• Interessante original deutsche 12' LP - Jeton Records 100.3304 - Stereo von " Charly Antolini - Knock Out "
• mit " Direkt - To - Disc " Aufnahmen im tollen Klapp - Cover ( Fold Out ) in sehr guten Zustand von 1979 !
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• Angebot : " Eine " original deutsche 12' Jeton Records LP - 100.3304 - Stereo
• von " Charly Antolini - Knock Out " mit Klapp - Cover ( Fold Out ) von 1979 !
• Tonträger - Format : 12' LP ( Langspielplatte ) - ( 30 cm ) mit 6 Titel
• Interpreten : Charly Antolini ( Drums ) - ( Einer der weltbesten Jazz - Schlagzeuger )
• Wolfgang Schmid ( Bass ) - ( Einer der besten Jazz - Bassisten in Europa )
• Nippi Noya ( Persussion ) - ( Auf dem Gebiet weltweit unerreichbar )
• Label - Nr. : Jeton Records 100.3304 - Stereo
• Matritz - Nr. : A. Seite : ST JTS 772834 ( gestanzt ) HR ( geritzt )
• B. Seite : ST JTS 772835 / 1 ( gestanzt ) HR ( geritzt ) - Erstauflage
• Erschienen : 1979
• Land : Deutschland ( Germany )
• Zustand : Platte und Cover sehr gut erhalten ( M- / M- ) - ( Neuwertiger Zustand )
• Musik - Gesellschaft : GEMA
• Genre : Jazz ( Instrumental )
• Abspielgeschwindigkeit : 33 1/3 U/pM
• Besonderheit : Die Aufnahmen zu dieser 12' LP Jeton Records 100.3304 - Stereo von " Charly Antolini ",
• wurden im " Direkt - To - Disc " Verfahren gemacht und die Auflage ist Weltweit auf 15.000 Stück limitiert !

• SIDE ONE :
• 1. Knock Out 16' 20 ( Antolini / Schmid - Grandy )
• SIDE TWO :
• 1. Soundcheck with Nippi 3' 32 ( Antolini )
• 2. Bassbrush 2' 58 ( Antolini )
• 3. Crystal for Christel 4' 15 ( Antolini )
• 4. Five for Three 4' 09 ( Schmid - Grandy )
• 5. Bush Fire 0' 56 ( Antolini )
• Total Time : 16' 10
• Musicians :
• Charly Antolin ( Drums ) - ( Schweiz )
• Wolfgang Schmid ( Bass ) - ( Deutschland )
• Nippi Noya ( Percussion ) - ( Asien )
• Equipment :
• Amplifiers : SAL 74
• Cutter Head : SX 74
• Gold Plate : EMT
• Digital Delay : Lexicon Delta T
• Mixer : Neumann ( RTJ ) 30 / 20 / 8
• A JETON MUSIC COMPANY Recording.
• Records in : The JBS - Direct - To - Disc - System.
• Recorded at : Tonstudio Bauer, Ludwigsburg - West Germany / June 22nd 1979
• Recording Engineer : Carlos Albrecht
• Disc - Cutting Engineer : Henry Riedel
• C & P - 1979 JETON GmbH
• Coverphoto : Adrian Lacour
• Coverdesign : Adrian Lacour
• Charly Antolini plays exclusiv Drums by Sonor and Cymbals by Zildijan.
• Charly Antolini uses Microphones by Beyer, Heilbronn, Germany.
• Warning !
• This " direct - to - disc " Record will be played at your own risk.
• Excessive loudness may cause severe damage to inferior Loudspeakers.
• If in doubt, please consult your Hifi Dealer.
• Distributed by : Audio Team

• Beschreibung : " Direct - to - Disc " Verfahren in Englisch
• ABOUT " DIRECT TO DISC " :
• This Album was recorded in the JBS " direct - to - disc " System employing the most sophisticated Audio Equipment available. As a Result, Recording represents the very best Sound Quality
• Technically feasible at this Time - a Fact well worth further Discussion. The long chain of Events that Starts with the Music and ends with the listening ear usually begins in the Recording Studio.
