Al Di Meola - 1978-07-28 - Santa Monica, CA
(Audience FLAC)
Al Di Meola
Civic Auditorium
Santa Monica, CA
July 28, 1978
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 146
Recording Gear: AKG 451E microphones (CK-1 cardioid capsules) > Nakamichi 550 cassette recorder
JEMS 2022 Transfer: Mike Millard Master Cassettes > Yamaha KX-W592 Cassette Deck > Sony R-500 DAT > Analog Master DAT Clone > Sound Devices USBPre2 > Audacity 3.1 capture > iZotope RX > iZotope RX9 Advanced and Ozone 9 > Audacity > xACT 2.50 > FLAC
01 Egyptian Danza
02 Chasin' The Voodoo
03 Dark Eye Tango
04 Short Tales Of The Black Forest
05 Fantasia Suite For Two Guitars
06 Seor Mouse
07 Midnight Tango
08 Band Introduction
09 The Wizard
10 Race With The Devil On Spanish Highway
Known Faults:
-None
Introduction to the Lost and Found Mike the MICrophone Series
Welcome to JEMS Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike The Mike, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77. For the complete details on how tapes in this series came to be lost and found again, as well as JEMS' long history with Mike Millard, please refer to the notes in Vol. One: www.dimeadozen.org :: EzTorrent v0.7.0r495 :: Login.
Until 2020, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R, Bill C. and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.
That all changed with the discovery of many of Mike Millards original master tapes.
Yes, you read that correctly, Mike Millards master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1993.
The reason the rediscovery of his master tapes is such a revelation is that weve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mikes mental state was troubled he would do something rash WITH HIS LIFES WORK. Theres also a version of the story where Mikes family dumps the tapes after he dies. Why would they do that?
The truth is Mikes masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millards friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mikes work.
Al Di Meola, Civic Auditorium, Santa Monica, CA, July 28, 1978
We venture back into jazz fusion and a truly outstanding recording of Al Di Meola at the Santa Monica Civic Auditorium, site of some of Mike's finest work.
Along with rock, Millard was a fan of jazz artists who were blending rock influences into their sound, including Chick Corea, Stanley Clarke and Di Meola, who as Jim notes below made a big impression on Mike with his band Return To Forever.
Di Meola's 1978 tour was in support of his third solo album Casino, released on Columbia Records in February of that year. The Santa Monica set includes all but one song from the album; curiously the title track was omitted. The show also features songs from Di Meola's first two solo albums, Land Of The Midnight Sun (1976) and Elegant Gypsy (1977).
When I first played Mike's recording I was blown away by the tempo at which these songs were performed, to the point of wondering if the pitch was off. The precision and playing on display here borders on jaw-dropping and as mentioned above, Mike's capture is every bit equal to the performance. Few Mike The Mike recordings have impressed me as much on first listen as this one. The sound is simply superb. Samples provided.
Here's what Jim R recalled about going to see Al Di Meola at the Santa Monica Civic:
I went with Michael G Millard (I called him that on occasion) to the Al Di Meola concert on July 28, 1978. It was a long drive from the OC but worth it, as Mike and I loved the Santa Monica Civic--an awesome place to record. The Civic had an orchestra pit with seats inches from the stage. Behind the pit was a slanted main floor. The venue held only 3-4000 people, so it was very intimate from our seats.
For Al Di Meola, we sat second row center behind the pit, elevated just over it. This gave us an excellent line of sight to PA and stage monitors--perfect seats for recording.
Make no mistake, the pit is great, but there is fuller sound just behind it in the first few rows of the main floor.
A quick listen to the recording yielded a dynamic, full sound, maybe even a Top 10, up there with Mike's best work.
This show was a must see with Al being a Return to Forever band member.
July 1978 was a busy month: we saw Chick Corea earlier in July along with Bruce Springsteen a few days before Corea.
The Civic is by the beach, therefore, it always had laid back security and for this type of show it was easy to get Mike's equipment inside. I stayed low profile and left my camera bag at home.
I hold you enjoy this one. Cheers to my buddy Mike. RIP!
###
JEMS is proud to partner with Rob, Jim R, Ed F, Barry G and many others to release Millard's historic recordings and to help set the record straight about the man himself.
We can't thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept Mike's precious tapes under wraps for two decades, but once Rob learned of our methods and stewardship, he agreed to contribute the Millard DATs and cassettes to the program. Our releases would not be nearly as compelling without Jim's memories, photos, and other background contributions. As many of you have noted, the stories offer an entertaining complement to Mikes incredible audio documents.
Our weekly series would not happen without the support of our longtime collaborators, including pitch expert Professor Goody and JEMS' Employee of the Month mjk5510, leading the post-production and artwork departments with aplomb.
Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.
