What a great post. Most people only knew him as Arthur from the movies. But he was a very talented pianist. If I'm not mistaken I think he studied at Oxford. In his final interview before passing he stated the piano was what he missed the most.
Ornette Coleman "The Shape of Jazz to Come"
1959 Atlantic
4track, stereo open reel tape
View attachment 968344
It sounds quite good. This release is 7.5IPS. I had another copy that was stored improperly and played OK, but this is clean and plays better. The "Something Else" tape is in excellent condition..I got it many years ago new in original shrink! That G36 (736) of yours is a lovely deck, especially when recapped and loaded with Telefunken tubes. Well worth restoring, so get on it!WOW!!! I'd would love to hear that once in my life...how does it sound on tape? (I'm a R2R newb even though I have a Revox G36 that needs restoration...)
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It sounds quite good. This release is 7.5IPS. I had another copy that was stored improperly and played OK, but this is clean and plays better. The "Something Else" tape is in excellent condition..I got it many years ago new in original shrink! That G36 (736) of yours is a lovely deck, especially when recapped and loaded with Telefunken tubes. Well worth restoring, so get on it!
Roy was the sound engineer on the fore-mentioned Coleman "Something Else" album. A very unique sound, rather pure and clear, which I like...you can tell he was particular about his microphones, their placement, and the capturing directly to tape. You have to be careful with re-issue LPs (and especially CDs) as this crispness is sometimes lost. Seek out the original releases (or tapes!) for sure!I had an interesting and enlightening conversation with Fred Cohen at the Jazz Record Center on Friday. He quizzed me on whether I was familiar with Contemporary Records recording engineer Roy DuNann (I wasn't), and then asked whether I knew of other recording engineers such as Tom Dowd at Atlantic (I was). He said it was really a shame that Roy wasn't more well-known, because he felt that the sound quality of Contemporary Records were of an even higher quality (for the period) than Blue Note recordings.