Double Bass "Muted" Piano Sound on Jazz Recordings?

[Selim]

Not sure about stereo or mono but it was made in Hackensack

Stereo? Mono? I remember a time when we were too busy trying to figure out what's going in the music to notice such things on a record!

(But thanks, that does answer it.)

 

[Michael Karn]

Stereo? Mono? I remember a time when we were too busy trying to figure out what's going in the music to notice such things on a record!

That used to be it, now it's I'm too busy trying to figure out how to play the (damn) bass in tune to notice such things! But I have friends who are super into that stuff

 

[JohnDavisNYC]

there was a great article I read recently that (very respectfully) argued that Rudy Van Gelder's biggest contribution to music had nothing to do with the sound, and the main contribution was that his studio, being independent and affordable, almost single handedly made a vast portion of the recorded canon possible... Riverside, Blue Note, Impulse, etc... so many labels that were able to bring so much good music into the world in a comfortable/affordable environment would otherwise have not had a way to capture the prolific small ensemble jazz era.

The article also states (and I agree) that RVG records don't actually sound very good, it's just that the music is so amazing, and the vibe is so good that it doesn't matter. I think anyone who doubts this just needs to listen to (for example) any Columbia recordings made during the same time to understand how incredibly good things could sound by that point in time... i.e. Herbie solo records vs. Miles quintet records.... the Herbie records, as musically awesome as they might be, sound like a living room demo compared to the 30th St Columbia records of the quintet.

Controversially yours,
John

 

[Don Kasper]

there was a great article I read recently that (very respectfully) argued that Rudy Van Gelder's biggest contribution to music had nothing to do with the sound, and the main contribution was that his studio, being independent and affordable, almost single handedly made a vast portion of the recorded canon possible... Riverside, Blue Note, Impulse, etc... so many labels that were able to bring so much good music into the world in a comfortable/affordable environment would otherwise have not had a way to capture the prolific small ensemble jazz era.

The article also states (and I agree) that RVG records don't actually sound very good, it's just that the music is so amazing, and the vibe is so good that it doesn't matter. I think anyone who doubts this just needs to listen to (for example) any Columbia recordings made during the same time to understand how incredibly good things could sound by that point in time... i.e. Herbie solo records vs. Miles quintet records.... the Herbie records, as musically awesome as they might be, sound like a living room demo compared to the 30th St Columbia records of the quintet.

Controversially yours,
John

You make (many) a good point...