The Paul Sawtelle Big Band Live at Pacific Audio Fest (2LP, 45 tours, Direct-to-Tape, 1STEP)
Prix habituel
€295,00
NOUS NE POUVONS PAS NOUS ENGAGER SUR UNE DATE DE LIVRAISON POUR LES VINYLES & CD/SACD EN PRE-COMMANDE
Les Labels prennent parfois plusieurs mois pour livrer les vinlyes & CD/SACD en pré-commande
La TVA est incluse dans le prix pour les pays de l'Union Européenne, et ajustée sur la base du pays de destination au moment du paiement.
L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.
ORDER LIMITED TO ONE ITEM PER CUSTOMER
Paul Sawtelle – Saxophone
Vocals - Bethany Wilson, Jeff Carter
Orchestra - Paul Sawtelle’s Big Band
2LPs, Standard sleeve by Stoughton printing, 36 page booklet
Limited to 3,000 numbered copies
Original analog Master Tape : YES (Direct-to-Tape One-Step)
Heavy Press : 180g Super Vinyl
Record color : black
Speed : 45RPM
Size : 12”
Stéréo
Live
Record Press : Fidelity Record Pressing
Label : Brilliance Music & Studios
Original Label : Brilliance Music & Studios
Recorded in Genesis Advanced Technologies exhibit room at the inaugural Pacific Audio Fest show in July 2022
Recorded & Mixed by Dr. Phillip Chance & Ki Choi
Produced by Hyper Analogue Productions, Brilliance Music and Genesis Advanced Technologies
Mastered by Bernie Grundman
Plated by Paramount Plating
Liner Notes by Paul Sawtelle
Graphic Design by Jaci Sawtelle
Originally released in 2025
Tracks:
Side A:
- In The Mood
- I've Heard That Song Before
- Big Spender
- Things Ain't What They Used To Be
Side B:
- Too Darn Hot
- Tuxedo Junction
- Blue Skies
- Why Don't You Do Right
- Record Two
Side C:
- Jumping At The Woodside
- Just In Time
- Satin Doll
- Pennies From Heaven
Side D:
- I've Got You Under My Skin
- Take The 'A' Train
- Sing, Sing, Sing
Reviews:
“This might be the first time I’ve listened to a live album where I was actually present at the original performance. (I know, many of you hardcore concert-goers can say otherwise.) The Paul Sawtelle Big Band’s new one-step LP pressing, Live at Pacific Audiofest, was recorded in the big Genesis Advanced Technologies exhibit room at the inaugural PAF show in 2022, with a second LP covering a similar performance at PAF 2023. This was the year when Gary Koh brought his $650K/pair flagship loudspeaker system, the Prime Plus, and that was pretty big news by itself.
Live at Pacific Audiofest is the second release (officially Volume 2) from Gary’s Hyper Music Reference Standard series–I haven’t yet heard the first volume, Four Seasons in Jazz. Live at PAF, however, pulls out all the stops by offering an incredible pedigree–performed by saxophonist Paul Sawtelle and his band, featuring vocalists Bethany Wilson and Jeff Carter, it was recorded and mixed by Dr. Phillip Chance and Ki Choi and mastered by none other than Bernie Grundman, who seems to be transforming the LP landscape over the last couple of years with all of these spectacular one-step projects. What makes Live at PAF unique, however, is that it isn’t recorded in a studio or at a famous nightclub–it’s captured at a high-end audio show, with lots of audiophiles (approximately 100) in attendance. Gary took advantage of this event by positing, “If you were not present at the recording, you would not know what the band sounded like and then, how can you say that your system is true?” That’s an excellent question.
I wish I had the ability to go back three years, deep into my musical memories, to state whether The Paul Sawtelle Big Band on this LP sounds exactly the same as they did live, but I am intrigued with the sound quality of this LP and how it seems more raw and natural than most audiophile releases. Sure, show exhibitors are often experts at turning hotel rooms and downstairs conference rooms into suitable listening spaces, usually with just a single day of preparation. Recording studios are designed and built for sound, and musical venues are often tweaked into sonic excellence over time, but a whole conference room with its thin modular walls and numerous windows? I know those “set-up day” frustrations all too well. But Gary and Paul Sawtelle and all the others had a choice–they could strive for a perfect recording environment, or they could take another step and preserve the vibe of the room during the performance. That’s exactly what they did.
