Conversations with Jim Anderson

[Aggie87]

Jim - Out of curiousity, is there a (somewhat) comprehensive listing of what you've worked on available somewhere?

[jim anderson]

Jim - Out of curiousity, is there a (somewhat) comprehensive listing of what you've worked on available somewhere?

All Music has almost everything I've done.

http://allmusic.com/cg/amg.dll?p=amg&s...3cfqxql5ldfe~T4

[jazz1]

Jim - Out of curiousity, is there a (somewhat) comprehensive listing of what you've worked on available somewhere?

All Music has almost everything I've done.

http://allmusic.com/cg/amg.dll?p=amg&s...3cfqxql5ldfe~T4

Hi Jim,

I enjoy most of your work but I was a little disapointed with the new Patricia Barber, (especially the music) but also I do not think the recording is as good as some of her previous cd's.

I mentioned before how impressed I was with the Fiazzoli piano sound, but on this one it is not as good.

[Clunky]

Lately I've really been enjoying JJ Johnson's Quintergy Vanguard set. I have to say that, the live sound Jim achieved is IMO stunning, VV never sounded so good...and this from the early digital age....

Edited November 14, 2008 by Clunky

[kh1958]

Jim - Out of curiousity, is there a (somewhat) comprehensive listing of what you've worked on available somewhere?

All Music has almost everything I've done.

http://allmusic.com/cg/amg.dll?p=amg&s...3cfqxql5ldfe~T4

That's quite an impressive list. I see you recorded the final album by George Adams, Old Feelin'. What was it like to work with him?

[jim anderson]

Jim - Out of curiousity, is there a (somewhat) comprehensive listing of what you've worked on available somewhere?

All Music has almost everything I've done.

http://allmusic.com/cg/amg.dll?p=amg&s...3cfqxql5ldfe~T4

Hi Jim,

I enjoy most of your work but I was a little disapointed with the new Patricia Barber, (especially the music) but also I do not think the recording is as good as some of her previous cd's.

I mentioned before how impressed I was with the Fiazzoli piano sound, but on this one it is not as good.

Sorry.

[jim anderson]

it's interesting because I have been doing some basement recordings with my masterlink, to 24/96; even with the machine's built-in converters there is a major improvement over 16/44 (or 48); until I did an A/B I had no real idea, and now it's hard to go back -

I totally agree. The first high resolution project for me was Maria Schnieder's "Coming About" and there was no looking back after that.

[jim anderson]

Lately I've really been enjoying JJ Johnson's Quintergy Vanguard set. I have to say that, the live sound Jim achieved is IMO stunning, VV never sounded so good...and this from the early digital age....

Thanks. There's another album from those same sessions at the Vanguard, "Standards."

Those albums were recorded direct to 2 track stereo in the Effanel Recording Truck (the Bread Truck) with no multi-track back-up.

That was typical and standard for the time.

With a band like that, you could walk away with a pretty good mix.

J.J. also came into the project prepared.

The arrangements were concise and he knew what he wanted.

Have you heard J. J.'s "The Brass Orchestra?"

That's the last project that I did with him.

He called me a little while before he died and asked if I'd be interested in working on a solo project with him.

I told him, of course I would. I'd be happy to record an album where he just held the horn!

He was one of a kind.

[jim anderson]

Jim - Out of curiousity, is there a (somewhat) comprehensive listing of what you've worked on available somewhere?

All Music has almost everything I've done.

http://allmusic.com/cg/amg.dll?p=amg&s...3cfqxql5ldfe~T4

That's quite an impressive list. I see you recorded the final album by George Adams, Old Feelin'. What was it like to work with him?

There were a few albums with George at that time: Nightingale, America, along with Old Feelin'

Old Feelin' had an interesting, young rhythm section: Lewis on drums, Santi on bass, and Ray on piano along with the 'old guys': George, etc. and it might have been the first time that he had played with them. It pushed him in some different directions that he might not normally go.

