moved the Van Gelder Studio to a larger purpose-built facility in Englewood Cliffs, a few miles southeast of the original location. Have I got Van Gelder wrong? Just a note regarding the ”MASTERED BY-Van Gelder” stamp. Während der 1950er und 1960er Jahre wurde Van Gelder insbesondere durch seine Arbeiten für das Musiklabel Blue Note Records bekannt; er arbeitete mit nahezu allen wichtigen Jazzmusikern dieser Zeit. After faint praise of Rudy, there follows a catalogue of criticism (Mingus refused to be recorded by him (Mingus fell out with just about everyone. CT takes the production credit but it is recorded in RVG’s studio with RVG listed as the engineer. Even the line of legitimacy was erased from Prestige recordings, re-mastered in the ’70s by new owner Fantasy (though one or two slipped through the net with a Van Gelder stamp in the early days). With Chet Baker, Jim Hall and Hubert Laws. ( Log Out / , The following table lists recording sessions for albums held at the studio.. Though I like the entire CD, I get the most pleasure from listening to the title cut, both versions of Little Sherri, Tin Tin Deo, and Yesterdays. His equipment was always ahead of its time and he was a genius when it came to recording". I always assumed the records made by the big companies sounded better than what I could reproduce. From the magnificent Rudy Van Gelder Edition is jazz brilliance at its greatest! Zu den Auftraggebern des Van Gelder Studios gehörte in erster Linie das Jazzlabel Blue Note Records. EKAYA (Blackhawk Records 1983), but I can’t remember whether that was at RGV’s studio ore not. Rudy Van Gelder et Jazz Hot: n°460-1989, n°491-1992. I agree with your opening comment about Van Gelder: “clean, crisp, meticulously well-balanced recordings”–especially the part about the balance. Any observations, always of interest. I have read that Tom Verlaine wanted Van Gelder to produce Television’s Marquee Moon, and had to settle for Andy Johns only when Rudy said no. Some of his recordings from that period are so drenched in spring reverb it makes it difficult for me to enjoy the music (through the ’60s the more natural reverb of the EMT plate is certainly present in his mixes but I find it quite pleasing…though I could understand someone thinking it’s still a bit much). In the ninth edition of the guide, the definition of “Core Collection” is laid out by authors Richard Cook and Brian Morton: While one may technically need to read between the lines to extract a notion of “historical significance” here, I think it’s pretty clear that the first albums any music fan might wish to own in an unfamiliar genre are going to be those that are widely considered the most important i.e.  He was positive about the switch from analog to digital technology. Later he travelled to N.Y. frequently to record on the spot. At the beginning, Van Gelder had an optometrist practice during the day and began recording artists at night from his parents' home in Hackensack, New Jersey. For the past year, through my research for a presentation to the Audio Engineering Society, I have been on the periphery of the Landmark application process and privy to witnessing everything unfold. The trail starts with Van Gelder’s discography, which identifies an enduring relationship in the ’70s with Creed Taylor: Verve and CTI/Kudu, unpromising from my point of view, either artists of lesser interest or previously favourite artists in their electric funk and fusion “decline”. (Cue howls of protest! Perhaps this study provides some evidence of this more universal claim, but for the moment, the Penguin guide suggests that Van Gelder recorded all or part of 27 historically significant jazz albums, which is close to four times as many as any other engineer represented by the guide’s Core Collection. And it’s a terrific excuse to play some tracks from some of Blue Note’s finest ever albums. historically significant. It’s the way acoustic bass was amplified and recorded at that time. ( Log Out / Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. There are also a few early titles in the catalog that have been deleted (despite the fact that the majority of the catalog remains in print), particularly a Greg Marvin session called Workout. But the vividness of his classic recordings is a constant. Auch bei der Herstellung der sogenannten Väter (sozusagen das Masternegativ) für die Produktion von Schallplatten überließ Van Gelder nichts dem Zufall. Bring up his name in a crowd of LP collectors and you will probably hear some complaints about the unreality of his piano sound. But aside from those, it’s just a question of which one is the closest to what my mind’s ear is accustomed to. Insbesondere zur Anfangszeit wurden Plattenaufnahmen in den Studios der großen Radiostationen erstellt. That set off a light bulb.  An obituarist in the London Daily Telegraph wrote of "Van Gelder's extreme fastidiousness" as an engineer, and his insistence on "no food or drink in the studio, and on no account was anyone to touch a microphone.
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