International Phonograph Inc.
Master Tape Copies
Unique to IPI, we record music with the sole intent of copying the original recording to 10.5 inch analog tape reels for those interested in the highest quality reproduction possible.
Master Tape Copies
Jonathan Horwich has been recording jazz musicians since the mid-1960s. Both from newly recorded performances, and from his collection of jazz analog masters, he is making one-to-one tape copies available of some of those sessions. Primary to any of these performances is the quality of jazz, which always takes precedence over any other consideration or reason for publication. These tapes are being made available to the public so these singular moments in jazz can be heard in their highest quality formóon analog tape.
All tapes are ¼Ē two track, 15ips, IEC (CCIR), on 10.5 inch reels.
There are two categories of tape I produce for International Phonograph, Inc. The first is jazz newly recorded specifically on tape for this tape program. These performances are recorded using analog tape recorders. Normally, I record only 30 minutes of music to fit on one reel of tape. These recordings can be created with two microphones or multi microphones. The second category of tapes produced for IPI is master tapes from my library of jazz recorded over the years by me or those I associated with. These are more for the jazz aficionado who loves jazz as a priority and enjoys hearing jazz on the best media, analog tape. In some cases (almost a third, sub-category of the second) there are technical faults in the recording and I donít post those for sale on the website. For instance, I have a master tape of Warne Marsh which is a brilliant performance but which has technical glitches. I find it stunning and exciting but some tape people do not as their priority is not the performance. Please email me about any of these unlisted recordings if you are a jazz buff. I will let you know what is available and what the technical bugs are in each case. I find the ones with the technical glitches as exciting as anything available today in jazz.
The Josh Berman Trio, Chicago Retro, 2012
Recorded on a 16 track analog tape recorder, this recording was done specifically for IPIís tape issue program on 27 July 2012. It is probably the first time in recording history where sessions were recorded specifically to be published on analog tape and no other medium. In fact, only enough music was recorded to fill one 30 minute, 15ips reel. The production master, from which copies are run, was copied directly off the 16 track master, reducing the number of tape copies by at least one or two generations from the usual procedure. The session features the Chicago trio of Josh Berman (cornet, guitar and bass) playing modern/retro jazz, which although very easy to listen to, has the conceptual and harmonic depth of the current vibrant Chicago jazz movement. A must for those who love both great analog sound and jazz. Here is what Robert Harley, of The Absolute Sound, had to say about this tape:
"The Von Schweikert VR-44 Active loudspeaker benefited from a most unusual source: a jazz recording made exclusively for release on open-reel tape made directly from the master. The label, International Phonograph Inc., uses purist techniques and vintage microphones for its tape-only releases which are priced at $150 per title. The sound had an uncanny sense of realism played back through the latest United Home Audio UHA-Q Phase 11 tape machine." (The Absolute Sound, Issue 230.)
Jeremy Kahn, Duets, 2012
Recorded directly to a 2 track custom Studer 810 recorder, using one custom-made stereo microphone, this set like the Josh Berman performances was specifically done for IPIís tape issue program. The sound is as natural as possible with no mixing, no reverb, no processing, just two tracks of music directly to tape. Only 30 minutes of music was recorded so one reel of music was provided for IPIís public. The music consists of standard ballads such as My One And Only You, Lover Man, etc., giving the whole performance a relaxed, laid-back atomosphere. The musicians, Jeremy Kahn, piano and Eric Schenider, tenor sax, are Chicago verterans who know their way around the jazz repertoire. Their playing here is delicious.
The cost is the usual $150.00 per reel. The customerís copy, as usual, is made from a production master itself once removed from the master tape. However, for this issue, IPI will hand make a copy directly from the original master (saving one generation of tape) for the customer for an extra $100.00. This is a rare opportunity to own a direct copy of the original master with absolutely no processing whatsoever. For those who wish to have (forever?) a true and direct copy of a master tape, this is that opportunity.
Clare Fischer, Extension, 1963
Recorded in Los Angeles on a studio 3-track recorder, this is an absolutely brilliant arrangement of large ensemble jazz. Extension is Clareís vision of multi-textures concepts and forms and slowly shifting colors and textures. Drawing on his vast knowledge in both the classical and jazz fields, Clare has created a singular masterpiece. It is one of my personal favorite large ensemble performances in the jazz repertoire.
Per Henrik Wallin, 4th Balcony Jump, 1983
Recorded on a studio multi-track recorder, 4th Balcony Jump represents the kind of music we put out on our former (vinyl) label, Revelation Records. My partner and I, John William Hardy, started Revelation in the mid 60s to give unrecognized but deserving talent a wider audience. Bill (John William Hardy) had one of the great ears in jazz, leading to our discovery of very unusual music and artists, such as is evidenced here with Per Henrik Wallin. Per sounds like himself but with just enough hints of Monk, Jarrett, and Paul Bley to create a fascinating mix. His trio here is powerful and quite distinctive.