Duke Ellington Ellington At Newport Numbered Limited Edition LP
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Numbered, Limited Edition! Pressed at RTI!
Pandemonium: Historic 1956 Live Set Triggered Spontaneous Audience Outburst
That Fed Directly into Feel, Outcome of Performance
Ellington’s Legendary Comeback Punctuated by Paul Gonsalves’ 27-Chorus Saxophone
Unrivaled Analog Transparency: LP Mastered on Mobile Fidelity’s World-Renowned
Mastering System and Pressed at RTI
One of the Most Riveting and Important Jazz Recordings Ever Made
It spurred Duke Ellington’s comeback into the mainstream. It captures a
performance so energetic, wild, unexpected, and unprecedented that the music
literally caused thousands of people to jump up and stand on their chairs,
worrying officials that a riot might ensue. It is jazz of the highest order,
played at an almost rock n’ roll pace, and with an enthusiastic pep that
confirms Ellington and his ensemble fed off the crowd’s reaction as the
collective lit into each new stanza. It is Ellington’s best-selling album. It is
Ellington at Newport.
Like few records before or since, the 1956 set owes as much to context and
circumstance as it does instrumental execution. Years prior to his appearance in
Rhode Island, Ellington had suffered lackadaisical record sales and a falling
out of the public eye, as bop and hard bop supplanted tradition big bands. Yet
in preparation for the event, Ellington worked on experimental ideas and a
reshaping of some of his standards.
The iconic arranger/composer’s foresight comes into fruition throughout the
white-hot set, never more so than on “Diminuendo and Crescendo In Blue,” on
which tenor saxophonist Paul Gonsalves erases all rules and outlays a 27-chorus
solo that left everyone in awe—and prompted them to stand on chairs, dance
feverishly, and hoot and holler to an extent that caused Ellington to ultimately
cool things off. The improvisational flight epitomizes boldness, freedom, risk,
and, to the bandleader, an assuredly loud response to the critics that had
believed his well was tapped.
The songs in advance of the climactic moment are no less exciting; Ellington and
his 15-piece collective manhandle notes with ease, swinging and sliding through
“Festival Junction” with a requisite balance of poise and panache, and kicking
heels on "Newport Up" via Ellington’s spry piano riffs, Jimmy Hamilton’s spicy
clarinet feeds, and Clark Terry’s trumpet runs. In every way, Ellington at
Newport is as quintessential as Kind of Blue, Giant Steps, and Way Out West.
And now, the 1956 classic can be experienced in an analog fidelity never before
as authentic or transparent on any pressing. Mastered on Mobile Fidelity’s
world-renowned mastering system and pressed at RTI, this numbered limited
edition Silver Series LP of Ellington’s triumph boasts tremendous separation,
deeper low frequencies, clearer highs, and front-to-back dynamics. Horns blare
with multi-hued color, the Duke’s 88s ring out with treble finesse, and the
rhythm section claims an added presence buried on previous editions. Musically
and sonically, you need this LP. It’s that simple.
About Silver Series: From Mobile Fidelity Sound Lab, the MoFi Silver
Label Vinyl Series features an eclectic mix of recordings. This series is
mastered and cut on the famous Mobile Fidelity Sound Lab state-of-the-art Tim de
Paravacini-designed mastering system. Vinyl is pressed at RTI on
audiophile-grade standard vinyl and are numbered limited-editions. Future
releases will continue to stretch stylistic boundaries, as the MoFi Silver Label
continues to explore music from many different genres. Expand your musical
horizons with the Silver Label!
• Limited Edition
• MoFi Silver Label Vinyl Series
• Mastered and Cut on the famous MoFi Sound Lab state-of-the-art Tim de
Paravacini-designed mastering system
• Pressed at RTI on Audiophile-Grade Standard Vinyl
1. Festival Junction
2. Blues to Be There
3. Newport Up
4. Jeep’s Blues
5. Diminuendo and Crescendo In Blue