Rava, Fresu, Bollani, Pietropaoli, Gatto - Shades of Chet

Publisher: Fonè Records, Fonè Nr. 194

Playing time: 60 min

Specifications: half track ¼“, stereo, RTM SM900, CCIR, 38 cm/s

Reel(s):               2 standard metal reels, dated and signed

Packaging:        2 standard cardboard boxes, with stickers

Inserts:               2 x information on cardbox

Homepage: https://sepeaaudio.com/

Translation of the German review:

Besides their own tape productions and the master tape copies of AAA, SEPEA audio also offers the master tape series of the traditional Italian label fonè. The choice of the title "Rava, Fresu, Bollani, Pietropaoli, GattoPentatonix - Shades of Chet" came about through a visit to my friend David Matthies in Berlin. When we were listening to records, he put on this fonè track (fonè - 127, 2 LP, 33 rpm, reissue 2018). I really liked the music. I remembered seeing this cover on SEPEA audio's homepage in the tape section and ordered it there. During this review, David came to me with his vinyl edition to do a recording comparison.

Giulio Cesare Ricci, founder of fonè, began making professional recordings of orchestral and jazz music on analog systems in 1983. Since then, he has followed the principle of getting as close as possible to the atmosphere of the original performance. This is done in places such as churches, theaters, country houses or salons. Tube microphones are used to preserve natural and transparent timbres as best as possible. These were already used for the Beatles' recordings at Abbey Road Studios and by RCA for their "Living Stereo" recordings. No electronic manipulation or artificial correction of the signals is used at all. For the analog production, the Nagra 4S, Studer C37 and Ampex ATR 102 tape recorders are used.

The "Shades of Chet" project was launched as a tribute to the tenth anniversary of Chet Baker's death. In 1998, five world-famous Italian jazz musicians got together for this project: Enrico Rava and Paolo Fresu on trumpet and flugelhorn respectively, Stefano Bollani on piano, Enzo Pietropaoli on double bass and Roberto Gatto on drums. Each of them can look back on an impressive career.

The music that can be heard on these two tapes is pure jazz. Paolo Fresu commented as follows (abridged by the author): "Together with Enrico we chose what we liked best from Chet's huge repertoire. Chet said that it didn't matter what you played, but how you played it." The following tracks can be heard:

A1) The album opens with the track "Doodlin'" (Horace Silver). The five play the number with verve. Horns, piano, drums and bass pass the baton of solos. Finally, the two horns take over, first in succession and then in duet. This is already great class!

A2) The high-class introduction is followed by the jazz classic "My Sunny Valentine" (Rodgers - Hart). Here, at the beginning and at the end of the title, there is an interplay between Enrico Rava and Paolo Fresu. This is an exemplary example of how well wind instruments can complement each other. Listen also to the precisely placed accents set by drummer Roberto Gatto during Stefano Bollani's piano solo.

A3) The uptempo piece "Anthropology" (Charlie Parker) follows. Above all, Roberto Gatto and Enzo Pietropaoli stand out with their playing: the rhythm section is in high flight. In the further course, a very sensitive interaction of all band members becomes apparent. Enrico Rava delights his listeners with a solo in which he shows his entire spectrum of experience and skill.

A4) In "Retrato Em Barnco E Preto" (Antonious Carlos Jobim) South American rhythms come to the fore. The wonderfully played piano is to be highlighted. It is remarkable how this builds up the atmosphere. This time Paolo Fresu provides a breathtaking performance of his art. And everything with the absolutely necessary touch of melancholy!

B1) "Doxy" (Sunny Rollins) lives on tricky rhythms and constant mood changes. There are plenty of musical events that make listening exciting. A lesson about the scale, but also about what can be triggered with quiet passages and downright explosive moments, i.e., with dynamics as a stylistic device. My favorite piece on this album.

B2) The track "You Can't Go Home Again" (Don Sebesky) starts with a breathy horn section, delicate piano strokes and a bass joining in. This mood is maintained or developed throughout the entire piece.

B3) With "Line For Lions" (Gary Mulligan) another classic is at the start, where the solos alternate in a very jazz-typical way. Compared to the previous, more atmospheric numbers, this one is more of an interpretive show with a driving rhythm section.

B4) Fire up for "Stroke Up The Band" (George Gershwin). Here the musicians show how the interplay works at high speed. A firework of fast and rhythmic runs in breathtaking professionalism!

B5) Calm and conciliatory tones are heard at the end with "Donna" (Kramer - Garini - Giovannini). Once again you can hear the masterfully played piano in the intro, followed by magnificent wind instruments.

The analog tape recording was made on May 17 and on May 18, 1999. The master tape was recorded with an Ampex ATR 102, 2 track, ½ inch with speed 76 cm/sec by David Manley. The analog mastering was performed by Giulio Cesare Ricci. The master tape copy edition was released in 2019. This recording is of great class: all instruments can be clearly located on the virtual stage and have the right amount of space. The versatility of these five exceptional musicians, such as the emphasis on each note or the professional playing out of each melody line and their interaction, make listening to a gripping experience. This recording is world class. The level stability of the RTM SM 900 tape material is optimally utilized and thus the maximum signal-to-noise ratio achievable with a tape is reached. This master tape copy is a masterpiece.

The record is available in two versions. Once as a limited original pressing from 2011: fonè - 042, 2 LP, 45 rpm as well as a reissue from 2018: fonè - 127, 2 LP, 33 rpm. As described at the beginning, we compared the 2018 version with the tape played on a Studer A807 as well as on a Telefunken M15A. Both tape recorders were matched exactly the same with the same reference tape. The turntable available was a Transrotor Apollon, equipped with SME tonearm and the Transfiguration Proteus cartridge. In general, it can be said that the playback is better resolved with the tape recorders. With the Telefunken M15A, the music is reproduced best in all respects, the presence of the instruments is unique. One is, in contrast to the vinyl and the playback with the Studer A807, more captured by the music and animated to listen. More details and a better resolution can also be heard with the Studer A807 compared to vinyl, but the trumpets tend to be a bit shrill with this tape recorder. From the record, the music does not sound as tight as from the tape. The room is reproduced more narrowly and lacks a bit of depth. Interestingly, the bass has more volume from the vinyl than the Studer A807 is able to reproduce. The production of the two records is well done, although there is some quiet noise here and there.

Unfortunately, I have to give a deduction in the B grade for the equipment of the two tapes. The RTM cartons, pasted on the front and back, give off more of a workshop character. A labeling of the archive carton spine would be elementary for me, so that one can see what is where on the shelf. The fonè label really doesn't have to hide. I don't find the tape reels labeled by hand with marker pen and signed by the master to be a hoot visually, but I think this serves to mark the original to distinguish it from pirated copies. Unfortunately, there is no booklet, but it can be downloaded from the fonè homepage. The titles of the pieces are printed on the back of the respective box, further information is not to be found in the booklet. The only thing is that there is a leaflet in each box stating that the tape should be stored pre-wound and must be rewound before listening, which serves to reduce copying effects between tape layers in the international layer system. Pre- and post-winding tapes are not provided.

Translated with www.DeepL.com/Translator (free version)