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Later on we recorded the suite as an LP in the SFB studios. The engineers there normally used a twin track machine, although there was a brand new eight track over in the corner. This in a day and age when Wally Heider was already working with thirty-six track machines in Los Angeles. I had long attempted to persuade humor the engineers to use the multi-track machine, without success. The extra mixing necessary would take them into overtime, and infringe on their human rights, or whatever. humor Oliver managed to talk them into it, however, but he was subsequently so dismayed by the sad sound achieved by the recording engineers that he took the masters back to the States to try and enhance them, without much success. It was a pity, because Oliver’s scores on this occasion were vastly different from his usual works. There was a distinctly Ellingtonian flavour in a lot of his writing, in particular a marked use of the plain tritone, with the two notes involved played in unison by all members of the band, rather in the style used by Billy Strayhorn in Frou Frou.
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