You know that was 16 years ago and the fact that I'm having trouble thinking of any stories of George, means the sessions went smoothly. Not that you only remember the 'bad' ones or the 'hard' ones, but the more 'difficult' sessions do have a way of etching themselves in the memory. I can clearly see the session at Clinton Studio B and remembering working on a different approach to the drum sound for the album. It was a little more 'pop,' than jazz for the time and that approach was the right one for the album. It may have been direct to two track, as well. My partner, Kazunori Sugiyama, would remember, I'm sure. I'll ask him if he has any tales from the sessions.

[Guest Bill Barton]

...The first high resolution project for me was Maria Schnieder's "Coming About" and there was no looking back after that.

A couple of days ago I received an e-mail from Maria Schneider with the news that Coming About is being reissued. Good news indeed!

[jim anderson]

...The first high resolution project for me was Maria Schnieder's "Coming About" and there was no looking back after that.

A couple of days ago I received an e-mail from Maria Schneider with the news that Coming About is being reissued. Good news indeed!

I wonder if she'll use the 24 bit archive from the original mastering session?

[jim anderson]

Jim - Out of curiousity, is there a (somewhat) comprehensive listing of what you've worked on available somewhere?

All Music has almost everything I've done.

http://allmusic.com/cg/amg.dll?p=amg&s...3cfqxql5ldfe~T4

That's quite an impressive list. I see you recorded the final album by George Adams, Old Feelin'. What was it like to work with him?

There were a few albums with George at that time: Nightingale, America, along with Old Feelin'

Old Feelin' had an interesting, young rhythm section: Lewis on drums, Santi on bass, and Ray on piano along with the 'old guys': George, etc. and it might have been the first time that he had played with them. It pushed him in some different directions that he might not normally go.

You know that was 16 years ago and the fact that I'm having trouble thinking of any stories of George, means the sessions went smoothly. Not that you only remember the 'bad' ones or the 'hard' ones, but the more 'difficult' sessions do have a way of etching themselves in the memory. I can clearly see the session at Clinton Studio B and remembering working on a different approach to the drum sound for the album. It was a little more 'pop,' than jazz for the time and that approach was the right one for the album. It may have been direct to two track, as well. My partner, Kazunori Sugiyama, would remember, I'm sure. I'll ask him if he has any tales from the sessions.

My friend, Kazunori Sugiyama, producer of the three George Adams sessions for Somethin' Else, writes:

Multi-track recording. George sang on a few, tunes. He needed some takes, certainly. It was mixed at Effanel Music.

(Only Nightingale is Live to Two. America is also multi-track.)

This is the band that went to play Mt. Fuji Jazz Festival that year.

It could be that the band/booking was set first, and that made this recording as a release for their appearance.

George and Hannibal go back a long time and Jean-Paul knows George from Pullen/Adams days --- JP might have toured with them in Europe (probably he was with McCoy’s or Elvin’s then), or something.

Ray Gallon was a pianist for George’s Quartet for previous year’s Mt. Fuji Jazz Festival.

See, my memory is not infallible.

Kaz said he'd check his notes for any other insights.

Edited November 18, 2008 by jim anderson

[kh1958]

Jim - Out of curiousity, is there a (somewhat) comprehensive listing of what you've worked on available somewhere?

All Music has almost everything I've done.

http://allmusic.com/cg/amg.dll?p=amg&s...3cfqxql5ldfe~T4

That's quite an impressive list. I see you recorded the final album by George Adams, Old Feelin'. What was it like to work with him?

There were a few albums with George at that time: Nightingale, America, along with Old Feelin'

Old Feelin' had an interesting, young rhythm section: Lewis on drums, Santi on bass, and Ray on piano along with the 'old guys': George, etc. and it might have been the first time that he had played with them. It pushed him in some different directions that he might not normally go.

You know that was 16 years ago and the fact that I'm having trouble thinking of any stories of George, means the sessions went smoothly. Not that you only remember the 'bad' ones or the 'hard' ones, but the more 'difficult' sessions do have a way of etching themselves in the memory. I can clearly see the session at Clinton Studio B and remembering working on a different approach to the drum sound for the album. It was a little more 'pop,' than jazz for the time and that approach was the right one for the album. It may have been direct to two track, as well. My partner, Kazunori Sugiyama, would remember, I'm sure. I'll ask him if he has any tales from the sessions.