For that reason, The Paul Sawtelle Big Band’s Live at Pacific Audiofest is sonically unique. You get an explicit reproduction of the space and the activity, the crowd noises, and all the verbal communications and physical adjustments between the takes, and that adds to the casual sense of fun in the room. Bethany Wilson’s voice, for example, is so present and pure since it hasn’t been overly processed into something it isn’t. She’s standing right there, between the band and the crowd, a human being with an utterly lovely voice. It’s almost like meeting a singer in person and asking them to belt out a line from a song right then, right there. It’s gloriously naked and honest and real, and you’ll start wishing that all of your favorite music sounded this unfettered with technology.
The first time I listened to this LP, however, I may have tipped the scales in terms of tonality. Live at PAF has such an intimate vibe for a big band recording, which definitely sounds “different” until your brain adjusts, but it melds into one of those historical recordings, lovingly reproduced, balanced between evoking those memories and sounding like the real thing. That’s when I realized I was listening to The Paul Sawtelle Big Band through a system that seems customized for such a recording–we’re not only talking about the two 300B amps I’ve been listening to all summer long from Allnic and Audio Note UK, but also a pair of horn speakers that seem hand-picked for such a listening session–the TriangleArt Selene loudspeakers. There was something truly magical about all these elements combining to recreate the illusion of seeing a big band perform live back when these big band standards were being played for the very first time. I often talk about the sheer thrills of looking into these historical windows with clear eyes and ears, and that alone is a very good reason to grab this wonderful recording.” The Vinyl Anachronist Review by Marc Phillips
“Genesis Advanced Technologies has a real treat for all of us with the release of the premium 45 RPM two LP release of The Paul Sawtelle Big Band Live at Pacific Audiofest.
You'll want to grab this ultra-premium one-step vinyl pressing of The Paul Sawtelle Big Band Live at Pacific Audiofest on two 45rpm 180g LPs issued by Genesis Advanced Technologies.
The album was recorded & mixed direct to 2-track tape, and was mastered by Bernie Grundman, and is strictly limited to 3,000 copies.
This two-LP 45 RPM set of The Paul Sawtelle Big Band Live at Pacific Audiofest is going to sell out fast and will quickly become a collectors item, so order yours ASAP to make sure you can get a copy.
While my audio buddy Alden was visiting, he told me that the The Paul Sawtelle Big Band Live at Pacific Audiofest album was the highest quality album he'd ever seen, and I concur, it really is something special.
Here's what Genesis Advanced Technologies had to say in their press release about The Paul Sawtelle Big Band Live at Pacific Audiofest:
"Genesis Advanced Technologies and Merrill Audio Advanced Technologies co-sponsored the Friday Night entertainment for show goers at the inaugural Pacific Audiofest in 2022. We hired a local band-leader, Mr. Paul Sawtelle, to put a 17-piece big band together for a concert.
This album was total serendipity,” said Genesis Chief Designer and CEO Gary Koh. “We got a couple of friends together to record the concert for ourselves and to give to the band members. Then the band knocked it out of the park. Everyone enjoyed it so much that we decided to hire the band again the next year.
The recording chain was as simple as possible. Assembled by Dr Phillip Chance and Mr Ki Choi, it comprised a pair of vintage Neumann TLM50 microphones direct to 2-track tape on a Nagra IVs with QGB. The vocals were mixed in on some of the tracks with a Nagra VI. “When I first heard the recording on tape, I knew that we had to share it with other big band music lovers,” said Koh. “I managed to convince my partners at Hyper Analogue Production and Brilliance Music & Studios to finance the production. The sound and music is so good that we are releasing it as Volume 2 of the Hyper Music Reference Standard.”
The Paul Sawtelle Big Band Live at Pacific Audiofest is more than an album of music. It is a tribute to the times when swing was king and 17-piece bands were commonplace. The band that Paul led – the Kings of Swing – originated in 1944 at Seattle’s Cleveland High School and played through the war years at service clubs, USO dances and YMCAs. 36 pages of liner notes bring the history and story of the music together in a super-premium package.
Mr Bernie Grundman mastered the music with Koh in attendance in the studio. “We went to great lengths to preserve the absolute fidelity of the band’s performance,” said Mr Koh. “When I heard the first test pressings, I scrapped everything. It was done using the normal lacquer, father, mother, stamper, album process. I thought the sound didn’t meet my expectations. I had Bernie re-cut all the lacquers for a One Step production. 16 lacquers in total. Now, it’s sounding like the entire 17-piece band turned up in my living room.
A word to the wise: The Paul Sawtelle Big Band Live at Pacific Audiofest will sell out fast and will quickly become a collectors item, so order ASAP to make sure you can get a copy.” Positive Feedback Review by Jeff Day
One Step. Instead of utilizing the industry-standard three-step lacquer process, one-step plating uses only one step, bypassing two processes of generational loss. One-step plating skip the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass. Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.