Translation of the German review:

I am pleased to present three productions by International Phonograph Inc. (ipi), the company behind Jonathan Horwich, who has been recording with his analog equipment since the mid-1960s. For him, the focus is on the music and the artists. His high-quality equipment serves the purpose of conveying the enthusiasm and joy of the artists and realizing their musical goals. Jonathan has always believed in tape. In early 2024, Jonathan Horwich announced that he would be retiring from the business in the near future.

[Author's note: This review was edited on August 13, 2024, after consultation with the publisher:

Track 3: Albert Daley & Stan Getz - Spring Can Really Hang You Up The Most is no longer available on the Jazz Sampler Number One.

New track 3 is: Joe Policastro - Old School

Track 6 has been removed: Dave Samuels - Knotts].

Jazz Sampler Number One | Jazz Sampler Number Two

The albums Jazz Sampler Number One and Jazz Sampler Number Two are ideal for an overview of Jonathan Horwich's work. Listeners can expect jazz in the truest sense of the word. Jazz that brings soothing moments into the living room on the one hand, but also extends into the experimental and provides surprises on the other. With ipi, the musicians are allowed to be exactly who they are. Nothing seems rushed, everything happens as it should. I find Jonathan Horwich's recordings very exciting because they stand out from the mainstream in a pleasant way. I can highly recommend buying these albums… and more… before they go out of business.

Jazz Sampler Number One  

1. Jason Roebke - Shimmering: Modern Chicago Jazz. A slow and intense piece, carried by the bass in the stereo center. The vibraphone enters into a dialog with the saxophone. 

2. Bobby Broom - Tennessee Waltz: Trio with bass, drums and guitar. Relaxed and a little tricky. A track to indulge in. 

3. Joe Policastro - Old School

4. Lee Konitz - Cherokee: Modern jazz with European influences. At the beginning of this piece I was surprised by two short pauses with conversations. I had to listen to it a few times and explore it because it comes across as a bit disjointed. There is no doubt that this is high art.                                                                                                                                

5. Frank Strazzeri - Night And Day: Piano improvisation with trio: piano, bass, drums. I can't help but find this recording, which is played very briskly and masterfully, strange. 

Jazz Sampler Number Two 

1. George Fludas Organ Quartet - Funky Box: organ, guitar, tenor saxophone and drums. Snappily played organ piece. Great!

2. Dee Alexander - It´s Too Hot For Words: Singer and piano. The piece is short and nice, brilliantly sung. Excellently accompanied by Jeremy Kahn on the piano. A jewel.

3. John Wojociechowski - The Thrill Is Gone: Somewhat tricky, saxophone-heavy jazz, excitingly performed. The piece is very good, there is nothing to criticize.

4. Jeremy Kahn - The Shadow Fo Your Smile: Saxophone and piano. Interpreted with great dedication. Simply beautifully done.

5. Mark Colby Quartet - Our Spanish Love Song: Bass intro in a class of its own. Slow piece with a meditative character. The passion of the musicians comes across to the listener.

6. Bill Carrothers - Yellow Rose: Piano solo, very sensitively played. The only piece that doesn't suit my taste. 

Mark Colby Quartet

The quartet with Marc Colby on tenor saxophone, Steve Million on piano, Bob Rummage on drums and Eric Hochberg on bass succeeded in creating a perfect album, evidenced by four extensive songs. With the tape rewound and the start button pressed, they launch straight into the title Our Spanish Love Song. The quartet succeeds in playing in a relaxed manner and with the highest artistic standards. They conjure up an atmosphere of serenity and simultaneous commitment in the listening room. Midnight Voyage is played with more pressure and what feels like more volume. Bob Rummage's wonderful drums are placed right in the center of the stereo field, as is Eric Hochberg's magnificent bass. Steve Million plays his fabulous piano slightly to the left of the rhythm section. Mark Colby's sensational saxophone, placed to the right of center, draws the listener's attention. When he pauses, there is plenty of room for solos from the other band members. Between the tracks, the musicians' brief verbal coordination was also recorded - charming, charming! This puts you right in the middle of the studio's live set. When We Were One is just as catchy as the two previous tracks. The album ends after a good 33 minutes with the track Double Rainbow (fades). This wonderful, pleasant to listen to music, recorded and produced in sublime quality, speaks its own language. 

The recording was made with hand-picked microphones. According to ipi's homepage: “The tape recorder is a custom made Studer/Revox 8-track while the microphones are as fine as can be found today: the drums are recorded with a custom stereo tube microphone, the piano is recorded with the legendary Neumann C-24 stereo microphone, the bass with both a B&K 4006 instrument mic as well as a Neuman U-49, and the saxophone with the amazing Neumann U-67.”

Customers have two versions to choose from: A production copy for $150.00 or the direct copy from the multitrack or two-track master for $250.00.  The features are limited to the plastic archive box with the red sticker.

Translated with DeepL.com (free version)