New “remastering” and editing projects often make older works sound even fresher. Beginning with Pink Floyd’s remastered album, which features numerous audio highlights, I’ve chosen three exceptional recent compilations and discovered albums.
#304 Magnificent New Mastering of “AT POMPEII”
PINK FLOYD AT POMPEII / PINK FLOYD
(Sony Music SICP-6690)
Pink Floyd’s legendary “At Pompeii,” revered among rock fans, has been revived with the highest sound quality. This re-release delivers an incredibly realistic sound quality that goes beyond mere “remastering.” This live performance took place in autumn 1972 at the amphitheater in the ruins of Pompeii, Italy, without an audience. It was in the early 1980s, when commercially available videos were beginning to spread, that I first saw the visual work where Pink Floyd — a band considered radical for its time — and the images of stone ruins achieved such a magnificent harmony. Two months before this footage was recorded, Pink Floyd came to Japan to perform at the outdoor event “Hakone Aphrodite” held on the shores of Lake Ashi in Hakone. During that time, Floyd’s music, in the process of ascending to stardom, appeared to be at its most fulfilling period. I was impressed by their creativity when I watched the video; however, the footage was rough, and the sound quality was lacking, prompting me to focus on their newer works afterward.
And then, after so long, I listened to this “At Pompeii.” “At Pompeii,” remixed in 2025, showcases the exquisite live sound of four musicians, perfectly balanced and vividly realistic, as if recorded yesterday. The audio aspects are fascinating. First of all, the opening ＜Pompeii Intro＞ features a heavy bass sound that repeats like a heartbeat. In the then-new song ＜Echoes,＞ a fantastical soundscape unfolds as David Gilmour delivers an incredibly intense guitar performance! ＜A Saucerful of Secrets＞ shifts abruptly from its noisy first half to the second half that makes you feel as if the melody might go on forever. Everything is reproduced realistically after half a century. This outstanding mastering was done by Steven Wilson, who has a strong reputation in the rock genre. Along with the set of 2 CDs, the “At Pompeii - Japan Edition” (SICP-6692～4) was released simultaneously, which includes the 2 CDs and a Blu-ray disc derived from a 4K restoration of the original negatives.
#305 Compilation of Joni Mitchell’s Works Highlighting Her Jazzy Sensibility
Joni’s Jazz / Joni Mitchell
(Warner Music WPCR-18765)
Female singer-songwriter Joni Mitchell began to gain significant attention when her song “Both Sides Now” (album title: “Clouds”) won the Grammy Award for Best Folk Performance in 1969. Initially aspiring to go beyond folk music, she developed an interest in jazz during the mid-1970s and collaborated with many prominent jazz musicians. She has created her own music by drawing on her jazzy sensibility and emotional expression.
“Joni’s Jazz,” released this fall, is a four-CD set featuring numbers selected by Joni herself that showcase her deep connection to jazz. The album contains 61 tracks, including selections from her albums “The Hissing of Summer Lawns,” “Hejira,” and “Mingus.” From a jazz standpoint, collaborations with Wayne Shorter, Herbie Hancock, and Jaco Pastorius are noteworthy, but more than that, this album offers a comprehensive overview of Joni Mitchell’s creative career spanning over half a century, making it a significant compilation.
#306 Rare, Unreleased Performances by Horace Silver, “Godfather of Funky Jazz”
Silver In Seattle: Live At The Penthouse
(Universal Music UCCQ-1225)(LP: Imported, Bluenote 7871568)
During the 1950s and 1960s, when the jazz style known as “hard bop” was all the rage, Horace Silver was one of the most popular pianists. He had written numerous hits and reigned as a star for the prestigious Bluenote label. A rare live recording of Horace’s performance at The Penthouse in Seattle during the summer of 1965 was reissued this fall. This live performance showcased a dynamic quintet featuring two prominent players of the time, Woody Shaw (tp) and Joe Henderson (ts), in the front.
Of particular note is the inclusion of ＜Song For My Father＞ and ＜The Cape Verdean Blues.＞ Despite these being Horace’s hit songs, there were very few live recordings of his own that remained, making these recordings truly invaluable. Listening to his bluesy yet uniquely rhythmic touch, I feel I’m genuinely experiencing the essence of Horace, the very “godfather of funky jazz.” ＜Sayonara Blues＞ is a melody that Horace wrote in 1962 during his visit to Japan, capturing his impressions of the country. Here, the soloists fully display their individuality in a performance exceeding 18 minutes. And with ＜No Smokin’,＞ the intensity on stage increases even further. The album was produced by Zev Feldman. While many excellent jazz recordings continue to be discovered, unreleased Horace Silver performances are rare, making this release both a delightful surprise and a joy. The CD is, of course, excellent, but I recommend immersing yourself in the music of the good old days with the Bluenote LP.
About the Author
Masamichi Okazaki
Surrounded by various kinds of music from his childhood, Masamichi Okazaki joined Waseda University Modern Jazz Club. He started contributing articles to music magazines when he was a student. He covers wide range of music not only trad, modern and contemporary jazz, but also from pops to classics. He writes liner notes for CDs and LPs, and is a regular contributor to “JAZZ JAPAN,” “STEREO,” and others. He joined a big band, “Shiny Stockings,” as a saxophone player. He is a director of The Music Pen Club Japan (MPCJ).
