I thought I probably seemed a bit over critical in my post above about the Joe Henderson - 'The State of the Tenor' so I thought I'd revisit it, but to make it a bit more interesting and fun I thought would compare it to two other recordings made in the Village Vanguard with similar line ups, one much earlier and one very recent. Different producers and engineers on the recordings, but Kevin Gray did the Vinyl mastering on two of them.
I am not retracting what I said above with regard to the balance on TSOTT, but it is an excellent recording and pressing and I found I enjoyed it more on replaying. One observation that may be of interest to Andrew (Elephantears) is that if you listen in the 'near field' then Henderson's Sax seems much more up front, separated and present. I normally listen just outside an equilateral triangle. Speakers 7 feet apart and listening position 9 feet back. I tried listening at 6 foot away, because of the limited lateral spread of the musicians noted above. This not only increases the seperation, but Henderson, while still not quite in the room only seems about 4 feet away and dominates the mix a bit more.
So my first comparison was an obvious one as TSOTT cover makes references to it (as a sort of homage) - "Rollins looms in the backdrop of this particular recording project". Sonny Rollins - 'A Night at the Village Vanguard', recorded in 1957 by Rudy Van Gelder. Mine is a 1977 UK Mono (as Van Gelder originally intended) pressing that sounds excellent despite 40 years of ownership. How much better a 1957 US original would sound is hard to imagine. It might seem unfair to compare a Mono to the Stereo, but this recording energises my room and given the limited seperation on TSOTT it seems fair. The Vangard sounds the same, but as recorded by Van Gelder Rollins is in my room, not so holographically as Dexter Gordon on Do'in Alright (that is Stereo), but very much there. What is more remarkable is that even on a Mono there is depth seperation on Wilbur Ware's Bass and Elvin Jones Drums that are set back behind, but still with a great 'presence'. You can hear Ware doing a Keith Jarrett style voice over on most tracks. I think Van Gelder has boosted the high frequencies somewhat and the presence region a little. Very obvious on the applause in comparison to TSOTT. Not so extended in the Bass, although still good and a little smear on cymbals in comparison, but that could be 40 years of record wear!
Next up is the Cecile McLoren Salvant triple LP - 'Dreams and Daggers' a 2016 recording most of which is recorded in the Village Vangard. This is a Piano, Bass and Drums Trio fronted by Cecile on Vocals. A really excellent recording with the vinyl mastered by Kevin Gray and I think from the matrix stamps probably pressed at RTI. Anyway pretty much on a par with the Tone Poets with regard to mastering and pressing. The Vanguard tracks were engineered by Damone Whittemore and Tod Whitelock. It possibly is a digital recording, but if it is I have no complaints. Similar balanced and extended upper frequencies and weight and attack to the lower drums that you get with the Tone Poets. Another different approach here with regard to balance, while you again get the ambiance of the Vanguard this time the musicians are spread fully across the Stereo soundstage. Arum Diehl's Piano on the left and just pushing into my room, Paul Sikive's Bass centre back and Lawrence Leathers Drums to the right and back a bit. Cecile fronts all this centre stage in front of the Bass and again just in my room. The overall impression here is you are seated just in front of Cecile, especially as the dynamics on this recording are so good. One moment she seems to whispering in your ear and the next she and the Trio are nearly blasting you out of your seat.
So three totally different approaches to recording a similar line up in the same venue over a 60 year period, that each retain the particular atmosphere of the club, but otherwise sound totally different with regard to balance. I like them all, but if I was really pushed on the best for sound quality alone I think I would go with Dreams and Daggers. Although I would love to see the Tone Poet team do a reissue of the Rollins.
Hope this is of at least a little interest.
