Customer Reviews

Never No Lament the Blanton-Webster Band

5 star:		(16)
4 star:		(8)
3 star:		(2)
2 star:		(2)
1 star:		(2)

 

 

This is some of Ellington's most important music and it has finally been properly reissued. Contrary to what the previous review says, this is the best sound quality imaginable for these recordings:; clear, crisp and clean...unlike the previous reissues of this set. Maybe he needs to check his equipment, because from my stereo this sounds like Duke and his boys are playing in my living room. Yes, there is some high end buzz at times, but it is not bothersome and it is necessary to glean out the wide dynamic range. I have seriously been waiting for these recordings to be reissued in this manner for a few years (not being able to outright afford the mammoth 30 disc box set from which these remasters were taken from) and I am so overjoyed by it as it lives up to my every expectation. If you have these recordings in another form, this is well worth the reinvestment. If you are new to Ellington's recordings, then this is exactly where to start to understand why this man was, without a doubt, the greatest American composer ever. If Louis was jazz's greatest voice, Duke is jazz, and America's, greatest writer.

These selections are widely recognized as among the most important recordings in the history of jazz, and rightly so. Included are the definitive versions of many of Ellington's (and his associates') most inspired compositions, performed by one of the greatest bands ever assembled. The musicianship is superb throughout, with absolutely stunning solo and ensemble work on track after track, particularly on the instrumental selections that make up the bulk of the set.

To my ears, the sound quality is astonishingly good. I've been listening to this material on various other compilations (Bluebird's "Blanton-Webster Band," the relevant volumes in the Melodie Jazz Classic label's "Chronological Classics" series, an RCA "Jazz Tribune" set, etc.) for years, and I'm amazed at how much better this issue sounds than any of those. It's true that there's a bit of surface noise, but as one other reviewer has already noted, the problem with noise reduction is that when it's used to excess (as on the Bluebird set, for example), it strips away a lot of the music along with the noise. Here, where the remastering has been done much more judiciously, the improved clarity, detail, presence, and tonal range more than compensate for the slight increase in extraneous background noise. The result is, to my ears, a stunning improvement in overall sound quality.

This is an extremely well-produced reissue that belongs in the collection of anyone with an interest in Ellington, or in big-band jazz in general.

I won't echo what's been said about how great this stuff is- it's just great, some of the best jazz ever recorded. That said, I can't easily abide by music of this caliber being packaged in a cheap, flimsy cardboard contraption that doesn't even list all the tracks on the back. Just taking a disc out to listen to it is an exercise in delicacy and restraint, lest you accidentally tear the thing apart.

Still, this is worth purchasing if you're an Ellington fan. I haven't heard the 1980's CD release of this collection, but I had a Glenn Miller one from the same era and label, and the music sounded like it had been filed down with sandpaper- no body, no depth. The distortion on some of disc one's tunes in this set is annoying, but the rest of it sounds great. The exceptions are probably due to poor source recordings, so what can you do? I'd much prefer a few crackles than hear music that's been compressed down to nothing.

In short, I'd say this is worth the money, but look for it used first. I'm sure Bluebird will be reissuing it for a third time in the not-too-distant future, so why pay full price now?

First, thanks to those who have shared their thoughts on the sound quality of this set in reviews and/or review comments. I've had the set for about 5 days now and would like to add what I can. Disclaimer: I'm no audio engineer and a couple others here seem far more knowledgable in all this than I am.

1. The distortion many are complaining about, especially on Jack the Bear, was present on the early Blanton-Webster set as well. I've had the privilege of direct comparisons between a few songs. The difference is, on the old set it was buried under layers of sucked out frequencies and No-Noise and therefore less noticeable but at GREAT expense to the music. (A lot of folks here know how abysmal the old set sounds.) So, I very much agree with reviewer Comic Online that the source of the distortion/harshness in this set is not a result of the remastering, but a result of the condition of the actual masters, be them damaged or what have you.

2. The sound on this set really is AMAZING. The music is alive, the air is open, the dynamics are powerful. I also want to acknowledge the quality of bass on this release. It's powerful and tight. This remastering does Blanton a true service. Yes, the occasional distortion and harshness in the high frequencies in this set is a shame and it may take you some of the first day of listening to adjust, but given what the context seems to be, it's either that or the kind of sound on the old Blanton-Webster set.

3. I disagree that the sound "gets better" on discs 2 and 3. I find nothing wrong with the sound to begin with and hear no discernable differences as the set plays on. Of course, if the harshness of Jack the Bear catches you off guard with it being the 2nd track of the 1st disc, I guess it's easy to think the set "gets better" sound-wise as it goes on, seeing as no other tracks match the very forward harshness that Jack the Bear exhibits.

4. The box design is cheap and not very durable. Cardboard CD sleeves. It gets the job done, though. I'd just move your discs to a few open jewel cases. Be sure to remove your CDs from the cardboard sleeves by applying a small amount of pressure inward to the top and bottom of the sleeve and letting the CD slide itself out instead of grabbing and pulling it out, else the CD surface will drag across the cardboard and possibly result in some minor surface scratches on your shiny, brand new CD(s). Not cool!

