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Bernie Grundman Mastering Studios

Bernie Grundman Mastering Studios Mastering Hit Records since 1983 Mastering Hit Records since 1983 from Thriller to Present Day

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https://www.mixonline.com/the-wire/synth-pioneer-patrick-gleeson-masters-immersive-fourever-quadrophonic-vinyl-at-bernie...
10/07/2021
Synth Pioneer Patrick Gleeson Masters Immersive "FOUREVER" Quadrophonic Vinyl at Bernie's - Mixonline

https://www.mixonline.com/the-wire/synth-pioneer-patrick-gleeson-masters-immersive-fourever-quadrophonic-vinyl-at-bernies

Available on Specially Formulated One-Step Vinyl and Dolby Atmos Pictured in the vinyl cutting room at Bernie Grundman Mastering are (L-R) mastering engineer Scott Sedillo, Patrick Gleeson, and producer KamranV. Photo by David Goggin. Synth pioneer Dr. Patrick Gleeson has mastered at Bernie Grundman...

https://www.mixonline.com/the-wire/bill-evans-behind-the-dikes-the-1969-netherlands-recordings-mastered-for-first-time-b...
04/19/2021
Bill Evans "Behind the Dikes: The 1969 Netherlands Recordings" Mastered for First Time by Bernie Grundman - Mixonline

https://www.mixonline.com/the-wire/bill-evans-behind-the-dikes-the-1969-netherlands-recordings-mastered-for-first-time-by-bernie-grundman

First Release of Historic Concerts in Holland Bernie Grundman has mastered newly discovered recordings of Bill Evan’s historic concerts in Hilversum and Amsterdam. “Behind the Dikes: The 1969 Netherlands Recordings” debuts on Record Store Day, July 17, from Elemental Records as a three-LP set,...

Mix magazine, December 2020.
12/17/2020

Mix magazine, December 2020.

Award-winning jazz pianist Justin Kauflin mastered his 2015 sophomore album, “Dedication”, his first for Quincy Jones’ Q...
06/15/2020

Award-winning jazz pianist Justin Kauflin mastered his 2015 sophomore album, “Dedication”, his first for Quincy Jones’ Qwest Records and Jazz Village label, at Bernie’s. Kauflin, born in 1986, was a child prodigy classically trained in violin and piano. By the age of 6 he began performing in concerts, nursing homes and weddings, eventually becoming concertmaster for several orchestras. It was during this time that he also endured numerous trials, particularly losing total vision by age 11. Pictured (L-R) are Justin Kauflin and mastering engineer Bernie Grundman. Photo by David Goggin.

Jazz chanteuse Lyn Stanley mastered her 2017 album “The Moonlight Sessions – Volume One” at Bernie’s. Recorded by Al Sch...
06/10/2020

Jazz chanteuse Lyn Stanley mastered her 2017 album “The Moonlight Sessions – Volume One” at Bernie’s. Recorded by Al Schmitt and Steve Genewick, mixed by Michael Bishop, and mastered by Bernie Grundman, the exceptional “one-step” process vinyl release debuted at the Munich HiEnd Show. Vinyl records are made by first cutting grooves in a lacquer-coated aluminum disc. After the cut lacquer is quickly metal-plated, the metal is separated from the lacquer, producing a rigid metal part that can be used to press records in a "one-step" process. In the conventional world of record manufacturing the metal part (called "the father") is again plated resulting in a playable grooved disc commonly referred to as "the mother". The "mother" can then be plated to produce a stamper that's used to press records in the common “three-step” process. True audiophiles prize one-step releases as the highest vinyl fidelity available.

Hugh Masakela’s “Almost Like Being in Jazz” was recorded live at Bernie’s on October 15, 16, and 17, 2005. It was produc...
06/04/2020

Hugh Masakela’s “Almost Like Being in Jazz” was recorded live at Bernie’s on October 15, 16, and 17, 2005. It was produced by Steward Levine, recorded direct to two-track by Scott Sedillo, and mastered by Bernie. Chief electronic designer was Beno May. Pictured (L-R) are Bernie Grundman, Hugh Masakela, and Stewart Levine. Photo by David Goggin; painting by Claire Chene.

