DAVE GRUSIN SEALED SHEFFIELD AUDIOPHILE BOX

$

57

Sheffield Labs represented the pinnacle of direct-to-disc recordings. A direct disc recording is a truly live performance, sent directly to a cutting lathe, whereby an entire side is recorded at one time: (any mistakes, and the entire disc had to be discarded). There is no overdubbing, are no edits, and no punched-in phrases.  The Sheffield Labs LPs have been regarded by many as the best quality vinyl recordings ever produced.This remarkable direct-to-disc recording has remained for over a quarter of a century, the subject of discussion and analysis by audiophiles around the world, a true `reference recording' in terms of music and engineering alike.

Lincoln Mayorga, co-founder of Sheffield Records, has wanted to make a direct-to-disc album with Grusin for many years, and Grusin became intrigued with the challenge. Finally the idea and the occasion met. Direct-to-disc recording implies spontaneity. One performs live. The stylus hits the lacquer, cuts a continuous groove starting at Note 1, Side 1. It will not terminate until the last note of Side 1, and then 2. In this sense it is a live performance. Yet, the music must be painstakingly rehearsed so that the engineer can cope with the heroic task of mixing as he records. For it is an engineer’s medium. This puts aching pressure on the musicians trying to stay in touch with their own impulses. What the engineer must program, the musicians must de-program as they go. Somewhere in this minefield an unusual quality of music emerges. It is never child’s play. For this extraordinary task, Grusin hired a special group of musicians. They are also the same guys Grusin hires for most of his work. They’re up to it and they suit him. One, bassist Ron Carter, was an import.

Anyone who knows jazz knows Ron Carter. The sound he can get from an acoustic bass (full sized, not three-quarter) is like nobody else’s sound. It is particularly satisfying to hear the depth with which that sound is caught within the direct-to-disc recording medium.

The guitar player is Lee Ritenour, who is too young to play as well as he does, but Grusin lets him get away with it. Indeed, it would be hard to stop him. It is difficult to pin down the reasons for rapport between musicians at their work. Grusin and Ritenour generate a similar momentum; they’re both fast, disreputable, and great little dancers.

Drummer Harvey Mason is a staple of your basic Dave Grusin rhythm section. His agility is seemingly effortless. I’ve seen him sight-read complicated time signatures while I was still trying to hear them in my head. He also has a silly streak that’s hard to resist. Most important in this case, he keeps the time where Grusin likes to hear it, while painting on colors of his own. And if this were not enough, he often brings a shopping bag full of homemade popcorn to the dates.

Larry Bunker is the formidable vibraharpist and percussionist on the album. You should be so lucky as to be in any kind of trouble on a record session and have Larry Bunker there, imperturbably drinking his black coffee, waiting, ready to bail you out. Rarely have I known a more contained musician, nor a more various and capable one. Bunker is what the word veteran is for.

Musicians: Dave Grusin, vocals & piano; Ron Carter, bass; Lee Ritenour, guitar; Harvey Mason, drums; Larry Bunker, percussion.

Selections:
1. A Child is Born
2. Keep Your Eye on the Sparrow
3. Sun Song
4. Captain Bacardi
Three Cowboy Songs:
5. Git Along Little Dogies
6. The Colorado Trail
7. Cripple Creek Breakdown
8. Adeus A Papai
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