No Option / Epilogue (Garry Dial & Dick Oatts) скачать в хорошем качестве

No Option / Epilogue (Garry Dial & Dick Oatts)

" Gary and I have compounded a considerable amount of miles with various Jazz artists over the past ten years, and we've learned a lot about being sidemen. Our music reflects the opportunities they gave us to express ourselves as players and as composers and to keep searching for higher levels in the process. We therefore pay homage to them. Each step of this recording brought Gary and I musically and spiritually closer and we feel that this music mirrors our growth together and our dedication towards this project as co-leaders. We can't say enough about Jay Anderson's and Joey Baron's contribution to us and this recording. We never had to discuss musical details except in a very broad sense, and no matter what we came up with they helped us turn the experience into magic. We would also like to extend a special thanks to Carlos Franzetti, whose expertise and experience in conducting and orchestration brought our music into focus. I've known Carlos for years and I have greatly admired his talents. When TJ recommended Carlos to us we both felt he was the perfect choice. It's long been a dream to compose and play with a full string orchestra and hearing our music perfomed by 30 of the finest string players in New York was simply overwhelming. Thanks to Tom and Jean Jung, this dream became a reality. Their unending support and enthusiasm came when we needed it the most. Tom Jung is an innovator and a role model amongst his peers and the sound is beyond reproach (whew!). We feel DMP is the perfect combination for Dial & Oatts. " -- Dick Oatts " There is a philosophy that states "in reality opposites are one, and that beauty is the making one of the opposites." (Eli Siegel) It is clear that opposites attract. Dick and I are opposites, yet we have been attracted spiritually through our music for over ten years. We both felt it was important to express all the different emotional aspects of our personalities from the romantic lyrical to the more aggressive angular side, and to tie them together into one cohesive statement. This music was conceived to be listened to as a whole-meaning that there is a single thread which links the music together as one. Color and visual imagery have always played an important role in my creative process. Recently, I've had the pleasure of collaborating with one of Australia's greatest artists-Ken Done-by composing music to his art. We also share a bond between music and art, and is a great honor to have Ken, after listening to our music, create the cover for this recording. After months of writing and planning all of the details that go into such a large project, we hope that you'll enjoy and respond to our efforts of bringing this music to you. " -- Gary Dial " Over the years, I've worked on countless movie scores and large orchestral recordings, but because of the demands of running a jazz label, I don't get as much time to work with a really fine string orchestra s I would like.. In that sense-and in too many more to get into here-this project was a true joy. When Gary and Dick first came to me with a demo cassette for this project I was knocked out by the music. Their concept was so well thought out that it was easy for me to visualize this entire project from day one. Today, modern recording practices might dictate the use of synthesized strings, but the three of us simultaneously decided that the only way to properly communicate the emotional quality of this music was with a live string orchestra. I'm glad we did. As always, my goal is to try and eliminate the electronic "barriers," or in effect, to make the recording process sonically invisible-in an effort to bring you as close to the true musical experience as I am in the studio. "Dial and Oatts" was recorded entirely in the digital domain. In an effort to convert the acoustic analog signals from to digital as early as possible in the signal chain, I converted the individual microphone signals through a Yamaha AD8008 8-channel high resolution 16-big A-to-D converter system on the studio floor then fed the output to a Yamaha DMP7D digital console in the control room. This session marks the first completely digital recording where mic signals were converted to digital - literally at the player's feet - and the line loss normally experienced in feeding signals to the distant console was virtually eliminated.