Top engineer/producer Michael C Ross completed a pure analog audiophile project in 2016 with mastering engineer Bernie G...
06/02/2020

Top engineer/producer Michael C Ross completed a pure analog audiophile project in 2016 with mastering engineer Bernie Grundman featuring recording artist Vanessa Fernandez. For the collection of Led Zeppelin songs co-produced by Ying Tan, the tracks were recorded to 2-inch tape at United Recording and mixed to quarter-inch 2-track tape, which went direct to the lathe at Bernie’s. Pictured (L-R) in the cutting room are producer Ying Tan, producer/engineer Michael C Ross, and mastering engineer Bernie Grundman. Photo by David Goggin.

“Ear Theatre, Volume 1,” an instrumental anthology from the Great American Songbook, was mastered at Bernie’s in 2010. P...
05/29/2020

“Ear Theatre, Volume 1,” an instrumental anthology from the Great American Songbook, was mastered at Bernie’s in 2010. Produced by Sunny Levine, the debut album included “When You Wish Upon a Star,” “Stardust, and “Somewhere Over the Rainbow,” among other classics. Pictured in session are (L-R) Giuseppe Patane´, bass; Sunny Levine, producer; Stewart Levine, clarinet/sax: Bernie Grundman, mastering engineer. Photo by David Goggin

Janie Hendrix and John McDermott, “Keeper of the Vault,” mastered Jimi Hendrix’s live historic performance during the 19...
05/26/2020

Janie Hendrix and John McDermott, “Keeper of the Vault,” mastered Jimi Hendrix’s live historic performance during the 1970 Atlanta Pop Festival, at Bernie’s. Hendrix performed on the Fourth of July to the largest American audience of his career, presenting his signature rendition of the “Star Spangled Banner” to accompany the celebratory fireworks display. Seen in session are Janie Hendrix, John McDermott and mastering engineer Bernie Grundman. Photo by David Goggin.

Bandleader Jose Rizo joined mixer Tommy Vicari for the mastering of the 2011 debut album from “Mongorama,” a 9-piece, la...
05/22/2020

Bandleader Jose Rizo joined mixer Tommy Vicari for the mastering of the 2011 debut album from “Mongorama,” a 9-piece, latin-jazz ensemble formed by KJazz radio personality Jose Rizo (host of 'Jazz on the Latin Side'), exploring the early Mongo Santamaria charanga-jazz material of the 50's and early 60's. Pictured at Bernie Grundman Mastering in Hollywood are (L-R) Mongorama mixer Tommy Vicari, music director and flautist Danilo Lozano, bandleader Jose Rizo, and mastering engineer Bernie Grundman. Photo by David Goggin.

The songwriting team of executive producer Richard Rudolph and engineer/producer Adam Berg mastered a multiple artist 20...
05/19/2020

The songwriting team of executive producer Richard Rudolph and engineer/producer Adam Berg mastered a multiple artist 2015 project at Bernie Grundman’s with mastering engineer Paul Grundman. As New Tattoo Entertainment, Rudolph and Berg operate out of Berg’s Manifest Music studios in Santa Monica, and developed a roster of international artists in what Rudolph calls a new business model for the music and entertainment industries. Pictured (L-R) at Bernie Grundman’s are (L-R) producer/engineer Adam Berg, executive producer Richard Rudolph, and mastering engineer Paul Grundman. Photo by David Goggin.

In 1977, NASA launched two spacecraft that would venture far out into deep space, each carrying a golden record with a m...
05/14/2020

In 1977, NASA launched two spacecraft that would venture far out into deep space, each carrying a golden record with a message from Earth for any aliens the vessels might encounter. In 2018, a vinyl pressing of that record was mastered at Bernie Grundman Mastering and was made available to people on Earth. Pictured with the Grammy-winning Voyager Golden Record: 40th Anniversary Edition boxed set is mastering engineer Bernie Grundman.
Photo by David Goggin.

