℗ © 2015 Chesky Records
Once again pianist/composer David Chesky courts a dark, masterful muse on this second recording by his Jazz in the New Harmonic quintet. The noirish atmosphere prevails from his first dissonant stabs at the keyboard with cool solos from veteran jazz artists Javon Jackson and Jeremy Pelt, while Peter Washington and Billy Drummond lock down the time. This is a different kind of cool jazz, one that grooves along steadily. Close your eyes and you can feel the pulse of the New York streets colliding with 21st century ethereal classical harmony.
Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings. Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure cool jazz ever recorded.
Recorded July 29, 2014 at the Hirsch Center in Brooklyn, NY.
David Chesky - piano
Javon Jackson - tenor saxophone, clarinet
Jeremey Pelt - trumpet
Peter Washington - bass
Billy Drummond - drums
Producers: David Chesky and Nicholas Prout
Recording, editing and mastering engineer: Nicholas Prout
Assistant engineers: Max Steen and Milton Ruiz
This album was made with the purest audio path, using the very best microphones, mic preamps, analog-to-digital converters, recorders, and cables with careful attention to detail to produce the most transparent and natural sound available today.
Recorded using a B&K Binaural head, MSB A/D Converter, and Crystal microphone cable.
Special thanks to Professor Edgar Choueiri of the 3D Audio and Applied Acoustics (3D3A) Lab of Princeton University for his technical assistance on the 3D audio aspects of this binaural recording.
Four Star Review: "This is a cool, calm and collected set, dry as a martini and nearly as subtle." - John McDonough, Downbeat
"...that steady-strolling groove and the overall lack of pretension and unncessary flamboyance keep things centered, resulting in music that suggests an almost zen-like contemplation on the dialectic between control and freedom." - David Whiteis, JazzTimes
"Jazz In The New Harmonic: Primal Scream" makes no bones about its debt to the music of the masters and makes a powerful statement about the need for jazz to "dance" again." - Richard B. Kamins, Step Tempest