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    Interview: Phil Ramone (Part 4)

    JazzWax

    In 1967, Phil Ramone began engineering Ramone a string of Dionne Warwick's hits by Burt Bacharach and Hal David. If Bacharach and David were America's equivalent of Lennon and McCartney (perhaps even bigger by some accounts), then Phil was akin to George Martin. But unlike the Beatles, there was no overdubbing. Instead, everything was recorded at once, and Phil had to deal with immediacy and nuance. Bacharach's music was complex, requiring careful miking to capture not only the dramatic string and horn parts but also the powerful vocal and intimate rhythm section. [Illustration by Rob Kelly]

    Interview: Phil Ramone (Part 3)

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    JazzWax

    Recording engineer and producer Phil Ramone had three things going for him when he set up A&R Recording in 1959. First, he was a trained classical musician who could hear what most of his peers could not. Second, he was passionate about making records that sounded more vivid and dynamic than everything else on the market. And third, he was fortunate to have come in contact with the right people at just the right time—notably Atlantic's recording engineer Tom Dowd and producers Quincy Jones and Creed Taylor. [Photo by Dave Allocca]

    Interview: Phil Ramone (Part 2)

    JazzWax

    Smaller_Cropped_Phil_RamoneBack in the late 1950s, New York was peppered with recording  studios. Most were on the West Side of Manhattan, between 39th and 58th streets—within striking distance of the Brill Building on Broadway, the television networks on Sixth Ave. and record distributors on 8th and 9th avenues. When Phil Ramone began his career as a recording engineer, he learned the ropes at JAC Recording, which was in the heart of what was still the city's nightclub and entertainer-hangout district.

    Interview: Phil Ramone (Part 1)

    PhilRamone_smJazzWax

    Phil Ramone has won 14 Grammy Awards as a producer. Known for his warm sound and intimate recording clarity, Phil engineered or produced dozens of jazz, pop and Broadway classics, including Ray Charles' Genius + Soul = Jazz, Leslie Gore's It's My Party, Stan Getz's Getz/Gilberto, Paul McCartney's Ram and Paul Simon's Still Crazy After All These Years. He recently completed producing Paul Simon's So Beautiful Or So What, the guitarist's new bluegrass-influenced album due for release in early 2011.

    Interview: Fats Domino (Part 2)

    JazzWax

    ImagesLike a parent playing favorites, New Orleans dotes too heavily on its jazz heritage. I know this sounds like heresy, but it's true. The airport is named for Louis Armstrong, there's a 150-foot trompe-l'oeil mural of a clarinet running up the side of a Holiday Inn, and you don't have to look too hard for the Dixieland sound. All of which is wonderful and good for jazz. The problem is jazz isn't the only form of music that was born in the city. Rock 'n' roll began there, too. Yet the city has done little to preserve rock's history there or turned notable rock sites into thriving tourist attractions.

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