Charismatic Canadian jazz vocalist/pianist Anne Bisson has recorded her new album direct-to-disk at Bernie Grundman Mast...
05/12/2020

Charismatic Canadian jazz vocalist/pianist Anne Bisson has recorded her new album direct-to-disk at Bernie Grundman Mastering in Hollywood. “Four Seasons in Jazz” was co-produced with Bisson and recorded by Michael C. Ross. Pictured during playback in the cutting room are (L-R) chief technician Beno May, mastering engineers Scott Sedillo, Chris Bellman, and Bernie Grundman, recording artist Anne Bisson, and producer/recording engineer Michael C. Ross. Photo by David Goggin.

The “King of Bossa Nova” Sergio Mendes mastered his 2014 album, “Magic,” at Bernie Grundman Mastering. The album feature...
05/11/2020

The “King of Bossa Nova” Sergio Mendes mastered his 2014 album, “Magic,” at Bernie Grundman Mastering. The album featured eclectic and upbeat Brazilian rhythms with guest vocalists John Legend, Janelle Monae, and Gracinha Leporace, among others. One of the most successful Brazilian artists of all time, Mendes has recorded more than 35 albums and has won 3 Grammy® Awards.
Pictured in session are (L-R) mixer Peter Mokran, recording engineer Scott Frankfurt, Sergio Mendes, and mastering engineer Bernie Grundman. Photo by David Goggin.

In 2014, Stanley Johnston, longtime recording engineer for Crosby, Stills, Nash & Young, mastered at Bernie’s the band’s...
05/08/2020

In 2014, Stanley Johnston, longtime recording engineer for Crosby, Stills, Nash & Young, mastered at Bernie’s the band’s historic 1974 tour. Recorded to 16-track analog 2-inch tape by Elliot Mazer and never released, the project collected the very best of numerous big arena and outdoor stadium dates with one of the most popular groups of the day. Pictured are (L-R) mastering engineer Bernie Grundman and CSNY engineer Stanley Johnston. Photo by David Goggin.

Mastering engineer Scott Sedillo has been at Bernie Grundman Mastering since 2001 and has worked on new U2 releases as w...
05/06/2020

Mastering engineer Scott Sedillo has been at Bernie Grundman Mastering since 2001 and has worked on new U2 releases as well as the band’s catalogue reissues , since 2004. Mastering engineer Scott Sedillo is pictured in 2019 holding the clear vinyl pressing of U2’s "No Line On The Horizon" in the cutting room at Bernie Grundman Mastering. Photo by David Goggin.

Singer/songwriter Grant-Lee Phillips, voted best male vocalist of 1995 by Rolling Stone magazine, mastered his 2001 albu...
05/05/2020

Singer/songwriter Grant-Lee Phillips, voted best male vocalist of 1995 by Rolling Stone magazine, mastered his 2001 album “Mobilize” at Bernie’s. Pictured (L-R) are the artist’s manager Tommy Manzi, Grant-Lee Phillips, producer/engineer Carmen Rizzo, and mastering engineer Chris Bellman. Photo by David Goggin.

Just a few days after his 2000 North American tour finished, Neil Young was at Bernie Grundman Mastering for a release o...
05/04/2020

Just a few days after his 2000 North American tour finished, Neil Young was at Bernie Grundman Mastering for a release on Reprise Records. Pictured are (L-R) recording engineer John Hanlon, co-producer Ben Keith, Bernie Grundman, and Neil Young. Photo by David Goggin.

Grammy-winning jazz great Herb Alpert mastered his 2013 album “Steppin’ Out” at Bernie Grundman Mastering.  Alpert was j...
05/01/2020

Grammy-winning jazz great Herb Alpert mastered his 2013 album “Steppin’ Out” at Bernie Grundman Mastering. Alpert was joined by his wife Lani Hall, who is featured on the album mastered by longtime friend Bernie Grundman. Grundman has worked with Alpert since the 60s, when he was a staff mastering engineer at A&M Studios before founding his own mastering facilities. Pictured (L-R) in session are (L-R) Lani Hall and Herb Alpert with mastering engineer Bernie Grundman. Photo by David Goggin.

