Sound Liaison returns to NativeDSD with another of their popular minimally mic’d recordings titled Soft Shoulders. This is an album featuring flugelhorn player Ack van Rooyen accompanied by pianist Juraj Stanik. This is Stanik’s second album at NativeDSD following his album titled “I Wonder” – a One Microphone Recording from Sound Liaison.
Album Producer Peter Bjornild tells us “This recording is true to the visual image of Ack and Juraj in the hall. Juraj is to the left at 10 o’clock and Ack to the right at 2 o’clock. We captured not only the 2 dimensional placement of the musicians but also the depth and wideness of the hall. Creating a Visual Sound is a question of moving the microphone slightly forward and backwards and listening critically. I must say that I keep being impressed by Frans de Rond’s expertise in this field.
The album was recorded with the Josephson C700S microphone. We did support the piano ever so slightly with a pair of DPA microphones just to add a hint of definition.”
Ack van Rooyen – Flugelhorn
Juraj Stanik – Piano
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 00:44:59
|Original Recording Format|
Frans de Rond
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|Release Date||February 19, 2021|
NativeDSD Senior Reviewer
You need this album!
Last month, at the age of 90, flugelhornist Ack van Rooyen received the prestigious Boy Edgar Prize, the premier jazz award of the Netherlands. The Dutch newspaper De Volkskrant commemorated the event with this article; Prijs-winnaar Ack van Rooyen ís de Nederlandse jazzgeschiedenis Here is a slightly shortened and translated version.
Ack van Rooyen seventy years of jazz history – his life. Written by John Schoorl
On my way in the car, I listened to Ack van Rooyen. It was foggy outside, and the 90-year-old jazz giant’s flugelhorn turned the road into a melancholic carpet: sorrowful tones, tight and elegantly played, softly swaying like a feather in the wind.
Come on over, he had said on the phone, prior to our meeting. And now, having arrived, he jokingly emphasized that he had no more to tell me, than what was already written on his website; just copy and paste and we’ll be done in no time.
All these questions, after it was announced that he’d won the Boy Edgar Prize…. What a fuss. No, he wouldn’t stop blowing now, Why should he? That’ll happen automatically when my time has come. No, he does not think he should have had the prize earlier in his career and no he is not going to start developing an attitude.
The Award is nice, it does something, like getting invited to lunch with the King and the Queen at the Palace. But having lunch with the King is of course not on the same level as having lunch with Dizzy Gillespie.
I looked at him, that’s what seventy years of jazz history looked like, a not overly grooved face, wavy gray hair, with snappy jokes, dipped in the typical sardonic wit of the Hague city.
If you see who he has played with over the years, it’s an endless parade of jazz greats. But don’t expect him to lean back and string a bunch of strong jazz anecdotes together, he doesn’t like that role. You should know how relaxed all those cats were with each other, he said. You sat down and you played, that was all that mattered.
Ack was a member of the Quincy Jones Orchestra that played at Montreux with Miles Davis three months before his death in 1991. And he played with greats like Dizzy Gillespie, Clark Terry, and Lee Konitz. Or for the connoisseurs, with Belgian Jack Sels and the French virtuoso Barney Wilen.
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