• If a Conventional Recording System is used, the Solists and different Groups of Instruments ( i. e. Drums, Brass, Strings) are Recorded seperately on Magnetic Tape. A Multi Track Tape Machine
• Stores the Signals individually. Such Machines can posses more than 64 Tracks, each of which can later played back and processed as the Recording Engineer sees fit. These Tracks are then
• combined down to just two Signals representing the left and right Stereo Channels, wich are then Recorded on a quarterinch Tape with two Tracks known as the Final Fixing Master, or the original
• Master Tape. After additional Electrical Modifications these two Signals are transmitted to a cutting Stylus, which plows a V - Shaped groove trough the Nitro Cellulose coating on a rotating
• Aluminium Disc called a Master Lacquer. From this Master a Number of Stampers can be made which are then Placed in Presses where the finished Vinyl Phonograph Record is produced. As
• anyone who listens to Records regularly knows there can be a marked Difference in Sound Quality between two different Recordings. These Sonic Abberations are a Result of the Storage and
• Duplication Elements - the Tape and the Disc itself. Tape can rightly be saip to cause the majority of these audible flaws : each Time the Tape Passes over the Recording Heads, a small amount of
• hiss is added to the Signal. In modern Recordings, a certain Spot on the Tape may Pass over the Heads hundreds or even thousands of Times during the complicated Business of mixing down to
• two Stereo Channels. The JBS " direct - to - disc " System the fundamental cause of audible by eliminating the Tape itself. During the Recording Session the Signals are transmitted directly to the
• cutting Stylus, the Master Lacquer is produced Simultaneously. The Result is perfect Recording and an almost total Lack of hiss. Of course, this Procedure Places much greater Demands on the
• Musicians and Technical Personell than conventional Recording Systems as any mistake made by either would immediately be engraved upon Master Lacquer. Once a direct - to Disc Session
• begins, nothing may be allowed to go wrong. Before this direct - to - disc Recording was released, all concerned had to give their very best to make sure that you, the Listener, can enjoy a perfect
• Reproduction of the Atmosphere in the Recording Studio during the original Session.This, coupled with the highly enlarged dynamic range due to the direct - to - disc System, brings to you the most
• exciting Musical Experience Modern Recording Techniques can provide. " You see, I told you it would Work ", Charly Antolini panted, stripping off a soaking wet red T - Shirt and grinning happily,
• looking a lot like a great black Bear from his native alps. Wolfgang Schmid wearily stowed away his beautiful Custom - made Electric Bass Guitar by Alembic in 'Frisco, a unique Instrument with a
• fretless, overlong neck and carved out of precous Mahagony. Nippi Noya's impassive oriental Features belied the Fact that mere Moments before he had been screaming his Lungs out, ecstatically
• pounding a pair of Congas. It had been a Recording Session to end all Recording Sessions. Eleven gruelling Hours in the Studios of Rolf Bauer in Ludwigsburg, a small Medival Town in Southern
• Germany; a roller Coaster ride of emotional ups and downs such as none of us had ever experienced before. Like the horrible letdown when Charly had to blow a perfect Side in the middle of the
• last Number because his snare Drum had become so waterlogged with his own sweat that he could no longer use his Brooms. Or the Time Wolfgang was the only one to catch the Signal from the
• Mixingroom telling him that there was only one more Minute left - and how he plunged into the Final Theme, surprising the others and leading them to a thundering climax just as the Recording
• Engineer was reaching for the cut - off Button. Or the Frustration of watching Nippi perform a beautiful, though in audible Finger Drum Solo before a disconnected Microphone someone had left
• standing in the Studio... A direct - to - disc Recording is at best a Nerve wracking Experience, placing ultimate Demands on both Musicians and Technicans. Nothing may be allowed to go wrong,
• the allotted Time must not be Overdrawn, an unrepeatable Improvisation is lost forever if a Drumstick breaks or a Guitarstring parts will never fully understand, therefore, how this Record
• happened. How three Artists of almost totally Alien Musical Heritage managed to overcome not only the immense Physical and Mental Strain of their very first direct - to - disc Session, but also
• the Barriers set up between their normal Musical Ways of Life, creating an unique Phenomenon. " It was like three Worlds Meeting ", Nippi later said, " each World giving to the others what would
• let them prosper as a whole. " Three Worlds : Charly Antolini, born 1937 in Switzerland near the Italian Border, possibly the best Jazz Drummer Europe has to offer Today, a Veteran of almost
• every Major Goup to Tour or Record here in the last ten Years, as well as the Leader of his own famous Band "Jazz Power ". Wolfgang Schmid, born 1946, soft spoken Rock Bassist living in
• Munich who started out as a Rock Guitarist, then switched to Bass at Age 16, an established Studio Musician who has played with everyone from Les McCann to Alexis Korner, Winner of the
• German Record Prize in 1976 as a Member of Klaus Doldinger's Passport, Leader of the German Rock Formation " Head, Heart and Hands ". Nippi Noya, born on the exotic Pacific Island of Celebes
• in 1948, Father Japanese, Mother a native of the South - Moluccas, he grew up in the back Streets of Amsterdam, dreaming of becoming a Percussionist ever. Since watching Caterina Valente
• play the Congas on Television, practicing endlessly on garbagecans and finally entering the Limelight as a Musician for Udo Lindenberg, Peter Herbolzheimer and Peter Maffay. When the three of
• them met in the Bauer Studios, no one was sure exactly what was going to happen. " Im not sure what did happen ", Charly said later. " Maybe we have discovered a new form of Fusion Music ",
• Wolfgang ventured. And Nippi said simply : " This is new, there is no Name for it ". The Music seemed to Progress as the Musicians became more accustomed to each other. " There are Moments
• on this Record which would never have been able to happen if we had talked about them before Hand ", Charly believes. " I may have played certain Parts of a Solo differently before, but have
• never been so satisfied with my Performance as a whole ". The Feeling of failure after a futile attempt might have thrown any other Musician into deep Melancholy - but not Charly. " I was getting
• madder and madder at myself ", he Remembers. A Fact the Recording Engineers will be glad to verify : As the Day grew older, Charly kept getting louder and louder. Wolfgang finds it " exciting to
• hear an emancipated Bass " himself not only performing the traditional duties of the Bass Player, but also acting as the only Melody Instrument in the Group with almost total freedom of expression.
