The LA4-Pavane Pour Une Infante Defunte-Direct To Disc Vinyl Album Review
The LA4-Pavane Pour Une Infante Defunte -1976
Vinyl surface noise: 5 (not pops and clicks)
Dynamic Range: 5
Stereo Imaging: 5
Image depth/perspective: 4
Overall frequency response: 5-
Side One
- Pavane Pour Une Infante Defunte
- Autumn Leaves
- Ces’t What
Side two
- Corcovado
- Wave
- Reveil
- Samba De Orfeu
This Latin and Contemporary jazz style album was originally recorded at Warner Bros Recording Studios, CA. on October 15th and 16th, 1976. It was released in 1977 on the East Wind label – EW10003.
The album was cut using two Neuman VMS-70 lathes with SX-74 cutting heads driven by Neuman SAL-74 and SAL-68 cutting amplifiers. A total of twelve microphones were used to record the sessions with a mix of EMT-140TS and natural room reverb. The analog mixer was a Bushnell 24 channel and some limiting was applied using a UREI LA-3A.
There is also a recommendation that the appropriate listening balance is obtained by reducing the level of the right channel by 1dB.
The album was also released as a 45RPM super cut (1977) and on CD in December 1998.
Performers:
- Bud Shark – Alto sax and flute.
- Laurindo Almedia – Guitar.
- Ray Brown – Bass.
- Shelly Manne – Drums.
Its has probably been ten years since I listened to this album. I had no idea what I was missing!
Sheffield Lab took the lead in Direct To Disc recording but many others tried to emulate their techniques and technical prowess. In 1976 Warner Bros again decided they would enter the fray with LA4’s third album Pavane Pour Une Infante Defunte. A Latin and Contemporary jazz recording. They did an outstanding job. The musicianship and acoustics of the recording are first rate rivaling some of the best Sheffield Lab recordings.
A rising group of the time, and one with a unique sound and a style that draws from the early 50’s experiments in Brazilian jazz by Bud Shank and Laurindo Almeida but which also moves the approach into even more sophisticated 70s territory. The quartet features Almeida on acoustic guitar and Bud Shank on some wonderful reeds plus bass from Ray Brown and drums from Shelly Manne.
This recording is an impeccable performance that is dripping in detail with excellent dynamics and no hint of compression, despite the apparent use the UREI. The vinyl is extremely quiet on lead ins and between all tracks, which I am sure adds to the wonderfully open sound providing nicely detailed reverb tail-outs as the sax, in particular, pauses for a few bars.
This is a terrific recording and pressing with solid dynamics and plenty of presence. Bass is tight and clean, mid range punchy and dynamic without being hard while the HF detail is clean and bright without being too forward. Despite the studio recording and lack of detailed depth information the recording exhibits excellent presence and some perceptible depth with pinpoint stereo imaging. The double bass, guitar, sax and flute often feeling as if they were there in the room with me – well actually the whole group.
The musicianship was excellent being tight and flawless. Every track has something, actually many things, to offer the audiophile or jazz lover. Terrific solo’s abound in these seven tracks with every track having several from many of the instruments. They are stunning in their clarity and detail. Be they dueling duos between the kit and double bass S1T3, ripping sax solos S1T1, S1T2 and S1T3 or flute and guitar solos on tracks S1T1, S1T3, S2T1, S2T2 and S2T3.
From the wire brush work on the snare, the sold deep kick drum, detailed hi-hat and cymbals, toms that are tight with a nice short ring to them, delicate chimes and clean wood blocks, detail abounded everywhere. The double bass was just about as real as it gets and together with the sax and flute provided a performance that is second to no other recording that I have. I felt that the sax solos on S1,T1, S1T2 and S1T3 were outstanding reminding me of my father as he practiced at home when I was a boy. There again, the flute and guitar can’t go without a mention with both providing first rate solos on many tracks, S2T1, S2T2 and S2T3. I loved the double bass and kit solos on S2T4.
The minor level adjustment requested by the sleeve notes has the impact of just moving the image slightly over to the left, just centering up the double bass and keeping the instruments between the speakers. I have to admit that after I reviewed the album at my reference level I just had to listen to both sides all over again, something I virtually never do. So cranking the level up so that it peaked at about 105dB the realism was almost palpable. I sat there with the feeling that the entire group was there in the room with me. Now that’s a musical experience!
There is nothing negative to say about this performance, the musicianship, its capture or pressing. It all came together for this album!
This album is a first rate example of D2D recording and has taken its rightful place in my demonstration selection of vinyl. If you like contemporary jazz this album is for you. I am so glad that I pulled it for review. If not, it might have become a long lost treasure. Go get yourself a copy today.
Available on vinyl and CD from Discogs.
