The 1947 Columbia Hot Jazz Classic is a re-release of records from the 1930s and 1940s. The records are quite worn out, the quality is so-so – it is the tape re-recording with all the ensuing losses. Musically, Billy’s tandem with Wilson is great, never later was she so lucky with her partner.
From the point of view of musicality, the recording is great. By the mid-1950s it is almost impossible to find tracks on the LP recorded with such warmth and expressiveness, in the 1960s studios with such a sound were already absent, as a class. The record itself is ruined by bad needles. However, if you listen to it on a old tube system, a warm, enveloping sound fills the room so that the cracks will not interfere at all. Oscar Peterson is young here, his fingers are not clogged with cliches, and the most important thing – maestro does not play too fast passages, which makes a very pleasant impression.
Sound quality is very good for 1960, the vibraphone is excellent. There is somewhat lacking of overall clarity, but jazz club atmosphere is very pleasant and above all – how great the Pyramid performed!
The record lacks the bottom support and has problems with the sibilants, but Billy’s voice is quite lively and in a good shape. The songs seem to have been recorded in the mid-1950s, since by 1958 the singer's voice was already quite harsh.
Recorded in the 1940s, Billie is exquisite and unique. After her songs, you want to turn off the sound and sit in silence to cool down and it seems that it is simply impossible for a singer to be so truthful and convincing. Good Morning, Heartache… I bow my head in admiration.
NEW – Energophone take – 28-02-2020
Compilation of records of the 1930s, the record in decent condition, light cracks are present. The golden period of the great Billie Holiday's work.
A special record by its nature. Andantino creates a wary, mystical mood — a surreal atmosphere that keeps you in suspense until the very end of the concert.
RTU RSFSR 618-57 – the record is similar to the TU-1kl of the early 1950s — all the music in the palm of your hand. The Oistrakh’s violin is crystal clear, rhythmically and dynamically adjusted, melodic. Kondrashin’s orchestra is also on its top.
When we’re listening to Charlie Parker through the Internet, it is difficult to understand why they call him The Bird – the digitization muffles the unique sound of his instrument and inspired passages. Initially substandard recordings are also interfered – there were only two illustrative tracks among five LPs, I placed them at the beginning of the collection. These beautiful melodies allow you to appreciate the genius of the Bird. I wonder where is he flying now.
Parker's early recordings on Dial are full of drive, inspiration and craftsmanship, the quality of the shellac originals is above all praise. Unfortunately, it is not possible to get these 78 discs, and vinyl reissues presented here sound by all criteria worse. At Pickwick, all records were passed through the reverb, but even such recordings with a competent remastering often sound preferable and give a better idea of Parker's playing than technocratic digitizations from the originals on YouTube, so let them be here. Maybe someone will love them, as I once listened to this particular Pickwick album and fell in love with the music of "Bird of Paradise".