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Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst That Fed Directly into Feel, Outcome of Performance
Ellington's Legendary Comeback Punctuated by Paul Gonsalves' 27-Chorus Saxophone Solo
Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI
One of the Most Riveting and Important Jazz Recordings Ever Made
It spurred Duke Ellington's comeback into the mainstream. It captures a performance so energetic, wild, unexpected, and unprecedented that the music literally caused thousands of people to jump up and stand on their chairs, worrying officials that a riot might ensue. It is jazz of the highest order, played at an almost rock 'n' roll pace and with an enthusiastic pep that confirms Ellington and his ensemble fed off the crowd's reaction as the collective lit into each new stanza. It is Ellington's bestselling album. It is Ellington at Newport.
Like few records before or since, the 1956 set owes as much to context and circumstance as it does to instrumental execution. Years prior to his appearance in Rhode Island, Ellington had suffered lackadaisical record sales and a falling out of the public eye, as bop and hard bop supplanted traditional big bands. Yet in preparation for the event, Ellington worked on experimental ideas and a reshaping of some of his standards.
The iconic arranger/composer's foresight comes into fruition throughout the white-hot set, never more so than on "Diminuendo and Crescendo In Blue," on which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus solo that left everyone in awe - and prompted them to stand on chairs, dance feverishly, and hoot and holler to an extent that caused Ellington to ultimately cool things off. The improvisational flight epitomizes boldness, freedom, risk, and, to the bandleader, an assuredly loud response to the critics that had believed his well was tapped.
The songs in advance of the climactic moment are no less exciting; Ellington and his 15-piece collective manhandle notes with ease, swinging and sliding through "Festival Junction" with a requisite balance of poise and panache, and kicking heels on "Newport Up" via Ellington's spry piano riffs, Jimmy Hamilton's spicy clarinet feeds, and Clark Terry's trumpet runs. In every way, Ellington at Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.
And now, the 1956 classic can be experienced in an analog fidelity never before as authentic or transparent on any pressing. Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this numbered, limited edition Silver Series LP of Ellington's triumph boasts tremendous separation, deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare with multi-hued color, the Duke's 88s ring out with treble finesse, and the rhythm section claims an added presence buried on previous editions. Musically and sonically, you need this LP. It's that simple.
About Silver Series: From Mobile Fidelity Sound Lab, the MoFi Silver Label Vinyl Series features an eclectic mix of recordings. This series is mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art, Tim de Paravacini-designed mastering system. Vinyl is pressed at RTI on audiophile-grade standard vinyl and are numbered limited editions. Future releases will continue to stretch stylistic boundaries, as the MoFi Silver Label continues to explore music from many different genres. Expand your musical horizons with the Silver Label!
- Numbered, Limited Edition
- MoFi Silver Label Vinyl Series
- Mastered and Cut on the Famous MoFi Sound Lab State-Of-The-Art, Tim de Paravacini-Designed Mastering System
- Pressed at RTI on Audiophile-Grade Standard Vinyl
|Harry Carney||baritone sax|
|John Willie Cook||trumpet|
|Paul Gonsalves||tenor sax|
|Johnny Hodges||alto sax|
|William "Cat" Johnson||trumpet|
|Russell Procope||alto sax|
- Festival Junction
- Blues to Be There
- Newport Up
- Jeep's Blues
- Diminuendo and Crescendo In Blue