Multi-award-winning composer Jack Wall (Mass Effect, Mass Effect 2, Jade Empire, Myst), wrote the music for “Call of Dut...
04/29/2020

Multi-award-winning composer Jack Wall (Mass Effect, Mass Effect 2, Jade Empire, Myst), wrote the music for “Call of Duty: Black Ops II” (2012) and mastered the soundtrack album at Bernie Grundman Mastering with engineer Patricia Sullivan. Pictured in session are (foreground) Patricia Sullivan (mastering engineer), and (standing L-R) Jack Wall (Composer, Black Ops II), Brian Tuey (Audio Director, Treyarch), Alex Hemlock (Music Editor, Composer Assistant). Photo by David Goggin.

Recording industry legends Al Schmitt and Bernie Grundman were 2013 Grammy Award-nominees for Best Engineered Album, Non...
04/28/2020

Recording industry legends Al Schmitt and Bernie Grundman were 2013 Grammy Award-nominees for Best Engineered Album, Non-Classical. Recording artist Melody Gardot’s “The Absence” was recorded/mixed by Moogie Canazio, mixed by Al Schmitt, and mastered by Bernie Grundman, all three of whom shared the nomination. Pictured (L-R) at Capitol Recording Studios are mix engineer Al Schmitt and mastering engineer Bernie Grundman. Photo by David Goggin

Rhino Records booked the cutting room at Bernie Grundman Mastering in 2011 for the vinyl reissue of the Grateful Dead's ...
04/27/2020

Rhino Records booked the cutting room at Bernie Grundman Mastering in 2011 for the vinyl reissue of the Grateful Dead's 3 LP “Europe '72” album. Rhino's Media Asset Supervisor Charles Benson (left) joined mastering engineer Chris Bellman in the disc cutting studio to cut lacquers from the original 1/4" analog stereo masters. #gratefuldead #rhinorecords

Recording engineer/mixer Moogie Canazio mastered Nathan East’s 2017 album “Reverence” with mastering engineer Bernie Gru...
04/24/2020

Recording engineer/mixer Moogie Canazio mastered Nathan East’s 2017 album “Reverence” with mastering engineer Bernie Grundman, produced by Chris Gero for the Yamaha Entertainment Group. Pictured (L-R) are Moogie Canazio and Bernie Grundman. Photo by David Goggin.

Recording engineer Ryan Hewitt booked Bernie Grundman Mastering's disc mastering studio for the vinyl release of Floggin...
04/23/2020

Recording engineer Ryan Hewitt booked Bernie Grundman Mastering's disc mastering studio for the vinyl release of Flogging Molly's album, “Speed of Darkness.” (2011) “We come to Bernie to cut the best lacquer we can for manufacturing,” explained recording engineer Ryan Hewitt. “The person who buys vinyl wants to hear the maximum fidelity and have the satisfaction of dropping the needle on the record. It doesn't need to sound loud like a CD; it needs to sound as close to the mix as possible and have a great vibe." Pictured in the disc cutting studio at Bernie Grundman Mastering are (L-R) Bernie Grundman and recording engineer Ryan Hewitt. Photo by David Goggin.

Renowned guitarist Allan Holdsworth (1946-2017) mastered his two CD compilaton "Best of Allan Holdsworth: Against the Cl...
04/22/2020

Renowned guitarist Allan Holdsworth (1946-2017) mastered his two CD compilaton "Best of Allan Holdsworth: Against the Clock" in 2004 at Bernie’s. Holdsworth, widely respected as one of the finest instrumentalists in all of jazz fusion, was awarded Best Guitar Synthesist from 1989 through 1994 in Guitar Player Magazine's Readers' Poll. Seen in session (L-R) are Holdsworth and mastering engineer Chris Bellman. Photo by David Goggin.

Pictured are (L-R) Outkast’s Andre 3000 and mastering engineer Bernie Grundman during sessions for the group’s Greatest ...
04/21/2020

Pictured are (L-R) Outkast’s Andre 3000 and mastering engineer Bernie Grundman during sessions for the group’s Greatest Hits album released in 2001. Photo by David Goggin.

