Paul Desmond - Summertime [1968]  2006 - Speakers Corner / SP-3015 LP / 180g Reissue

Summertime is a classical CTI session from 1968. A mixture of sentimental hits and smooth grooves with great horn section for those who like it like that. Arranged by Don Sebesky with an endless list of great players featuring Herbie Hancock, Eumir Deodato, Jay Berliner, Joe Beck, Ron Carter, Leo Morris aka Idris Muhammad, Urbie Green, J.J. Johnson, Bill Watrous, Kai Winding, Joe Shepley, Marvin Stamm, Mike Mainieri and Airto Moreira. A must have for the fans of Paul Desmond's crying alto.

Tracklisting:
1. Samba with Some Barbecue 4:30
2. Olividar 5:37
3. Ob-La-Di, Ob-La-Da 2:16
4. Emily 4:47
5. Someday My Prince Will Come 3:10
6. Autumn Leaves 3:03
7. Where Is Love? 5:34
8. Lady in Cement 3:10
9. North by Northeast 4:33
10. Summertime 4:00

Famous aksman's rip.


Technical Log:

RCM Hannl 'limited' with "Rotating Brush"
Music Hall MMF 9.1 Turntable 
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge: Nagaoka MP-500
Brocksieper Phonomax (Tube Phono PreAmp)
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5
WaveLab 6 recording software
iZotope RX Advanced 1.21 for resampling and dithering 

Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) > converted to 24/96 (16/44.1) with iZotope RX Advanced 1.21 
> split into individual Tracks > FLAC encoded (Vers. 1.21)

No silence been removed, please burn gapless to match original tracklayout.



His personal note:

With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high.
 
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