4-Channel SACD - Hybrid
Commercial release - Jazz
|1 - What a Difference a Day Makes||4:51|
|2 - Stoned||4:39||3 - Undecided||4:19|
|4 - Willow Weep for Me||3:49|
|5 - Blues Walkin'||6:25|
|6 - Poinciana||3:32|
|7 - Now's the Time||4:52|
|8 - Satin Doll||4:12|
|9 - Tenderly||5:47|
|10 - Broadway||10:10|
Fast forward to 1945, when Joe and his wife, Thelma, were on the road as he was touring in a jazz band. While en-route from Las Vegas, the bandleader gambled away the troupes earnings, stranding them in Ogden, Utah. Joe and Thelma decided to stay in Ogden and McQueen reformed the band there. This turned out to be a serendipitous move because just after WWII, Ogden, a major stop on the railroad between San Francisco and Kansas City, had become a hotspot for jazz music. Since settling in Ogden, McQueen has performed there with such jazz luminaries as Charlie Parker, Chet Baker (a fellow Oklahoman), Paul Gonzalez, Lester Young, Count Basie, Duke Ellington and Dizzy Gillespie. Joe continued to tour in the region, playing in Idaho Falls with Hoagy Carmichael.
Outside of his musical life, McQueen has worked as a truck mechanic and automotive technology instructor at Ogdens Weber State University. Through 2005 and beyond, Joe continues as a full-time volunteer elder-care worker for human services in Weber County, Utah, where he assists infirmed senior citizens.
At the age of eighty-six, Joe McQueen continues to perform and record in the Ogden area. Recently the subject of a documentary film called King of O-Town, Joe was also featured in a July 2005 article by The Associated Press.
Most baffles absorb sound from mid- to high-range frequencies; lower frequencies are more difficult to absorb. Here, the unique shapes of the IsoMike baffles are advantageous. As lower frequencies flow around the heart- or egg-shaped baffles, they are scattered, effectively dissipating their energy.
Eliminating line-of-sight between the microphones seems to lower some fidelity robbing cancellations, this reveals a layer of extreme detail and a sense of increased sensitivity. We took great care, therefore, to reduce the noise level within the auditorium during the recordings.
All recordings were made at a low enough level to assure that no clipping occurred, therefore you may need to raise your volume control more than when playing some commercially available CDs where the volume has been normalized and/or compressed.
Since there is NO limiting or compression the dynamic range might surprise you.
The microphones were never in a closemiked configuration. Except we did try some spot microphones on the bass and for Joes voice. (Hint: Just keep listening at the end of track 10)
All recordings were made at Weber State University (pronounced weeber), Ogden, Utah, in the Val. A. Browning Center for the Performing Arts, the Austad Auditorium.
|Microphones - DPA 3529A|
|Microphones - Sennheiser MKH-800|
|Microphones - B.L.U.E. The Bottle|
|Preamp - Millennia Media HV-3D custom|
|A/D Converters - EMM Labs ADC8 MkIV|
|Recorders - Genex GX9000|
|Recorders - Tascam DV-RA1000|
|DAW - Pyramix DSD Workstation|
|D/A Converters - EMM Labs DAC8MkIV|
|Monitor Speakers - Lipinski Sound L707|
|Monitor Speakers - Magnepan 20.1|
|Monitor Controller - Grace Design M906|
|Monitor Amps - Pass Labs X350.5|
|Monitor Headphones - Sennheiser HD-650|
|KIMBER KABLE Select Series|
|Engineers||Ray Kimber &
|Assistants||Brett Terry &
|Thanks to:||Greg Thilmont