[SACD-R][OF] Oscar Peterson Trio – We Get Requests – 2011 (Jazz)

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foobar2000 1.1.11 / Dynamic Range Meter 1.1.1
log date: 2012-06-07 04:52:59
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Analyzed: Oscar Peterson Trio / We Get Requests
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DR Peak RMS Duration Track (@ 6.00dB gain)
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DR12 -4.88 dB -22.65 dB 2:56 01-Quiet Nights Of Quiet Stars
DR15 -2.55 dB -21.14 dB 2:44 02-The Days Of Wine And Roses
DR13 -6.71 dB -25.68 dB 5:11 03-My One And Only Love
DR14 -1.56 dB -20.79 dB 3:35 04-People
DR14 -1.04 dB -22.13 dB 4:15 05-Have You Met Miss Jones?
DR15 -0.32 dB -20.64 dB 4:53 06-You Look Good To Me
DR12 -1.43 dB -18.17 dB 3:55 07-The Girl From Ipanema
DR13 -1.57 dB -20.73 dB 5:15 08-D. And E.
DR14 -6.33 dB -27.05 dB 4:39 09-Time And Again
DR14 -1.74 dB -20.34 dB 2:59 10-Goodbye J.D.
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Number of tracks: 10
Official DR value: DR14

Samplerate: 88200 Hz
Channels: 3
Bits per sample: 24
Bitrate: 4139 kbps
Codec: FLAC
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Technical Details:
01) ISO image created using sacd-ripper for PS3
02) Edited Master Dff file extracted using SACD_Extract
03) Edited Master Dff file analysed using foobar + foo_input_sacd and DR Meter plugins to find peak track(s)
04) Dff files for loudest tracks extracted from the ISO using SACD_Extract and converted using Weiss Saracon 1.61-27 at 24bit/88.2kHz with -6.00dB gain
05) Non-clipping gain calculated using SoX
06) Final pass conversion using Weiss Saracon 1.61-27 at 24bit/88.2kHz with 6.00dB gain as calculated above
07) Final pass PCM file split into individual tracks (discarding first 41 samples) using track lengths calculated from cue file generated by SACD_Extract
08) Spikes at beginning of first/end of last tracks eliminated by deleting 24 samples and replacing with the adjacent 24 samples using SoX to give the correct track length
09) Finalised tracks converted to flac [level 8] and tagged using tag.exe
10) Dynamic Range measured using Foobar DR Meter plugin

JPG Artworks scanned at 300dpi are included in each torrent and the RS links.

When Jim Davis started producing records at Verve, he changed the company’s recording philosophy toward its most prolific instrumentalist. Where Norman Granz had produced countless Oscar Peterson albums dedicated to the popular song, Davis was more interested in making albums closer to how the Peterson trio sounded live. His first Peterson records were the legendary London House sessions. By the time of this album, there had been no personnel change in the trio for 5 years – so it is no surprise that the rapport among the musicians here is telepathic.

Originally released in 1964.

Oscar Peterson, piano
Ray Brown, bass
Ed Thigpen, drums

This 1964 set can polarize jazz lovers. Many find it the consummate recording of this trio, which had been together 5 years when it was taped. Others think the repertory is trivial. Peterson chose for this set such popular favorites as “Quiet Night of Quiet Stars (Corcovado),” “People,” “The Girl from Ipanema,” “The Days of Wine & Roses,” & “My One & Only Love.” Balancing these chestnuts are some slightly less familiar standards: “Have You Met Miss Jones?,” “D & E,” “You Look Good to Me,” & “Time & Again.” Here’s the formula: Peterson usually makes a clear statement of the tune up front, then goes off on one or more of his incredible variations, manipulations that give him a chance to show off his fleet, refined, & graceful fingerwork. Bassist Ray Brown & drummer Ed Thigpen are virtuosos in their own rights, but also know how to fit in as part of the ensemble. To say that the 3 are tightly knit is to understate the obvious.

R I P George Marino

It’s generally agreed that We Get Requests is one of the best-recorded jazz-trio discs in the catalog. Every time there’s been a new recording format or refinement of an existing format, this album has been remastered & reissued. This SACD/CD was remastered by George Marino at Sterling Sound, who has written that it was the most difficult Verve title he’s ever dealt with. The 2-track masters weren’t usable, but 3-track masters in good shape were discovered. The result: This latest edition of We Get Requests is a genuine multichannel SACD with 3 discrete front channels.

Still, there’s a problem. The 3-track master tape for tracks 1-5, possibly never remixed, consists of 3 bare channels, one per instrument: drums left, bass right, piano center. There’s little if any bleedthrough between channels, which gives the instruments a somewhat eerie feeling of isolation from each other. On the plus side, the tracks are clean & free of blemish, allowing every nuance of each musician’s playing to be clearly heard. Beginning with track 6, “You Look Good to Me,” everything changes: The bass & drums switch left/right positions, & now there’s plenty of bleedthrough to the centered piano, & we get more of what the 1st 5 tracks are somewhat lacking in: warmth. I’ve a feeling that the different positioning might have been nurtured by the vinyl format. On the original LP edition, tracks 1-5 were side 1, tracks 6-10 side 2. But on CD, this is something that even the most casual listener will notice. Analogue Productions takes great care in producing great reissues; they should also provide notes that provide more of the history of the recording, & why it might sound different from track to track.

Whatever the players’ positions, even the CD stereo tracks on this disc sound tremendously better than on the original Verve CD, the only other version I had on hand for comparison. Listen to the whisper of Thigpen’s delicately brushed cymbals, or Ray Brown’s precise attacks on his double bass. All sorts of subtle communication was going on in this trio, & this Analogue Productions release lets you hear it clearly. For instance, when you hear a mysterious sound in the left channel of track 6, it’s not a vacuum tube frying, but Brown mumbling along with his playing. The sound is so clean that you can hear absolutely everything — if your system has a transparent midrange, you’ll love it.