Nephew of Kenny Rogers, critically-acclaimed singer/songwriter Dann Rogers called on Paul Grundman, for the mastering of...
04/20/2020

Nephew of Kenny Rogers, critically-acclaimed singer/songwriter Dann Rogers called on Paul Grundman, for the mastering of his 2016 single, “Just One of Those Days.” Joining the sessions was guitarist and co-producer Craig T. Fall, who has played on hit records with Stevie Wonder, Martha & The Vandellas, The Spinners, Roger Miller, Glen Campbell, and the Beach Boys, among others. Pictured (L-R) are co-producer/guitarist Craig T. Fall, Dann Rogers, and mastering engineer Paul Grundman. Photo by David Goggin.

The Nitty Gritty Dirt Band’s seminal 1972 Americana album, “Will the Circle be Unbroken,” was remastered in 2013 from th...
04/16/2020

The Nitty Gritty Dirt Band’s seminal 1972 Americana album, “Will the Circle be Unbroken,” was remastered in 2013 from the original analog tapes for a deluxe 40th Anniversary 3LP vinyl release. Pictured in the cutting room are (L-R) Bernie Grundman, Bob Carpenter (keyboards), mastering engineer Chris Bellman. And John McEuen (fiddle, banjo, guitar and mandolin). Photo by David Goggin.

Arctic Monkeys cut lacquer and filmed the session.The entire band joined mastering engineer Bernie Grundman for the  lac...
04/15/2020

Arctic Monkeys cut lacquer and filmed the session.The entire band joined mastering engineer Bernie Grundman for the lacquer cutting session, which was also filmed for video release coinciding with the vinyl release in 2011. Pictured in the disc cutting suite are (L-R) Nick O'Malley, Jamie Cook, Matt Helders and Alex Turner with mastering engineer Bernie Grundman. Photo by David Goggin. #arcticmonkeys Key shots of the disc-cutting process are featured in the music video, available on YouTube at: http://www.youtube.com/watch?v=riV77WoFCBw

