Only just came aware if this sad news.
RIP and respect due Ellis Marsalis
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The Analogue Productions LP reissue of this is very good
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I recently picked up the Speakers Corner re issue of this. Very good
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My favorite Jarrett trio album.
At it was recorded to tape by Phil Woods’ drummer Bill Goodwin, but was it analogue or DAT tape?
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this album sounds superb but it is not one of the "One Microphone Recordings’
see link; CARMEN GOMES SINGS THE BLUES
[quote=]Used equipment:
Microphones:
Carmen: Audix SCX25
Folker: Josephson C700
Peter: Josephson C700
Bert: Josephson C617 (overheads) - Audix D6 (basdrum)
Main system - Schoeps MK5 (AB)
Micpre’s: Merging Horus
Microphone cables: AudioQuest Yokon
Speakers: TAD Evolution
[/quote]
These are;
![]
https://www.soundliaison.com/
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Far out Man!
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Speakers Corner releases are consistently good, in my opinion. Enjoy.
There are 2 more Japanese Steps albums: Step By Step and Paradox.
Discogs currently has Smokin’ In the Pit for sale at Euro 13.99 - money well spent for great music!
You could try Art Pepper + 11
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Thanks for the recommendation. 
They sound great, but the music is nothing to write home about in my opinion. Pleasant, and inoffensive, but not really interesting imo.
Thanks for that Peet I’ll check them out. I bought ‘Sings the Blues’ when it first come out and was on offer must be three or even for years ago and thought I’d read it was a One Microphone but thinking back I think it was maybe just recorded live but all the same as you say it sounds very good.
I’ve not heard the rest but I have to disagree and say Carmen Gomes’s cover of Harry Belafonte Sings the Blues is excellent.
I found this on the Gearslutz website attributed to Kent Hackman (bongo) the session engineer:
Keith grew up in nearby Allentown. When he was in high school, in the fifties, he used to go to the Deerhead at sit in on drums with Johnny Coates Jr. The owners were retiring and their daughter and her husband, who just happens to be Keith’s piano tech, took over. Keith did it for free to help him out. Gary Peacock and Paul Motian split the door. $20 x125 people. I heard Jack De Johnette didn’t want to do the gig because it didn’t pay enough. Don’t know that for a fact though. Although, for the small room, Paul was probably a better choice.
Bill Goodwin, who I worked with, with Phil Woods and others, asked me to record it. It was just to document the evening. I had never done a remote recording before but I wasn’t going to let that stop me. Bill set his drums up in the afternoon so I was able to get a small sound check on them.
OK, the gear. Here’s the funny part! Bill didn’t want this to look like a recording session. He told me to use as little as possible. I used all Audio Technica mics. I had two 4051’s inside the piano (which was on the short stick), an ATM35 clipped on the bass, an ATM835 stereo mic for the overheads, an ATM25 on the bass drum and an ATM35 clipped on the snare. I had to rent a mixer. The only thing I could find that had phantom power at that time was a 16-channel Yamaha PA board! I have no idea what model it was. I borrowed a snake and set up in the hallway on the second floor. I brought my KRK 7000’s, a Panasonic 3700 DAT and a PCM 70.
The band showed up around 5:30 and played for 6 minutes and that was my sound check. Keith came upstairs and listened to about thirty seconds and said, “Sounds fine”. Before the gig we all had dinner in a small private room. Keith brought his own espresso machine! The gig was supposed to start at 8:00 and do two sets. At 7:30 Keith says, “Let’s play”. They ended up playing 3 sets.
A couple of years later ECM put it out and I actually got paid! A friend of mine said, “You did a live record for ECM, now you have nowhere to go except down!” I’ve had a few highlights since then.
Dave
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+11 ( as mentioned above). The other albums he recorded for Contemporary Records in 1960 before returning to prison & rehab are also worth a listen if you haven’t yet-
- Getting Together (1960, again with Miles rhythm section of the time)
- Smack Up (Quintet, 1960)
- Intensity (Quartet, 1960-released 1963)
Later in life his playing exhibits more emotional intensity. If you get to like this period, then plenty to explore in:
*The Complete Village Vanguard (4 nights in 1977 with pianist George Cables, bassist George Mraz and drummer Elvin Jones).
*The Complete Galaxy Recordings (1978-82)
*The Complete Artist House recordings (1979)
Currently playing one from very late in his life :
Darn That Dream (with Joe Farrell- ss, George Cables- p, John Dentz- dr, Tony Dumas- b).
Recorded March 23, 1982 (M&K) in Hollywood, California.
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- Bass – Darek Oles
- Drums – Larance Marable
- Piano – Kei Akagi
- Tenor Saxophone – Teddy Edwards
- Vocals – Jacintha
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