Moodsville

Bennie Wallace

19.9925.99
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Original Recording Format: DSD 64

* NativeDSD makes this recording available for the first time as a DSD Download to a wider audience, outside the US and Canada.
* NativeDSD exclusively offers this recording as DSD 128 and DSD 256 Downloads (see Tech Specs for more info).

This latest album from tenor saxophonist Bennie Wallace (a familiar audiophile artist) is one of his finest and most lyrical sessions to date. Recorded direct to 2-track Analog Tape at Systems 2 in New York in May the session features some of the hottest jazz musicians currently working in the US: Mulgrew Miller (piano), Peter Washington (bass) and Lewis Nash (drums) The performances include the following Love For Sale. I Concentrate On You, A Flower Is A Lovesome Thing, When A Woman Loves A Man, April In Paris, Milestones and Con Alma. The sound and feel of the album is very close to that of the great Moodsville and Prestige recordings of the 50s and 60s featuring artists like Gene Ammons. This album is a tribute to those great recordings hence the title Moodsville. There are stunning versions of April In Paris, A Flower Is A Lovesome Thing and When A Woman Loves A Man. This is the kind of beautiful, smoky, full bodied and ballad-filled tenor sax album that audiophiles just love!

“Bennie Wallace is unlike any tenor saxophonist, often alternating between a soulful, fat tone (which is very similar to Ben Webster’s approach) and sudden unpredictable jumps (no doubt inspired by alto saxophonist Eric Dolphy). Joined by an outstanding rhythm section consisting of pianist Mulgrew Miller, bassist Peter Washington, and drummer Lewis Nash, Wallace explores favorites from the swing and bop eras, with his bandmates providing a solid anchor underneath his flights. Two gems from the pen of Billy Strayhorn, the rhapsodic “My Little Brown Book” and the fragile ballad “A Flower Is a Lovesome Thing,” stand in a class by themselves with Wallace’s fresh interpretations. Both theLatin-flavored arrangement of “Love for Sale” and Dizzy Gillespie’s “Con Alma” pack a powerful punch, while “Milestones” (the earlier one which Miles Davis recorded for Savoy, though it was actually composed by John Lewis) takes a far more adventurous route than typically heard.

This excellent session demonstrates a mature artist with a very distinct sound, which should be the ultimate goal of every jazz musician. This highly recommended Album is one of Bennie Wallace’s best sessions of his long, very fruitful career.”

– Ken Dryden, All Music

Tracklist

1.
I'll Never Smile Again
06:03
2.
Con Alma
05:39
3.
April In Paris
04:30
4.
Milestones
07:02
5.
When A Women Loves A Man
06:32
6.
Love For Sale
04:59
7.
Little Brown Book
05:57
8.
I Concentrate On You
06:08
9.
A Flower Is A Lovesome Thing
03:56

Total time: 00:50:46

Additional information

Artists

Executive Producers

Ying Tan and Sebastian Koh

Genres

,

Label

Qualities

, ,

Channels

Original Recording Format

Digital Converters

Sony Direct Stream Digital™ System with custom engineered ADCs and DACs by Ed Meitner, EMM Labs. The tracks were recorded live direct to two track DSD.

Composers

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Mastering Room

DSD 128 and DSD 256 Download Files Created by Tom Caulfield at the NativeDSD Mastering Lab, Marshfield, MA

Mastering Engineer

Bernie Grundman

Microphones

RCA 44, Neumann U-47, AKG 451, AKG 414, AKG 460, Sennheiser 421, EV PL20.

Notes

We are pleased to announce the availability of Groove Note releases in DSD 128 and DSD 256, in addition to the original DSD 64 releases. These higher bit rate DSD 128 and DSD 256 releases are all pure DSD created by NativeDSD Mastering Engineer Tom Caulfield.

