Picturing The Invisible: Focus 1

Jane Ira Bloom

13,9936,99

This album is available in 9.1 Channel Auro3D 96k FLAC Immersive Audio

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Original Recording Format: PCM 384 kHz
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Following her initial album at NativeDSD – the Audiophile Edition of Wild Lines: Improvising Emily Dickenson – saxophonist Jane Ira Bloom returns with Picturing The Invisible: Focus 1. The new album is a selection of compositions by saxophonist Jane Ira Bloom inspired by the science photography of legendary NYC photographer Berenice Abbott.

The music was arranged for duet during the pandemic and recorded remotely in high definition Stereo and 5.1 Channel Surround Sound by audio engineer Ulrike Schwarz. It was co-produced by Jane Ira Bloom and Ulrike Schwarz and is being exclusively released in its recorded format and bit rate of Stereo and 5.1 Channel Surround Sound 384kHz PCM at NativeDSD.  It is also exclusively available in Stereo and 5.1 Surround Sound DSD 256, DSD 128 and DSD 64 as well as in 9.1 Channel Auro3D 96kHz Immersive Audio at NativeDSD. 

Award winning jazz soprano saxophonist Jane Ira Bloom pairs with renowned improvisors drummer Allison Miller, koto artist Miya Misaoka, and bassist Mark Helias to play a series of eight compositions performed in real time connected remotely from their homes in New York City. Using the most up-to-date technology, Grammy nominated Tonmeister Ulrike Schwarz has recorded and mastered the acoustic beauty of these extraordinary musicians’ creativity as they duet across the internet. Audio science and improvisational art collaborate to make this recording a one of a kind musical event.

Funding for this project was made possible by the New York City Women’s Fund for Media, Music, & Theatre by the City of New York’s Mayor’s Office of Media & Entertainment in association with the NY Foundation for the Arts.

Jane Ira Bloom – Soprano Saxophone
Allison Miller – Drums, Percussion
Mark Helias – Double Bass
Miya Masaoka – Koto

Tracklist

1.
Walk Alone
05:56
2.
Where the Light Gets In
04:10
3.
Daredash
04:35
4.
RCA
03:56
5.
Pictuting the Invisible
05:19
6.
Invisible Forces
02:16
7.
Rowing In the Dark
05:23
8.
The Shape of Space
05:31

Total time: 00:37:06

Additional information

Label

SKU

AANYOTL145

Qualities

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Channels

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Artists

Composers

Genres

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Analog to Digital Converters

Horus ADC with the Merging+Clock U, Merging Technologies at 32 bit, 384kHz PCM

Audio Cables

AccuSound MX-4 and IX-3

Funding

Funding for this project was made possible by the New York City Women's Fund for Media, Music, & Theatre by the City of New York's Mayor's Office of Media & Entertainment in association with the NY Foundation for the Arts

Headphones

B&W P5 and Sony MDR-CD900ST

Internet Audio Interface

Acousta LE03 Interface

Microphones

Neumann TLM 170, Neumann USM-69, Neumann TLM 102, Sanken CU-41, Sanken CMS-2, B&K 4007, EV 654, AMB Tube-DI, RS-PZM microphones, AKG D-112, AKG P-120, Shure SM 57

Notes

This project was recorded, mixed and mastered in Ultra High Resolution (384kHz, 32bit PCM) using the Merging Technology Horus/Pyramix recording systems and the Merging+Clock U.

Instruments

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Original Recording Format

Power Cables & Distribution

Essential Sound Products MusicCord Pro ES, MusicCord Eloquence

Producers

Jane Ira Bloom and Ulrike Schwarz

Recording Engineer

Ulrike Schwarz

Recording Locations

Recorded at Jane Ira Bloom’s office in Manhattan, Allison Miller’s practice room in Brooklyn, Marc Helias’ bass studio in Manhattan, and Miya Masaoka’s living room in Manhattan during February 2022

Stereo & 5.1 Surround Sound Mastering Engineer

Ulrike Schwarz at Anderson Audio in Brooklyn, New York during June and July 2022 Morten Lindberg of 2L

Release Date July 12, 2022

Press reviews

Audiophile Style

Given that each performer was located in various locations, one could possibly expect a disjointed performance. Not here. The recording and performances are seamless, sounding like the musicians were recording together in the same real vs. virtual space. This is a testament to the talent of the musicians, modern technology and the engineering chops of Ms. Schwarz.

I have had a chance to listen to the stereo version of the recording and it is a stunner sonically. It has everything you would expect from the team of Jim Anderson and Ulrike Schwarz, space, spot on timbre, silkiness and dynamics. While a bit on the avant-garde side, the music is beautiful and well worth a listen if you are unfamiliar with Ms. Bloom’s artistry.

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