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🚨RSD2022!🚨 BILL EVANS in BUENOS AIRES '73 & '79! It's an honor and a privilege to announce the very first official releases of jazz icon Bill Evans’ uplifting concerts in Buenos Aires, Argentina with Eddie Gomez & Marty Morell on June 24, 1973 at the Teatro Gran Rex and Marc Johnson & Joe LaBarbera on September 27, 1979 at the Teatro General San Martín. Available exclusively for Record Store Day on April 23rd, followed by the CD/Digital release on April 29th. In April of 2018, the Argentine music journalist Roque Di Pietro contacted Resonance co-president Zev Feldman and told him that a recording engineer, Carlos Melero, had maintained possession of two original tapes of Bill Evans concerts that he recorded in Buenos Aires with two different trios in the 1970s. Thanks to Roque’s introduction and some jazz diplomacy, Carlos helped Resonance to acquire the original tapes, which have been remastered for these releases. Both concerts have floated around in collectors circles for years, but with lesser fidelity and without the musicians being compensated. Marking Resonance's 7th and 8th Bill Evans releases in cooperation with the Bill Evans Estate, these limited-edition 2-LP 180-gram sets (and deluxe 2-CD sets) include extensive booklets with rare photos from the actual concert by Tito Villalba; essays by the American author/journalist Marc Myers and Argentine author/journalist Claudio Parisi (who wrote the book "Grandes del jazz internacional en Argentina (1956-1979)," which we included the Bill Evans chapters dedicated to these concerts in our booklets); interviews with Gomez, Morell and pianist Richie Beirach ("Morning Glory"); plus interviews with Johnson, LaBarbera & pianist Enrico Pieranunzi ("Inner Spirit"). Both releases were mastered on vinyl by Bernie Grundman at Bernie Grundman Mastering Studios and pressed by Record Technology Inc (RTI). We'd like to thank Evan Evans of the Bill Evans Estate for his ongoing, unwavering support of our mission. Thanks also to our publicist on these releases, Mike Wilpizeski from Chart Room Media. Lastly, thanks to Michael Kurtz and Carrie Colliton at Record Store Day for their tremendous support. Album cover photos by Jean-Pierre Leloir ("Morning Glory") and Carlo Verri / CTSIMAGES ("Inner Spirit). More info at https://resonancerecords.org/product/bill-evans-morning-glory-2cd/ & https://resonancerecords.org/product/bill-evans-inner-spirit-2cd/ [*READ FULL PRESS RELEASE BELOW] RESONANCE RECORDS BOWS TWO BRILLIANT BILL EVANS CONCERTS IN BUENOS AIRES AS LIMITED EDITION TWO-LP RECORD STORE DAY RELEASES ON APRIL 23rd Stunning Recordings Featuring First Official Release of Morning Glory, a 1973 Concert with Eddie Gomez and Marty Morell, and Inner Spirit, a 1979 Date with Marc Johnson and Joe LaBarbera, Will Be Issued on CD and Digital Download April 29th Deluxe Booklets Will Feature Rare Photos from the Concerts, Interviews with the Musicians, Overviews by Authors Marc Myers and Claudio Parisi, and Observations by Pianists Richie Beirach and Enrico Pieranunzi Evans Estate-Approved Releases of Argentinian Concert Gems Bring Resonance’s Catalog of the Pianist’s Live Works to Seven Los Angeles – Resonance Records, the leading independent American outlet for archival jazz releases, will issue a pair of lavish two-LP packages devoted to astonishing concert performances by two different and brilliant trios led by pianist Bill Evans as Record Store Day exclusives on Apr. 23. The collections – Morning Glory, recorded at the Teatro Gran Rex on June 24, 1973, with Evans’ longest-tenured trio mates Eddie Gomez and Marty Morell, and Inner Spirit, recorded at the Teatro General San Martin on Sept. 27, 1979 with his last trio, which featured Marc Johnson and Joe LaBarbera – will be subsequently issued on Apr. 29 as two-CD sets and digital downloads. Like Resonance’s five previous releases of live and studio rarities by the master pianist — the most recent of which was 2020’s RSD set Bill Evans Live at Ronnie Scott’s — the label’s two new titles were produced with the full cooperation and approval of the Evans estate. Both the new albums were prepared from the original tapes recorded by the late engineer Carlos Melero (whose 2008 reminiscences about the shows are included). Zev Feldman – Resonance co-president (with founder George Klabin), producer, and internationally known “Jazz Detective” – says, “These tapes came to us in 2018 from Argentine music journalist Roque Di Pietro, who contacted me and explained the existence of Carlos Melero’s recordings. I had known about them being available as bootlegs, so George and I leapt at the opportunity to once again right the wrongs of the past, and release both concerts officially with the support of Bill Evans’s family. We were fortunate to be able to interview the musicians in each trio for the booklets, as well as a couple piano icons who knew and have great reverence for Evans — Richie Beirach and Enrico Pieranunzi.” Additional notes for the packages were written by Argentine jazz authority Claudio Parisi, author of the history Grandes del jazz internacional en Argentina (1956-1979), and Evans scholar Marc Myers, whose notes previously graced Resonance’s acclaimed releases Some Other Time (2016), Another Time (2017) and Evans in England (2019). The sets also include many heretofore unseen photographs from the concerts by Argentine drummer Ángel Alberto “Tito” Villalba. The 1974 performance heard on Morning Glory featured Evans’ longest-running rhythm section of bassist Gomez and