This is an analog recording made on February 8, 1958 in San Francisco 55 years ago!
This recording excels in musicality and sound rare in jazz recordings. In fact, it is so exceptional that it has remained fresh for more than half a century and is still going strong. Michael Bishop re-mastered it from the orignial analog master tape using the UHD 32-bit Mastering technique.
A Better CD Production Process - The Pure Reflection (PureFlection) Process:
FIM UHD CDs now sound undeniably better than ever! FIM's first priority is to locate a factory that at offers the latest technologies throughout its entire production chain, from the best A-grade polycarbonate materials, to testing and accurate quality control tools. The factory must produce a detailed specification sheet which ensures the discs produced demonstrate the same quality as the original recording.
To assure us of the best results, FIM has enlisted the help of one of the most experienced mastering engineers in the industry to craft the glass disc for the final replication process. Winston Ma continually maintains close rapport with him, as well as the original recording engineers, the mastering engineers and the manufacturer to achieve consensus regarding musicality and the sound spectrum.
FIM's glass mastering-disc engineer maintains expertise in the latest technologies: he currently uses a special blu-ray recordable mastering thermal process technique to create small smooth grooves which result in precision fidelity. He is meticulous in ensuring the best track pitch and the distance between the spiral of the pits, to reduce the amount of noise the tracking servo in the drive picks up from adjacent tracks, thus ensuring the best parameters on Cross Talk (XT) by minimizing the servo noise of the Drive during playback of the replica results.
To further ensure the best quality, FIM stipulates the most extensive test specification requirements. Pure Reflection (PureFlection) discs show in every CD booklet the full spectrum of specification of a given CD in the following categories:
BLER (17 items)
BERL (9 items)
Physical (6 items)
Jitter (6 items)
E22 Graph and
The concept of UHD 32-Bit PureFlection is the transformation of a superior sound into something truly exceptional, enhancing the experience without interfering in it. Sit back, relax and listen to the new sound of a UHD 32-Bit PureFlection CD!
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 beings 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!
This 1958 set finds original cool stylist Getz paired with vibraphonist Cal Tjader on a very enjoyable selection of jazz standards and Tjader originals.
When Stan Getz played the Black Hawk in San Francisco early in 1958, the time was ripe for the recording of an album that had been under discussion for a long, long time.
Most jazz record dates, as anyone who has ever attended one knows, begin late and are one long tortured attempt to get enough material done right to fit on one LP. Once in a long while a date will gel from note one. This was one of those dates. A critic journeying across the Bay to San Francisco to catch what he thought would be the last two hours of the date almost missed the whole thing. The album was recorded in record time (no pun intended) with less than three hours work. No tune, except two, had more than one take and even then it was a toss-up as to which to use.
Getz seemed to blend with Tjader as if they had been playing together for years. Vince Guaraldi dug in, feeding the solo horn's chords and taking his own solos with the certainty usually known only to victims of long practice. Billy Higgins and Scott LaFaro read the charts for the original tunes and thought they had written them themselves, and especially the waltz, which is not always the easiest thing for a rhythm section to handle.
After the session, the tapes were played back for the men and they sat around entranced, occasionally casting glances of approval to one another. Youre really cookin there, Higgins said to Guaraldi more than once, and everybody was gassed at the way Tjader and Getz played.
"In the vein of many a smooth West Coast jazz outing, this 1958 disc finds original cool stylist Getz paired with vibraphonist Cal Tjader on a very enjoyable selection of jazz standards and Tjader originals. The lineup includes pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott La Faro, and drummer Billy Higgins (this was one of the earliest record dates for either La Faro or Higgins, both of whom were playing with Getz at San Francisco's Black Hawk in between recording sessions). Guaraldi's spry "Ginza Samba" kicks thing off with nimble and imaginative statements by all the soloists. Tjader's swinging originals "Crow's Nest" and "Big Bear" provide prime solo vehicles as well, while his lovely waltz number "Liz-Anne" adds some nice contrast to the set, eliciting one of Getz's best solos in the process. The group rounds things out with fine ballad readings of "I've Grown Accustomed to Her Face" and "For All We Know." A recommended title for both Getz and Tjader fans." - Stephen Cook, allmusic.com
The benefits of Ultra HD 32-Bit Mastering:
Ambience of Analogue Sound
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!
Produced using PureFlection (Pure Reflection) Process
Ultra HD Mastering
Playable on ALL CD Players!
Re-mastered by Michael Bishop at Five/Four Productions, Ohio, USA
Produced by Winston Ma
Total Time: 42 minutes, 47 seconds
Stan Getz, tenor saxophone
Cal Tjader, vibes
Vince Guaraldi, piano
Eddie Duran, guitar
Scott LaFaro, bass
Billy Higgins, drums
1. For All We Know
2. My Buddy
3. I've Grown Accustomed To Her Face
5. Ginza Samba
6. Crow's Nest
7. Big Bear