The jazz world is mourning: Wednesday died Rudy van Gelder at his home in Englewood Cliffs, New Jersey, at age 91. Audio engineer, Van Gelder defined the sound of jazz disk through recordings for labels such as Impulse! , Verve , Prestige , Savoy Records , CTI and, above all, Blue Note .
the record universe of jazz would not be the same without Rudy van Gelder, or at least would not sound same. The engineer, optometrist career, recorded with great warmth essential albums of the genre, such as Saxophone Colossus (Sonny Rollins), Cookin ‘, Relaxin’ Workin ‘ and Steammin’ (Miles Davis), Something Else! (Cannonball Adderley), A Love Supreme (John Coltrane), Point of Departure (Andrew Hill), Speak No Evil (Wayne Shorter), Red Clay (Freddie Hubbard) and Lush Life: The Music of Billy Strayhorn (Joe Henderson).
In an interview with the New York Times in 1988, Van Gelder said, “I think that technically I have been associated with more records than nobody in the history of the record business. ” Technical service provider, in a long interview to the website Jazzwax Marc Myers explained to his obsession was “getting electronic accurately capture the human spirit.” I wanted the records to sound “warm and realistic as possible.”
In his studio, located from 1947 to 1959 in the his parents’ house in Hackensack, New Jersey and, from 1959 onwards, in Englewood Cliffs, New Jersey also fundamental jazz sessions were held those years. When he was named Jazz Master by the National Endowment for the Arts of the United States in 2009, in his speech said it had been a pleasure talking to Ted Gioia, the director then, “especially when I said I I recorded half of his record collection. “
later he talked about what came to mind in knowing that he would receive the recognition. “I thought of all the great musicians I recorded through the years, how lucky I’ve been that producers had enough confidence in me to bring all those musicians for me to record it. It all started in a small room in Hackensack, New Jersey. Then I thought: I’ll have to get a suit “
Myers described as a unique experience to have been in his studio.. “Entering this historic area is like entering the Parthenon or the Cathedral of Notre Dame. You can actually hear you’re in a special place. ” The study was the scene of pieces of history that make up a mosaic invaluable, especially for the history of Blue Note. After the disc New Faces, New Sounds saxophonist Gil Melle, was launched began the avalanche of recordings for that label.
In the above Van Gelder interview a ‘intensely organized confessed engineer, so I was able to make the comparatively faster than any other New York studio sessions. It had to be organized: still working as an optometrist for all my recordings of the fifties. The results of my sessions always sounded more distinctive and dimensional than many other sessions that were held in New York, although they were mono “.
He was in charge of his own mastering, he says Myers, to which Van Gelder says, “I always wanted to have control of the whole recording process chain: from initial recording to mastering. Why not? The album had my name “
Rudy van Gelder. For his recordings you know, like A Love Supreme , the most amazing recording, as you Myers said. “It was hypnotic, it was exciting. It was different, but did not have that vision when I recorded it. I realized only when I remastericé disk for digital reissue in 2002. You have to understand who was busy making sure that the work was recorded perfectly. Until I was working on updating the original master tape music I listened carefully. “
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