Joe Jackson • Summer in the City: Live in New York
 ntervention
Records seems to have come from out of nowhere in no time, rapidly establishing a
reputation for peerless vinyl reissues -- and they’ve done it the hard way: by
steering clear of the sure-fire hits and hackneyed audiophile demo fodder repeatedly
offered by so much of the competition. Glance through the catalogue and you’ll see
that the choice of artists is varied, the titles eclectic; yet the releases all have two
things in common: they were chosen for their musical significance (rather than the merits
of their production), and they’ve all received impeccable transfers to 180-gram
vinyl, courtesy of cutting by Kevin Gray at Cohearent Audio or Ryan K. Smith at Sterling
Sound, and pressing at RTI.
But, even amongst such a select group, there are standout titles, and in the case of Intervention Records, those come from Joe Jackson. The first two of his albums and the best-selling Night and Day together add up to a serious stab at some of Jackson’s best work. They also make great subjects for reissue, the originals appearing at a time when the oil crisis was really getting a grip, making for flimsy pressings, even though the tapes come from what was arguably the golden period in British rock recording. That leaves plenty of room for improvement, and it sounds like Intervention has grabbed it all -- and then some. But as impressive as those first three Joe Jackson reissues are, they stand to be eclipsed by the latest addition to Intervention’s inventory. Summer in the City was originally a CD-only release in 2000. It was drawn from three nights played at Joe’s Pub in Manhattan, recorded by Steve Remote and Sheldon Steiger, and capturing Jackson fronting a pared-back trio, accompanied by longtime collaborators Graham Maby and Gary Burke. The selected tracks showcased Jackson’s considerable musical capabilities and the tightness of the band and arrangements. It's a mix of his own (underplayed) material and classic covers, cleverly run together into medleys that add up to more than the sum of their parts. The music is intelligent and thought-provoking, yet not short on life and energy. The only fly in the ointment was the thin, glarey CD issue that had you turning the volume down right when you should have been turning it up. If ever an album deserved a premium vinyl release, this is it, and Intervention has done it, and us, proud. The running time of the CD was simply too long for a straight LP transfer, so instead we get a double album housed in a sumptuous gatefold sleeve with artwork beautifully extrapolated and updated from the original booklet. But as wonderful as the sleeve is, nothing quite prepares you for the power and intensity of the performances on these records, the deep, deep, driving bass, the avalanche energy of the drumming, the emotional thrust but exposed fragility of the vocals. It’s easy to dismiss the quality of Jackson’s singing if you’ve never heard him live, so often poorly served by recordings or pressings, but here you get the full treatment. It’s not a great voice in the classical sense, but it’s an effective tool and one that he knows how to use to considerable effect. You can hear that vocal power on an emotionally charged "Home Town" or the restrained, up-tempo "Down To London," both vocals that sounded weak in their original releases. In fact, some of the best moments on this album are also the most exposed, notably a fabulous "Eleanor Rigby" and a heartfelt "Be My Number Two," although that’s an observation that undervalues the rhythm section’s contribution, both the quality of the playing and the reproduction. Graham Maby’s bass on "Eleanor Rigby" and "It’s Different For Girls" is a model of articulate agility and has quickly become an acid test of system performance -- somewhat ironic given Intervention’s eschewing recordings chosen specifically for their audiophile qualities. Sonically speaking, all the world is here, and I recently did an entire analog-setup seminar at the Rocky Mountain Audio Fest based on a single side of this album. But what makes it special is the way in which those stellar sonics support a stunningly good set. Jackson has always been a great live performer, and these records showcase him at the top of his game. The "Fools In Love"/"For Your Love" medley is genius, the transition from "Be My Number Two" to "Home Town" simply sublime, and with tracks ranging from "Mood Indigo" and "The In Crowd" to "King of the World" and the title track, there’s not just something for everybody -- everybody will discover something surprising and new.  |