BK for JEMS
mirror:
turb.pw
mirror:
(Audience FLAC)
Al Di Meola
Civic Auditorium
Santa Monica, CA
July 28, 1978
Mike Millard Master Tapes via JEMS
The Lost and Found Mike the MICrophone Tapes Volume 146
Recording Gear: AKG 451E microphones (CK-1 cardioid capsules) > Nakamichi 550 cassette recorder
JEMS 2022 Transfer: Mike Millard Master Cassettes > Yamaha KX-W592 Cassette Deck > Sony R-500 DAT > Analog Master DAT Clone > Sound Devices USBPre2 > Audacity 3.1 capture > iZotope RX > iZotope RX9 Advanced and Ozone 9 > Audacity > xACT 2.50 > FLAC
01 Egyptian Danza
02 Chasin' The Voodoo
03 Dark Eye Tango
04 Short Tales Of The Black Forest
05 Fantasia Suite For Two Guitars
06 Seor Mouse
07 Midnight Tango
08 Band Introduction
09 The Wizard
10 Race With The Devil On Spanish Highway
Known Faults:
-None
Introduction to the Lost and Found Mike the MICrophone Series
Welcome to JEMS Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike The Mike, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77. For the complete details on how tapes in this series came to be lost and found again, as well as JEMS' long history with Mike Millard, please refer to the notes in Vol. One: www.dimeadozen.org :: EzTorrent v0.7.0r495 :: Login.
Until 2020, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R, Bill C. and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.
That all changed with the discovery of many of Mike Millards original master tapes.
Yes, you read that correctly, Mike Millards master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1993.
The reason the rediscovery of his master tapes is such a revelation is that weve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mikes mental state was troubled he would do something rash WITH HIS LIFES WORK. Theres also a version of the story where Mikes family dumps the tapes after he dies. Why would they do that?
The truth is Mikes masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millards friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mikes work.
Al Di Meola, Civic Auditorium, Santa Monica, CA, July 28, 1978
We venture back into jazz fusion and a truly outstanding recording of Al Di Meola at the Santa Monica Civic Auditorium, site of some of Mike's finest work.
Along with rock, Millard was a fan of jazz artists who were blending rock influences into their sound, including Chick Corea, Stanley Clarke and Di Meola, who as Jim notes below made a big impression on Mike with his band Return To Forever.
Di Meola's 1978 tour was in support of his third solo album Casino, released on Columbia Records in February of that year. The Santa Monica set includes all but one song from the album; curiously the title track was omitted. The show also features songs from Di Meola's first two solo albums, Land Of The Midnight Sun (1976) and Elegant Gypsy (1977).
When I first played Mike's recording I was blown away by the tempo at which these songs were performed, to the point of wondering if the pitch was off. The precision and playing on display here borders on jaw-dropping and as mentioned above, Mike's capture is every bit equal to the performance. Few Mike The Mike recordings have impressed me as much on first listen as this one. The sound is simply superb. Samples provided.
Here's what Jim R recalled about going to see Al Di Meola at the Santa Monica Civic:
I went with Michael G Millard (I called him that on occasion) to the Al Di Meola concert on July 28, 1978. It was a long drive from the OC but worth it, as Mike and I loved the Santa Monica Civic--an awesome place to record. The Civic had an orchestra pit with seats inches from the stage. Behind the pit was a slanted main floor. The venue held only 3-4000 people, so it was very intimate from our seats.
For Al Di Meola, we sat second row center behind the pit, elevated just over it. This gave us an excellent line of sight to PA and stage monitors--perfect seats for recording.
Make no mistake, the pit is great, but there is fuller sound just behind it in the first few rows of the main floor.
A quick listen to the recording yielded a dynamic, full sound, maybe even a Top 10, up there with Mike's best work.
This show was a must see with Al being a Return to Forever band member.
July 1978 was a busy month: we saw Chick Corea earlier in July along with Bruce Springsteen a few days before Corea.
The Civic is by the beach, therefore, it always had laid back security and for this type of show it was easy to get Mike's equipment inside. I stayed low profile and left my camera bag at home.
I hold you enjoy this one. Cheers to my buddy Mike. RIP!
###
JEMS is proud to partner with Rob, Jim R, Ed F, Barry G and many others to release Millard's historic recordings and to help set the record straight about the man himself.
We can't thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept Mike's precious tapes under wraps for two decades, but once Rob learned of our methods and stewardship, he agreed to contribute the Millard DATs and cassettes to the program. Our releases would not be nearly as compelling without Jim's memories, photos, and other background contributions. As many of you have noted, the stories offer an entertaining complement to Mikes incredible audio documents.
Our weekly series would not happen without the support of our longtime collaborators, including pitch expert Professor Goody and JEMS' Employee of the Month mjk5510, leading the post-production and artwork departments with aplomb.
Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.
BK for JEMS
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