Tom Waits – Foreign Affairs (Remastered)

Used for the piano on the "jazz band recordings" of Foreign Affairs, as is visible in "Bones Howe's layout diagrams for the Foreign Affairs sessions at Wally Heider Studio 4, showing the layout for the jazz band recordings" (pictured) from this February 2004 Sound on Sound interview with producer "Bones" Howe.

Used for the piano on the "jazz band recordings" of Foreign Affairs, as is visible in "Bones Howe's layout diagrams for the Foreign Affairs sessions at Wally Heider Studio 4, showing the layout for the jazz band recordings" (pictured) from this February 2004 Sound on Sound interview with producer "Bones" Howe.

Used for the piano on "the orchestral track recordings" of Foreign Affairs, as is visible in producer "Bones" Howe's "[d]iagram for the Foreign Affairs sessions at Wally Heider Studio 4 showing the layout used for the orchestral track recordings" from this February 2004 Sound on Sound interview. Howe specifies a Telefunken version while recounting the sessions for Ornette Coleman's The Shape of Jazz to Come and Change of the Century.

"I set them up in a square, one in each corner of an imaginary room in the studio, close together, all facing the centre of the square. I had set up the microphones before they got there: I had an RCA 77 on Ornette's alto sax — the white plastic one he was notorious for playing — and a 77 on Don Cherry's pocket trumpet, a Telefunken U47 on Charlie's bass, and the drums were miked with a U47 as an overhead and a 77 over the hat and snare. We were recording live to mono and two-track at the same time. I liked this setup so much that I made sure I wrote it down, and I still have that setup sheet to this day. I would use it to record a lot of albums."