7.8 | / 10 |
Users | 0.0 | |
Reviewer | 4.5 | |
Overall | 4.5 |
Jimi Hendrix and Otis Redding arrived in California virtually unknown. Returning stateside from London, where he had moved to launch his musical career, Hendrix exploded at Monterey, flooring an unsuspecting audience with his maniacal six-string pyrotechnics. Redding, a venerable star of Memphis's Stax record label, seduced the "love crowd" in one of his best—and last—performances.
Starring: Jimi Hendrix, Otis ReddingMusic | 100% |
Documentary | 78% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.33:1
Original aspect ratio: 1.33:1
English: DTS-HD Master Audio 5.1
English: LPCM 2.0
None
Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 4.0 | |
Video | 4.5 | |
Audio | 5.0 | |
Extras | 4.5 | |
Overall | 4.5 |
D.A. Pennebaker and Chris Hegedus' "Jimi Plays Monterey" (1986) and "Shake! Otis at Monterey" (1989) arrive on Blu-ray courtesy of Criterion. The supplemental features on the disc include original trailers; archival interview with Pete Townshend; audio commentary by music critic and historian Charles Shaar Murray; two audio commentaries featuring music historian Peter Guralnick; and more. The release also arrives with a 72-page illustrated booklet featuring essays by critics Michael Chaiken, Armond White, David Frickle, Barney Hoskyns, and Michael Lyndon. In English, not subtitled. Region-A "locked".
Presented in aspect ratios of approximately 1.33:1, encoded with MPEG-4 AVC and granted 1080p transfers, Jimi Plays Monterey and Shake! Otis at Monterey arrive on Blu-ray courtesy of Criterion.
The following text appears inside the booklet provided with this Blu-ray release:
"The high-definition digital transfers of Jimi Plays Monterey and Shake! Otis at Monterey were created on a Spirit DataCine from the 35mm duplicate negatives. The digital transfer of the outtake performances were created from 16mm reversal prints. Thousands of instances of dirt, debris, scratches, splices, and warps were manually removed using MTI Film's DRS, while Digital Vision Phoenix's was for jitter, flicker, small dirt, noise, and grain management. The stereo and 5.1 surround materials for Monterey Pop, Jimi Plays Monterey, and Shake! Otis at Monterey were created by Eddie Kramer from the original analog 8-track tapes made at the concerts by Wally Heider, and conformed to picture by by Ted Hall at POP Sound in Santa Monica, California. The audio for the outtakes was mixed by Howard Frank and Dennis Dragon from the original concert recordings. Clicks, thumps, hiss, and hum were manually removed using Pro Tools HD.
Jimi Plays Monterey and Shake! Otis at Monterey transfer supervisor: Maria Palazzola.
Jimi Plays Monterey and Shake! Otis at Monterey colorist: Chris Ryan/Nice Shoes, New York."
Both films use the same transfers that Criterion worked with for the initial release of The Complete Monterey Pop Festival in 2009. Obviously, as far as the basic characteristics of these transfers are concerned there are no improvements to report.
During Jimi Plays Monterey there are a few more obvious fluctuations in terms of density and depth -- mostly during the behind-the-scenes footage -- but overall the film still has a very solid organic appearance. During the live stage footage you are also going to notice some minor unevenness in terms of clarity which is introduced whenever there is overexposure/underexposure of projector light, but there are no transfer-specific anomalies to report. Colors appear natural and remain stable. Image stability is very good, but keep in mind that because of the nature of the project there are some abrupt transitions. Lastly, I think that the encoding here is slightly better than that of the first release.
Shake! Otis at Monterey has an overall very similar organic appearance. Again, the stage lighting produces some sporadic image unevenness, but given the nature of the project this is indeed unavoidable. There are no traces of problematic digital corrections, or other strictly age-related imperfections to report. (Note: This is a Region-A "locked" release. Therefore, you must have a native Region-A or Region-Free player in order to access its content).
There are two standard audio tracks on this release: English DTS-HD Master Audio 5.1 and English LPCM 2.0. Optional English SDH subtitles are not provided.
I am aware that there are different opinions as to what constitutes 'better' and 'best' audio quality when these films are viewed, but I always prefer the original tracks. So in this case my first choice was the Stereo track, which has very good depth, very good range of dynamic nuances, and clarity. As it is often the case with these type of tracks, however, some minor balance fluctuations are retained and especially when background crowd noise becomes prominent the discrepancy becomes quite obvious. On the 5.1 track overall balance is managed better while depth is expanded, so if you are not a purist this will likely be your preferred track when viewing the films. At the end of the day it is all about preference, so you can experiment with both tracks to decide which one you prefer. There are no audio dropouts or digital distortions to report in our review.
JIMI PLAYS MONTEREY
Jimi Plays Monterey and Shake! Otis at Monterey are sourced from the same masters that Criterion worked with in 2009 when it prepared the first release of The Complete Monterey Pop Festival. They are bundled with the individual release of the new 4K restoration of D.A. Pennebaker's legendary documentary Monterey Pop, and all three films are included in the new The Complete Monterey Pop Festival box set that will be released on December 12. HIGHLY RECOMMENDED.
(Still not reliable for this title)
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