Andre Previn, Joe Pass & Ray Brown After Hours Ultra HD

Ultra High Definition 32-Bit Mastering!
This Ultra HD 32-Bit Mastering CD will play on ALL CD players!
Andre Previn, with Joe Pass & Ray Brown, provide a selection of 10 tunes including "I Only Have Eyes For You" and "Smoke Gets In Your Eyes".
André Previn made more than 50 jazz recordings as a jazz musician in the 60s and 60s and worked with greats such as Shelly Manne, Dizzy Gillespie and Benny Goodman.Towards the end of the 60s, however, he acted primarily as a conductor for symphonic works and in this capacity led the London Symphony and the Royal Philharmonic Orchestra. At the time of this recording in 1989, he was active as conductor of the Los Angeles Philharmonic and had even conducted a Beethoven and Tchaikovsky program two days earlier.
This first new jazz work after 27 years without jazz could have been a flop for Previn and he therefore brought Joe Pass and Ray Brown, two exceptional talents with whom he had already played, into the team as reinsurance. The Aunfahmen took place in the Pasadena Ambassador Auditorium and it was wonderful to warm up in the afternoon, but unfortunately the team had to leave the hall because the Los Angeles Chamber Orchestra had booked the hall at the same time. The real recording session then took place between 10:30 a.m. and 2:30 a.m. in the morning. Normal working hours for professional jazz musicians.
Maybe it's thanks to this evening atmosphere that the recording sounds so relaxed like a nice jam session and not like a typical studio recording. The last piece One for Bunz was recorded by chance and none of the musicians suspected that the recording was running and therefore the piece simply ends without an ending. It just felt right and the team in the recording room had to be warned again and again not to tap their feet to the beat.
Please do not be surprised if the content of page 6 is repeated on page 7 in your manual. This is not an indication of a fake, but a simple misprint in the manual.
"Although André Previn had not recorded a regular jazz album in 27 years at this point in time (discounting a pair of Itzhak Perlman sessions featuring Previn's compositions), the great majority of the performances on this trio set with guitarist Joe Pass and bassist Ray Brown are first takes. Previn took time off from his busy schedule in the classical music world to return briefly to jazz, his first love. The results are often magical. Previn, Pass and Brown play together as if they had been touring as a group for years. The pianist is generous with solo space and Pass' solos are sometimes exhilarating. For Previn, it is as if the previous three decades did not occur for he plays in a style little changed from 1960, displaying an Oscar Peterson influence mixed in with touches of Lennie Tristano and Bill Evans' chording, performing ten standards and his own 'One for Bunz.' Highly recommended." - Scott Yanow, allmusic.com
Ultra High Definition 32-Bit Mastering!
Ultra High Definition 32-Bit Mastering is a proprietary ultra-high-quality mastering system. This leading-edge system has achieved unprecedented sonority and musicality, reproducing as closely as possible the sound of the original master tape! This format employs what is currently the highest attainable resolution bit depth (word length) in the professional audio field, i.e. 32-bit. 32-bit resolution makes possible maximized, undistorted dynamics, and the lowest noise floor, allowing even the quietest musical information to be heard more clearly. This breakthrough results from the development, through years of experience and application of advanced digital technology, of a sophisticated A/D and D/A processing system.
Ultra HD 32-Bit Mastering does not specify a sampling rate; this allows flexibility in meticulously choosing the appropriate bandwidth for a particular recording. The higher the sampling rate -- for example, 192 kHz -- the greater the bandwidth. However, merely employing the greatest bandwidth may not guarantee the ultimate sound. With some recordings, a lower sampling rate -- 96 or 176 kHz -- may offer better musicality and more homogeneous harmonics. This determination requires careful and discerning auditioning and professional judgment. In the end, the human being's hearing and emotions should be the final arbiter, rather than the print-out of testing equipment or technical measurements.
Recognizing these variables, FIM nevertheless tries to use 32-bit depth and 192 kHz bandwidth whenever the original analog master is at hand. Alternatively, if the original recording is on 24/96, the 32/96 may eventually be used to maintain the integrity of the sonority particular to that recording. With this flexibility, First Impression Music believes that preeminent sound is only achievable when the chemistry of the recording, mastering, glass-stamper making, replication, and quality control is right. As always, listening is believing.
This recording has been mastered by the new Ultra High Definition 32-Bit Mastering process, which creates an unbelievable sound surpassing other formats!
The benefits of Ultra HD 32-Bit Mastering:
• Ambience of Analogue Sound
• Higher Resolution
• Undistorted Dynamics
• The Lowest Noise Floor, allowing even the quietest musical information to be heard more clearly!
• Richer Sound Field
• Master-Tape Quality Sound!!!
• Delivers what musicians originally intended!

Features:

• Produced using PureFlection (Pure Reflection) Process
• Ultra HD Mastering
• Beautifully packaged
• Playable on ALL CD Players!
• Re-mastered by Michael Bishop at Five/Four Productions, Ohio, USA
• Produced by Winston Ma

Musicians:

• Andre Previn, piano
• Joe Pass, guitar
• Ray Brown, bass

Selections:

1. There'll Never Be Another You (Andre Previn, piano)
2. I Only Have Eyes For You (Joe Pass, guitar)
3. What Am I Here For? (Ray Brown, bass)
4. Limehouse Blues
5. All The Things You Are
6. Honeysuckle Rose
7. I Got It Bad And That Ain't Good
8. Smoke Gets In Your Eyes
9. Cotton Tail
10. One For Laura
11. One For Bunz (Bosendorfer Piano)