Cal Tjader & Stan Getz Sextet Ultra HD CD
Ultra High Definition 32-Bit Mastering Produced Using
PureFlection Process! This Ultra HD 32-Bit
Mastering CD will play on ALL CD players!
This is an analog recording made on February 8, 1958 in San Francisco 55 years
This recording excels in musicality and sound rare in jazz recordings. In fact,
it is so exceptional that it has remained fresh for more than half a century and
is still going strong. Michael Bishop re-mastered it from the orignial analog master tape
using the UHD 32-bit Mastering technique.
A Better CD Production Process - The Pure Reflection (PureFlection) Process:
FIM UHD CDs now sound undeniably better than ever! FIM's first priority is to
locate a factory that at offers the latest technologies throughout its entire production chain, from the best A-grade polycarbonate materials, to testing and
accurate quality control tools. The factory must produce a detailed
specification sheet which ensures the discs produced demonstrate the same
quality as the original recording.
To assure us of the best results, FIM has enlisted the help of one of the most
experienced mastering engineers in the industry to craft the glass disc for the
final replication process. Winston Ma continually maintains close rapport with
him, as well as the original recording engineers, the mastering engineers and
the manufacturer to achieve consensus regarding musicality and the sound
FIM's glass mastering-disc engineer maintains expertise in the latest
technologies: he currently uses a special blu-ray recordable mastering thermal
process technique to create small smooth grooves which result in precision
fidelity. He is meticulous in ensuring the best track pitch and the distance
between the spiral of the pits, to reduce the amount of noise the tracking servo
in the drive picks up from adjacent tracks, thus ensuring the best parameters on
Cross Talk (XT) by minimizing the servo noise of the Drive during playback of
the replica results.
To further ensure the best quality, FIM stipulates the most extensive test
specification requirements. Pure Reflection (PureFlection) discs show in
every CD booklet the full spectrum of specification of a given CD in the
BLER (17 items)
BERL (9 items)
Physical (6 items)
Jitter (6 items)
E22 Graph and
The concept of UHD 32-Bit PureFlection is the transformation of a superior sound
into something truly exceptional, enhancing the experience without interfering
in it. Sit back, relax and listen to the new sound of a UHD 32-Bit PureFlection
Ultra High Definition 32-Bit Mastering!
Ultra High Definition 32-Bit Mastering is a proprietary ultra-high-quality
mastering system. This leading-edge system has achieved unprecedented sonority
and musicality, reproducing as closely as possible the sound of the original
master tape! This format employs what is currently the highest attainable
resolution bit depth (word length) in the professional audio field, i.e. 32-bit. 32-bit resolution makes possible maximized, undistorted dynamics, and the lowest
noise floor, allowing even the quietest musical information to be heard more
clearly. This breakthrough results from the development, through years of
experience and application of advanced digital technology, of a sophisticated
A/D and D/A processing system.
Ultra HD 32-Bit Mastering does not specify a sampling rate; this allows
flexibility in meticulously choosing the appropriate bandwidth for a particular
recording. The higher the sampling rate -- for example, 192 kHz -- the greater
the bandwidth. However, merely employing the greatest bandwidth may not
guarantee the ultimate sound. With some recordings, a lower sampling rate -- 96
or 176 kHz -- may offer better musicality and more homogeneous harmonics. This
determination requires careful and discerning auditioning and professional
judgment. In the end, the human beings hearing and emotions should be the final
arbiter, rather than the print-out of testing equipment or technical
Recognizing these variables, FIM nevertheless tries to use 32-bit depth and 192
kHz bandwidth whenever the original analog master is at hand. Alternatively, if
the original recording is on 24/96, the 32/96 may eventually be used to maintain
the integrity of the sonority particular to that recording. With this
flexibility, First Impression Music believes that preeminent sound is only
achievable when the chemistry of the recording, mastering, glass-stamper making,
replication, and quality control is right. As always, listening is believing.
This recording has been mastered by the new Ultra High Definition 32-Bit
Mastering process, which creates an unbelievable sound surpassing other formats!
This 1958 set finds original cool stylist Getz paired with vibraphonist Cal
Tjader on a very enjoyable selection of jazz standards and Tjader originals.
When Stan Getz played the Black Hawk in San Francisco early in 1958, the time
was ripe for the recording of an album that had been under discussion for a
long, long time.
Most jazz record dates, as anyone who has ever attended one knows, begin late
and are one long tortured attempt to get enough material done right to fit on
one LP. Once in a long while a date will gel from note one. This was one of
those dates. A critic journeying across the Bay to San Francisco to catch what
he thought would be the last two hours of the date almost missed the whole
thing. The album was recorded in record time (no pun intended) with less than
three hours work. No tune, except two, had more than one take and even then it
was a toss-up as to which to use.
Getz seemed to blend with Tjader as if they had been playing together for years.
Vince Guaraldi dug in, feeding the solo horn's chords and taking his own solos
with the certainty usually known only to victims of long practice. Billy Higgins
and Scott LaFaro read the charts for the original tunes and thought they had
written them themselves, and especially the waltz, which is not always the
easiest thing for a rhythm section to handle.
After the session, the tapes were played back for the men and they sat around
entranced, occasionally casting glances of approval to one another. Youre
really cookin there, Higgins said to Guaraldi more than once, and
everybody was gassed at the way Tjader and Getz played.
"In the vein of many a smooth West Coast jazz outing, this 1958 disc finds
original cool stylist Getz paired with vibraphonist Cal Tjader on a very
enjoyable selection of jazz standards and Tjader originals. The lineup includes
pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott La Faro, and
drummer Billy Higgins (this was one of the earliest record dates for either La
Faro or Higgins, both of whom were playing with Getz at San Francisco's Black
Hawk in between recording sessions). Guaraldi's spry "Ginza Samba" kicks thing
off with nimble and imaginative statements by all the soloists. Tjader's
swinging originals "Crow's Nest" and "Big Bear" provide prime solo vehicles as
well, while his lovely waltz number "Liz-Anne" adds some nice contrast to the
set, eliciting one of Getz's best solos in the process. The group rounds things
out with fine ballad readings of "I've Grown Accustomed to Her Face" and "For
All We Know." A recommended title for both Getz and Tjader fans." - Stephen
The benefits of Ultra HD 32-Bit Mastering:
Ambience of Analogue Sound
The Lowest Noise Floor, allowing even the quietest musical information to be
heard more clearly!
Richer Sound Field
Master-Tape Quality Sound!!!
Delivers what musicians originally intended!
Produced using PureFlection (Pure Reflection) Process
Ultra HD Mastering
Playable on ALL CD Players!
Re-mastered by Michael Bishop at Five/Four Productions, Ohio, USA
Produced by Winston Ma
Total Time: 42 minutes, 47 seconds
Stan Getz, tenor saxophone
Cal Tjader, vibes
Vince Guaraldi, piano
Eddie Duran, guitar
Scott LaFaro, bass
Billy Higgins, drums
1. For All We Know
2. My Buddy
3. I've Grown Accustomed To Her Face
5. Ginza Samba
6. Crow's Nest
7. Big Bear