drummer Morell, who had supported the pianist since 1968. The show, which was performed at 10 in the morning owing to its last-minute scheduling, was Evans’ first in the country. The date took place in an atmosphere of extreme tumult: The nation’s former leader Juan Perón had just re-entered the country after 18 years of European exile, and Argentina erupted. Gomez recalls in the notes, “In that era, things were turbulent in the whole region. In Argentina, Juan Perón had just returned from exile, which caused violence in the streets. There was a lot of political turbulence and that turmoil added to the feeling that being in this theater at that time, it was as if you were in a ’40s movie. The tension was palpable.” Morell adds, “We arrived in Buenos Aires a few days after Perón had returned…. On the drive from the airport to the hotel, you could see along all the roads everywhere, it was strewn with litter. Millions of people had come out to welcome Perón back. There was a lot of political activity at that time all over South America. That was a few months before the coup in Chile where Allende was overthrown and killed. There was unrest all over South America at that time, so it was a historical time to be there.” Despite the heavy political weather, the concert – which was highlighted by a surprise performance of a bolero, “Esta tarde vi llover,” by the noted Latin American composer Armando Manzanero – was a triumph for Evans, as one can tell from the audible evidence on the recordings. Argentinian professor Oscar Daniel Chilkowski, who attended the show, recalled to Parisi, “The audience applauded so passionately that he stayed and performed three encores. When the main part of the program ended, I found myself crying like many others in the audience. We were crying because we thought Bill Evans had come out for the last time for a bow. But we were all surprised and thrilled when he came out again and sat down to give us more.” "Inner Spirit" represents one of the first trio recordings by Evans’ last great band, with bassist Johnson and drummer LaBarbera, both veterans of Woody Herman’s band. Their work behind the pianist featured in a series of remarkable, intense live recordings captured before the master pianist’s death in September 1980. It also proved to be his final appearance in the country. Once again, Evans and his band stepped into a society suffused with uncertainty, as a 1976 military coup had toppled the regime of Isabel Perón, who had taken power after her husband’s death in 1974. Myers writes, “By 1979, Argentina also was three years into its notorious ‘Dirty War,’ when right-wing death squads murdered thousands of political dissidents and suspected Peronists. Buenos Aires had become a city of shadows, fear and unease.” LaBarbera told writer Myers, “It was a bad time down there, politically. There was tension with the military presence in Buenos Aires, but people on the streets and the musicians we met were still joyous and excited to hear Bill.” The musicians responded with an ecstatic and engaged performance typical of their brief time together. Again, Evans brought a Latin touch to his concert repertoire, with the addition of “Minha,” a composition by Brazilian composer Francis Hime he had recorded four years earlier. He also played such recent additions to his set as “Letter to Evan,” a new piece played solo and dedicated to his son, and “Theme From M*A*S*H.” The rarified climax of the concert came in Miles Davis’ “Nardis”; the great showpiece of the pianist’s last gigs, it stretched to a length of 17 minutes in Buenos Aires, sporting a nearly eight-minute solo introduction and inspired solos by all the group’s members. LaBarbera says of his collaboration with the band’s bassist, who was then 25, “Marc Johnson and I hooked up immediately. His time was right where I loved it; it was from the first beat. For me, it was seamless. And every time we played, it was instantaneous. It’s like we never left each other. It’s that good. It’s that immediate.” Johnson says of the concert, “The trio had arrived at a pretty good place. We were definitely on a rise performance-wise. The plateau we hit was pretty high; pretty dependable and reliable. The music was getting to a really fun place. By then, in 1979, I was definitely playing with a little more authority and conviction. Joe sounds amazing on it, as usual, just phenomenal really. He helped keep that trio going and swinging, and kept it all together. I’m really gratified by the level of the performances and even the recorded sound and the selection of material.” In How My Heart Sings, Evans’ biographer Peter Pettinger writes, “At the end of this concert Bill yelled to his colleagues, ‘Beautiful!’ as well he might.” And as the listener might, as well. Resonance Records is a multi-GRAMMY® Award-winning and nominated label (most recently for Nat King Cole Hittin' the Ramp: The Early Years (1936-1943)) that prides itself in creating beautifully designed, informative packaging to accompany previously unreleased recordings by the jazz icons who grace Resonance's catalog. Headquartered in Beverly Hills, CA, Resonance Records is a division of Rising Jazz Stars, Inc. a California 501(c) (3) non-profit corporation created to discover the next jazz stars and advance the cause of jazz. Current Resonance Artists include Tawanda, Aubrey Logan, Polly Gibbons, Eddie Daniels, Tamir Hendelman, Christian Howes and Donald Vega. www.ResonanceRecords.org For more information please contact: Mike Wilpizeski / Chart Room Media (424) 333-8435 / [email protected]