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Pressed for All TimeProducing the Great Jazz Albums from Louis Armstrong and Billie Holiday to Miles Davis and Diana Krall$
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Michael Jarrett

Print publication date: 2016

Print ISBN-13: 9781469630588

Published to North Carolina Scholarship Online: May 2017

DOI: 10.5149/northcarolina/9781469630588.001.0001

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PRINTED FROM UNIVERSITY OF NORTH CAROLINA PRESS SCHOLARSHIP ONLINE (www.northcarolina.universitypressscholarship.com). (c) Copyright University of North Carolina Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in NCSO for personal use.date: 03 July 2022

Laying Down Tracks

Laying Down Tracks

Producing Multitrack Recordings, 1967–1990

(p.110) 3 Laying Down Tracks
Pressed for All Time

Michael Jarrett

University of North Carolina Press

Recording jazz onto multitrack tape meant that, while music continued to be captured onto tape in studios, albums could be constructed in postproduction: analogous to the way movies were shot on soundstages and assembled in editing rooms. Some musicians—especially Miles Davis and his jazz fusion bands—directed improvisations in the recording studio and left the task of assembling albums to their producers. Audiences for such albums heard, not studio games of cut 'n' paste, but tracks that resembled the turn-on-a-dime musical performances they heard in concert—performances which imitated techniques devised in postproduction. Enabling the naiveté of this audience is an overarching truth: jazz production almost always uses available technologies to ensure that in-the-moment performances are recorded (and, later, reproduced) as perfectly as possible.

Keywords:   Jazz record production, Recording jazz musicians, History of jazz, Fusion and avant-garde jazz, Creating and packaging record albums, Recording technologies (multitrack tape), Interviews with producers, Oral histories

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