I have to say that The Three by Joe Sample, Ray Brown and Shelly Manne was by far the most challenging experience of all the East Wind titles.
We wanted to use direct-to-disc or direct cutting recording technique for the project, which we heard was being used in Los Angeles. Since we were always interested in the latest technology, we wanted to try this new method. So we booked the session at a Los Angeles studio to work with a certain cutting engineer. We later realized that the booking was made on the week of Thanksgiving. Unfortunately, the studio cancelled the session on us at the last minute. I was already on a plane headed to Los Angeles. The session was cancelled on the day I arrived. I found out about it from our coordinator after I landed. The coordinator had already notified everybody of the cancellation.
Refusing to give up so easily, I started to look for an alternate location to record. I was able to find Amigo Studio, owned by Warner Brothers, who happened to have an excellent cutting engineer, Bobby Hatta, on staff. The Doobie Brothers was recording there until midnight and we were able book a session afterwards. We had to call and round up all the musicians and had to set up everything again and make sure everyone was rehearsed.
An excerpt from the original liner notes of the album
On a windy and unusually cold night in Los Angeles, each of the three musicians arrived before the session start time of 10 PM on November 28, 1975. At exactly 10 PM, The Doobie Brothers session that was going on since morning ended. Two assistants immediately started setting up for the session. The Steinway concert grand piano, delivered the previous day, was wheeled in to the center of the room and got tuned. Shelly Manne’s drum kit was assembled in a makeshift “booth.” Microphones were set up, checked and positions adjusted.
Initially, Telefunken microphones were positioned on the piano, but later were replaced by two Neumann U87s. The piano lid was opened to the concert position and microphones were centered relative to the keys and placed a foot (30 centimeters) inward from the hammer and a foot (30centimeters) away from the stings. One mic was pointed toward the bottom notes and the other pointed toward the top.
To record Ray Brown’s bass, a Shure SM56 and a Sony 38A were pointed at the bridge of the bass, two inches above it. The Shure was used to capture the attack and the Sony mic was used to capture the rich low tones.
Seven microphones were used to capture the sounds of the drum set. Two U87’s were placed overhead, roughly 16-inches above the cymbals facing down. The bottom quarter of the kick drum was dampened with a blanket on the outside and was mic’ed with a Shure SM56. SM56’s were also used for toms and bass toms. Sony 38A was used on the snare and Sennheiser’s Syncrhon on the high-hat. Each mic was placed 2_ inches away from the instruments in a close mic set up. Mr. Itoh got involved with fine tuning mic positioning for tone, stereo placement and balance. Meanwhile, final adjustments were being made on the cutting machine set up.
Within the hour, the set up was done and all preparations were completed. The musicians finished warming up and were ready for Take One. The usual banter subsided and everyone put on their “game face.” Even Ray Brown, who usually cracked jokes in a loud voice, looked serious as he turned his attention to Mr. Itoh, waiting for his cue. As soon as he was notified through the intercom that the cutting needle was put down, Mr. Itoh gave the signal with his hand, and the recording started. In 16 minutes, three tracks were recorded in rapid succession.
Relieved that the initial take was over, the musicians joined the producer and engineer in the control room to listen back from the 2-track tape that was used as back up. With the initial tension gone, all three excitedly made comments and evaluated their own performance and the sounds they got. The thumbs-up was given by the cutting engineer for take one and the musicians went back to the live room for the next take. This process was repeated until 4 AM the following morning, resulting in a total of three takes per track.
Continuation from the interview with Yasohachi “88” Itoh, producer of the East Wind series
We finally got out of the studio around 6 AM. I felt sorry for Ray Brown, who had to go to Japan that day for a one-day session. Overall, I was very pleased with the session and thought the recording came out very good.
I was gratified when the record sold extremely well. We sold the first LP with all first takes until the stamper mold for the vinyl gave out. We put out another LP with second takes and that sold well. The CD version has both the first and second takes of each song.
The success was particularly sweet because we had to go through so much to get the project finished. It was both a trying and memorable experience