First off, there are no recordings in the jazz pantheon more "classic" than these--Duke's best band in his most creatively fertile period. Secondly, if you're familiar with these recordings from their previous incarnation as a three-CD set you'll be a little taken aback by the change in remastering.
Where the previous sound was a little dry and muffled (but pleasant enough) the new approach here is a more "warts and all" attempt to be faithful to the source materials.
Initially, the sound will strike you as a little harsh, with very sharp and often distorted highs (don't listen with Grado headphones; you'll be gritting your teeth.) But once you get over the initial shock, you'll realize that much more inner detail is coming through where it didn't before: Blanton's bass, the subtle sound colorations from the ensembles, Duke's piano, etc. All in all, a big improvement in what is an essential set.
And thirdly, I'm for any CD packaging that doesn't involve plastic.

I think this was the best band Duke ever had, and the best CD's available by Duke. I also think the restoration and remastering are superb. While the sound quality of the first disc isn't as good as the other two, it's still very good. The claims of harshness and of being unlistenable are ridiculous. Yes, there is hiss, but that situation is better than sucking the life out it by using excessive noise reduction. The sound quality of the second and third discs are the best I've heard from the early forties. They are incredible.

If you agree that leaving some hiss is preferable to killing the high end and the ambiance of a recording, then you'll appreciate what they did here. Personally, I wish all the reissues of old recordings such as these, were of this calibre.

I just received my copy of this set, and I am in full agreement with the comments made about the sound quality from both perspectives. It is true that the remastering is a HUGE improvement over previous editions, much clearer, tonally accurate, less muddy and compressed, and I don't mind the increased surface noise at all. It's a fair trade-off for the extended high end. BUT... the reviewer who trashed Disc 1 is also correct. There is a totally unacceptable breaking up of the high end on many of the cuts. It is simply not possible that these overdriven masters are the best that could have been used. I am currently trying, with little success, to get an explanation out of RCA/Bluebird. Really a frustating "almost nailed it" reissue

I find some of the negative reviews a bit unfair. If you don't like the mastering job, that's one thing. You are absolutely entitled to not enjoying the way it sounds. But many reviewers are writing things they have no knowledge about. I've read several reviews where they insist that the mastering engineers "screwed up" or "could have done a better job." How do you know? Unless you're an audio engineer, sitting with the original masters in your high-tech studio (good luck on getting those originals), then you really have no way to know if they could have done better.

Also, i'm so sick of this balderdash about "greedy music companies" putting out so-called "shoddy" products. Remember, it's not one guy with an office full of cash that's making these things. It's a team. People that make the horrible box designs are more into...box designs. And yes, most box designs on old jazz music is atrocious. There are dozens of different designs, and most are very poorly done (Billie Holiday's Complete Columbia box might be the worst.) The people that set the price are the numbers crunchers. But the people who actually select and master the music are people who love the music themselves. These engineers genuinely put out what they feel is quality material, because they love the music, and want it to sound as good as they feel they can make it. They have no say in box design or price. They don't get paid by how many they sell. They get paid for the job they performed. So, blast the art designers if you think the boxes suck (and they do), and the execs if you think the price is too high. But remember, the music itself is mastered with much care.

Ok, that all having been said, i can totally understand how someone might find some of the music on here a bit too shrill for their ears. It does take some getting used to. But as one reviewer indicated, you do get used to it, and then you start to hear more of the music. With all other releases, including newer imports, they do sound less shrill, and more pleasing and warm, but so much of the bang, zap, and energy of the music is also removed, and consequently sounds lifeless and dull. To some people, that might be better. It's really all a judgment call. What's important to you? If you're willing to sacrifice the life and power of the music, because you don't like the distortion at the high end, then don't get this set. BUT, if you want to hear as much of the music as possible, as close to it sounded in the studio when it was recorded (and yes, with some unfortunate distortion, too), then this is the set you need.

I suppose if I had to pick one Ellington "era" to listen to for the rest of my life, it would be the superb 1940-1942 band featured on this set. Classic follows classic; impeccable swing, spectacular ensemble scoring and great solo work abound.

As for the sound quality....

Yes, some of the acoustical warmth and depth lost on the dreadful "Blanton-Webster Band" set have been restored here - you can actually HEAR the bass this time around! But on some tracks - mostly on disc one - there are obvious and annoying digital "artifacts" that make the high-end almost unlistenable. ??!! How could BMG get so close and then blow it by not re-doing the first, obviously inferior disc? Still worth it for the sonic upgrades of 2/3 of the material.

The Blanton-Webster Band has long been heralded as the Ellington Orchestra at its best. Rightly so. It has also had a checkered history of releases on CD. Some have had poor audio, some have had songs clipped off either at the beginning or the end, etc. This set is suppose to be the "definitive" set, rectifying all of these annoyances. Alas, the results are sketchy. It would appear that some CDs shipped were defective, with some tracks sounding very tinny (to the point where your speakers sound like they're about to buzz apart). It gets worse when the volume is turned up, and no amount of fiddling with the bass or treble will help. Some tracks are fine ('Take the 'A' Train,' for example, sounds clear and it's no longer clipped at the beginning). But some aren't (including `Jack the Bear' and most of the first disc). I doubt sincerely that a proven perfectionist like Orrin Keepnews, who supervised the production of this reissue as part of the larger Ellington RCA Centennial reissue, is to blame for these blemishes. It must be a production error in pressing the CDs. Hold off getting this set of valuable music until RCA gets all the kinks out. If you don't, you might get lucky and get a defect-free set. But you might not, like me, in which case you'll only be purchasing frustration.