My friend, Kazunori Sugiyama, producer of the three George Adams sessions for Somethin' Else, writes:

Multi-track recording. George sang on a few, tunes. He needed some takes, certainly. It was mixed at Effanel Music.

(Only Nightingale is Live to Two. America is also multi-track.)

This is the band that went to play Mt. Fuji Jazz Festival that year.

It could be that the band/booking was set first, and that made this recording as a release for their appearance.

George and Hannibal go back a long time and Jean-Paul knows George from Pullen/Adams days --- JP might have toured with them in Europe (probably he was with McCoy’s or Elvin’s then), or something.

Ray Gallon was a pianist for George’s Quartet for previous year’s Mt. Fuji Jazz Festival.

See, my memory is not infallible.

Kaz said he'd check his notes for any other insights.

Thanks. George Adams is an underappreciated giant of the tenor, in my opinion.

[Lazaro Vega]

Good to hear the segment on pitch correction technology on Weekend Edition today where you took the human out of Lee Ann Hanson's all too human voice.

[jim anderson]

Good to hear the segment on pitch correction technology on Weekend Edition today where you took the human out of Lee Ann Hanson's all too human voice.

Liane and I have been friends for more than 30 years, going back to my days at NPR. The original recording by Noah was legendary among his NPR friends and the source of many laughs. We had a good laugh doing that piece, as well. The recording by Noah was the reason we used the tune "Take it to the Limit" in the first place. There's some video on the NPR site that you can see us in action.

Here's a link for the

http://www.npr.org/templates/story/story.p...11#commentBlock

[Jim Alfredson]

Funny story. The second half was cringe inducing. Whoever that chick's producer is... well, I'll shut my mouth other than to say her statement that if you listen to the "great" singers for intonation, you'll be disappointed is crazy. Who does she consider great singers? Aren't the great singers the ones that can sing?

I hope they use autotune on that 22-year old singer because that was cringe inducing.

Or maybe make her do another take until she can sing it... novel concept.

SIDENOTE: Jim, any chance of getting NPR to do a story on the home studio revolution? I have the perfect band/project for them to discuss. Using modern technology to record in an "old school" way, in the basement of a 100-year old house and getting professional results.

Sounds interesting to me.

[AllenLowe]

wait, my house is only 80 years old -

[Jim Alfredson]

Too bad for you!

[Chuck Nessa]

New question - is there an easy way to compensate for the CCIR curve without the "necessary" cards?

[Jim Alfredson]

Let me guess... you have something that was originally recorded on a Nagra?

[Chuck Nessa]

Let me guess... you have something that was originally recorded on a Nagra?

No, I have a number of masters recorded in Europe.

[Jim Alfredson]

As far as I know, you just have to recalibrate the machine with the appropriate MRL calibration tape (they sell CCIR tapes). No electronic modification is required. It's just a pain because on most machines you can't switch back and forth. You have to do a full calibration to change EQ curves.

But I may be wrong.

[Chuck Nessa]

Must be an EQ answer for material dumped (flat) into Pro Tools.

[Jim Alfredson]

AH. Gotcha.

Check out page 8 of the following document: http://home.flash.net/~mrltapes/choo&u.pdf

Should put you in the ballpark.

[jim anderson]

Funny story. The second half was cringe inducing. Whoever that chick's producer is... well, I'll shut my mouth other than to say her statement that if you listen to the "great" singers for intonation, you'll be disappointed is crazy. Who does she consider great singers? Aren't the great singers the ones that can sing?

I hope they use autotune on that 22-year old singer because that was cringe inducing.

Or maybe make her do another take until she can sing it... novel concept.

SIDENOTE: Jim, any chance of getting NPR to do a story on the home studio revolution? I have the perfect band/project for them to discuss. Using modern technology to record in an "old school" way, in the basement of a 100-year old house and getting professional results.

Sounds interesting to me.

I'll send your note on to Ned Wharton, of NPR