• " I' ve wanted to do something like that for Years ", he told me later, " and was prepared. After all, I'm still a Guitarist at Heart ". Anyone hearing him on this Record as he builds a sparkling crystal
• Palace of notes on mere four Strings of an Electric Bass will agree. Nippi, himself the embodiment of Fusion between his Oriental Heritage, the Western Civilization he found in Holland plus the Afro
• - Cuban Manifestations of his chosen Musical habitat, loved " listening to the Way the Spirits blended, how each of us was able to learn from the others while in the very Act of playing, The
• experimental Flavor of' the Music is enhanced by the neccessity to remain in a State of complete Concentration at all Times due to the Demands of the direct - to - disc Technique ".As a witness to
• this spontaneous melting of distinct Musical Cultures, I find this Record to be a Documentation of a very unique Experience. One that Calls for the poetry of Charly Antolini in the Jubilant Atmosphere
• at the End of the Recording Session : " When three Worlds meet, they generate a Power neither of them would have imagined possible " !
• Gary Freeman
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• Printed in Western Germany
• P - 1979 ( Jeton Records GmbH - München )
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• Beschreibung :
• Hier eine praktisch neue original deutsche 12' Jeton Records LP - 100.3304 - Stereo von einer ( nur für diese spezielle Aufnahme - Session ) Musik - Formation, die im Jazz - Rock Bereich Musik -
• Geschichte geschrieben hat. Es handelt sich um einen der weltbesten Schlagzeuger, dem Schweizer " Charly Antolini " sowie dem deutschen Bassisten " Wolfgang Schmid " und dem asiatischen
• Percussion Player " Nippi Noya ". Nicht nur, das diese Besetzung in den 70er Jahren in diesem Genre einmalig war, sondern auch die Aufnahmen zu dieser 12' Angebots LP " Knock Out " ent -
• standen in dem sogenannten " Direct - To - Disc " Verfahren, welches bis dato nicht so bekannt war. Man muß sich vorstellen, das 3 Musiker in einem Studio lange Musik - Passagen so kon -
• zentriert in Einklang gebracht haben, das diese direkt auf einem Aufnahme Phonografen mit geschnitten worden sind, und zwar auf einer Aluminium Folie ( im Gegensatz zu der herkömmlichen
• Aufnahmen - Methode auf Band ), die dann später zur Pressung der limitierten 15.000 Auflage verwendet wurde. Der Vorteil liegt darin, das jegliches Grundrauschen weg fällt und die Wiedergabe
• beim abspielen der LP, absolut naturgetreu wieder gegeben wird, würde die LP in den audiophilen Bereich einordnen, da über eine gute Anlage der Sound wirklich überragend ist. Habe die LP
• extra in einem " High End Studio " angehört und bin dabei unweigerlich in die Studio - Atmosphäre ( wie bei den Aufnahmen ) eingetaucht, sprich ich hatte das Gefühl in dem Studio bei den Auf -
• nahmen selber dabei zu sein, so toll war der Sound. Kenner, die sich für ausgefeiltes Schlagzeug - Spiel, mit allen nur erdenklichen Varianten interessieren oder auch für schön dumpf und me -
• lodiös erklingende Bassläufe sowie zu guter letzt noch ein überragendes Percussion - Spiel auch nicht verachten, kommen hier voll auf ihre Kosten. Die LP ist für das Alter ( 32 Jahre ) praktisch
• wie neu ( M- ) und auch die Label sind einwandfrei ( Absolute Empfehlung für Mintsammler ). Das Klapp - Cover steht dem auch kaum nach ( M- ) und ist weder beschrieben noch sonst irgendwie
• beeinträchtigt, sodaß sich für einen Freund dieser außergewöhnlichen Musik, ein tolles Gesamtangebot ergibt. Das Angebotsbild zeigt oben die Cover - Vorder und Rückseite und darunter das
• aufgeklappte Cover von innen sowie rechts die beiden Label zur besseren Ansicht !

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