Antwort auf: Umfrage & Ergebnis: Die besten John Coltrane Alben

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In den Liner Notes zur SACD von Johnny Hartman/John Coltrane steht folgendes:

Why are there two versions of each track? Here’s why. This album was recorded in 1963, a time when the jazz companies I worked for were still in a state of transition from mono to stereo. One dilemma they had was choosing which format to deliver their product. This album was originally issued in both formats.

All the producers I worked for were accustomed to listening to the music in mono. The jazz folks were not interested in stereo, and in fact the word „mixing“ was never used. It was assumed that the balance was created live at the recording session. All the sessions were monitored only in mono.

Bob Thiele was a skilled and experienced producer who loved jazz. He expected me to achieve a balance while the musicians were playing with no possibility of changing anything at a later date. Other producers expected the same thing. I used two Ampex recorders, one a full-track mono and the other a two-track as a backup. We never even listened to the left/right two-track. However, in the next few years stereo became the only medium for the delivery of music, so the two-track tapes were used as masters for all stereo LPs and eventually CDs.

In many instances, the mono tapes were destroyed – but not for this album. Recently a set of the mono tapes was discovered and happily, both versions are included here. All the CDs of this album available up to now were made from the left/right two-track tape. So, when you listened to those CDs, made from a two-track, unmixed, unmonitored so-called stereo tape, you were hearing a musical balance that the original producer and engineer neither heard nor intended. This album contains both the musically balanced mono version (tracks 1-6) and the unmonitored two-track version (tracks 7-12). For the first time since the advent of digital recording, with a good playback system ( and it doesn’t matter how many speakers you have), when you play tracks 1-6 you can hear what we heard in the control room 41 years ago.“
Rudy Van Gelder, 2004

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Hey man, why don't we make a tune... just playin' the melody, not play the solos...