They are not up samplings, for there are no PCM or DXD conversions involved in their production. They are re-modulations of the original DSD 64 encoding modulation that produced the DSD 64 releases. The sonic advantage to these new Stereo and Multichannel DSD 128 and DSD 256 releases, as with all higher DSD bit rate releases, is the wider frequency passband prior to the onset of modulation noise.This results in the listener’s DAC using gentler and more phase linear filters for playback of the music.

Producer

Joe Harley

Recording Engineer

Joe Marciano

Recording location

Systems Two, Brooklyn, NY on May 14 and 15, 2001

Recording Type & Bit Rate

DSD 64

SKU

GRV1010

Release Date July 7, 2018
SKU GRV1010

Press reviews

Positive Feedback

Ying Tan continues to issue some of the best albums in the business. It’s hard to find a better producer than Joe Harley. Moodsville features tenor saxophonist Bennie Wallace leading a classic quartet of piano, bass, and drums. Although this is a multi-miked studio recording, Joe Harley and recording engineer Joe Marciano have done a credible job of creating a plausible soundstage. The recording has good dynamics and presence, and captures Wallace’s big tenor sax tone.
This is a direct-to-two-track-Direct-Stream-Digital (DSD) recording.

In classic jazz tradition, ballads alternate with more up-tempo numbers on this great late-night-listening disc of standards by Billy Strayhorn, Cole Porter, Dizzy Gillespie, Miles Davis, and others, including “I’ll Never Smile Again” and “April in Paris.” The album won’t knock your socks off with technical pyrotechnics or gimmicks, and it’s unlikely to become a classic of the genre. It is an album of straight-ahead jazz that will make your quiet evening at home much more pleasurable.

Ying Tan and company are a class act, and I applaud their efforts to make the jazz music world a better place. Keep it up, guys.

All About Jazz

Here’s another set of standards, a bunch of songs out of The Great American Songbook.

The three rhythm guys on the disc—Mulgrew Miller on piano; Peter Washington, bass; and Lewis Nash doing the drum chores—are all better known in jazz circles than leader/tenor man Bennie Wallace, but Wallace’s talent keeps pace with his bandmates.

He has a deep, throaty, Coleman Hawkins-like tone, and an energetic and sometimes edgey, Dolphyesque approach to his soloing that contrasts beautifully with his relatively smoother accompaniment. The leader/rhythm section tug-of-war is what makes the music. Mulgrew and crew at times—smilingly—seem to be in a reigning-in mode with leader Wallace—to the benefit of the music. Wallace sounds like a free blower ensnared—happily—in an environment that is holding him back, just a bit. Melody is king here, though Wallace stretches it at times.

A fresh and distinctive revisitation of some American Classics, a must have album for fans of Coleman Hawkins or Dexter Gordon’s quartet work.

AllMusic

Bennie Wallace is unlike any tenor saxophonist, often alternating between a soulful, fat tone (which is very similar to Ben Webster’s approach) and sudden unpredictable jumps (no doubt inspired by alto saxophonist Eric Dolphy).

Joined by an outstanding rhythm section consisting of pianist Mulgrew Miller, bassist Peter Washington, and drummer Lewis Nash, Wallace explores favorites from the swing and bop eras, with his bandmates providing a solid anchor underneath his flights.

Two gems from the pen of Billy Strayhorn, the rhapsodic “My Little Brown Book” and the fragile ballad “A Flower Is a Lovesome Thing,” stand in a class by themselves with Wallace’s fresh interpretations. Both the Latin-flavored arrangement of “Love for Sale” and Dizzy Gillespie’s “Con Alma” pack a powerful punch, while “Milestones” (the earlier one which Miles Davis recorded for Savoy, though it was actually composed by John Lewis) takes a far more adventurous route than typically heard.

This excellent session demonstrates a mature artist with a very distinct sound, which should be the ultimate goal of every jazz musician. This highly recommended album is one of Bennie Wallace’s best sessions of his long, very fruitful career.

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