ฝัง
- เผยแพร่เมื่อ 7 ก.ย. 2024
- 40th ANNIVERSARY archive recording - Stereo
©℗ 1981, 2021 Ed Saindon, all rights reserved
Composer/Performer: Ed Saindon - solo vibes - www.edsaindon.com
Engineer: Ron Diamond
Date: Thurs., 10/22/1981
Location: Emmanuel Church, Newbury Street, Boston
As part of the afternoon setup for a special performance that evening in the historic church, Ed and Ron took the opportunity to record an extended, full-length rehearsal set. The recording was with two microphones, directly to Ed’s Nakamichi cassette deck.
The set features Ed’s own compositions:
0:00 Vignettes
6:47 Alone
11:11 Blunk
14:53 With Regards
19:24 Solace
23:54 A Travelin’ Tune
28:33 Wishing Well
31:27 Some More Blues
36:12 Sleepy Hollow
41:39 Take A Little Time
Notes:
- This forty-year-old recording does have multiple flaws. It’s offered here for its musical (and potential historic) value.
- The recording is presented in its full dynamic range, without dynamics compression or limiting.
Enjoy.
Thank you for posting this, Ron. I only wish you had posted it much sooner! This is an invaluable document of Ed's process and a testament to his dedication and focus, unique musicality and immeasurable talent. Just to think he was playing like this ONLY after 8 years of playing the instrument. Just as much of a testament to Gary Burton's ability to recognize the potential in Ed right away.
Hi, Gustavo!
Thank you so much for the kind comments.
I do feel very fortunate to have worked with Ed way back in the day, when we were both pretty early on in our careers.
He's a super-nice guy, and as you've put it so eloquently, is (and was) immensely talented. It was an honor and a pleasure to help just a bit in getting his music out there, all the way back then.
And now, I'm happy there are those like yourself that appreciate little historical gems like this one. :)
@@media-ron
Hello, Ron. These two recordings are without a doubt an invaluable contribution in documenting Ed Saindon’s exemplary artistic process.
Please let me know if you have any other recordings from that time, as I would love to listen to more. Thank you!
@Gustavo Agatiello
Hi, Gustavo -
Thanks again very much for the comment. I'm very happy to know you (and others) have enjoyed these.
As I recall, I only worked with Ed on the two occasions.
The first was mixing his performance on WMBR radio. (I only wish I had a better-quality recording of the broadcast.)
Meanwhile, as an instructor at Berklee College of Music, I think Ed had wanted to do a bit more recording.
Though he generally wasn't satisfied with the recordings made by Berklee students at the time (early 1980s) - as this was just before the formal audio engineering curriculum got started there.
Capturing an instrument like vibraphone on tape (with its percussive sound) can be tricky, as that sound has sharp initial transients which don't quite register on standard VU meters. Not knowing that, the Berklee folks tended to overdrive the recordings (to nominally standard VU levels), resulting in somewhat distorted sound.
I was more of a working audio engineer at that point, and he seemed to like what we did on the air. So he asked me to record his upcoming performance at the Emmanuel Church - a beautiful old venue in Boston's Back Bay - a few weeks later.
We set up his gear in the afternoon, and recorded his rehearsal. (I don't know whether or not he recorded the actual performance that evening.) He paid me as well (and threw in a sandwich for lunch! :) ... and the result is what you hear here.
Around that time, I'd also gotten to know a few people who ran a 16-track recording studio, also in the Back Bay, on Boylston Street, called "Studio B."
Audio engineer Allen Smith, assistant engineer Robin Coxe-Yeldham, and producer Wayne Wadhams were great people, top-notch professionals, and very gracious - and kind enough to let me attend a number of recording sessions there.
Though, as fate would have it, the owner of the property decided to sell the building (with possible demolition, if I recall), and Studio B soon was no more.
The timing turned out to be very fortuitous, though, as Berklee had just decided to start its own music production and engineering major - and Wayne, Robin and Allen were recruited to design and build the new facilities, and create the new audio engineering curriculum there.
And so in the end, Ed (and others) got what they wanted - their own real recording facilities, and trained audio engineers, and the rest is history.
It was a great fit for Berklee, and they couldn't have had anyone better or nicer to do it.
college.berklee.edu/mpe/department-history
@@media-ron Hi, Ron,
Fascinating history right here, just like most surrounding Boston and Berklee!
Well, I am very thankful that you captured this history with Ed, which is undoubtedly extremely important to me.
I am familiar with Emmanuel Church, as it is in my neighborhood (played there, too). I've lived in Boston (Fenway/Back Bay) for the past 24 years. I was also extremely fortunate to be a student of Ed Saindon (still am!), and even more so that he got me in to teach at Berklee along with him many years ago. Certainly a notorious legacy to continue, to say the least.
I do have many (in the hundreds!) recordings of Ed that I've captured since I arrived in Boston. Also many he has given me, of his playing, but also of Gary's, Chick, Jarrett. Still, you just can't have enough of these historic recordings, especially of the quality you posted. Thank you again!
@@GustavoAgatiello
Again, thank you for the kind words. I'm happy I’ve been able to contribute just a little to the historical record for Ed.
And I can tell how much you appreciate being having him as a mentor (not to mention teaching alongside him!). It also sounds like you have an enviable collection of recordings as well.
My very best wishes to you, and especially to Ed, after all these years. :)