Charlie Parker : Why the bird? – 1950th Mono Vinyl Rip

When we 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 Bird. I wonder where is he flying now.

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Charlie Parker 1947-1949 Dial and Live Broadcast – Mono Vinyl Rip

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".

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Miles Davis and John Coltrane, 1957-1959 LPs mono Rip

A remarkable period of Miles Davis and John Coltrane cooperation, the records are more than good, even russian perestroika copy album and the German 1980s reissue of Relaxin' sound good . Miles's muted trumpet sounds natural, I would also strees your attention on Red Garland's cool piano sound in Oleo and If I Were A Bell.

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Benny Goodman and his orchestra, 1936-1947 78rpm shellac rip

The Goodman Orchestra at the height of its fame – dance melodies that do not claim to be sophisticated or refind. Vocals by Helen Foster, Peggy Lee and Martha Tilton.

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Coleman Hawkins – 1940th 78rpm shellac rip

Hawkins plays and sounds very good. The lovely LO-FI disks of the 1940s are mostly worn out, especially "Mop Mop" with Art Tatum's chic solo.

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Violin Electric recordings, 78rpm shellac rip

Young Menuhin and Oystrakh are inimitable, Oystrakh has a unique interpretation of Scriabin. Kreisler is amazingly good at showing the despair of the second part of Brahms's concerto, Tchaikovsky of 1946 Przygoda is as expressive as it could be. Oistrakh-Yampolsky-Oborin’s 1950s recording quality are no longer as beautiful as prewar ones, but Oistrakh's violin still sings excellent, especially in the "Reflection". Goldstein is an example of a great Soviet recording of the 1930s, unfortunately the record has some cracks.

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Violin acoustic recordings, 78rpm shellac rip

The great violinists of the early 20th century: melancholic Vasa Prihoda, refined Misha Elman, Jan Kubelik – the great phrasing master, the effortless-bow of Erika Morini and the pedantic style of Eugen Ysaye. Together with Kubelik sings unforgettable Nellie Melba.

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Jascha Heifetz acoustic recordings, 1917-1920 78rpm shellac rip

Little Yasha Heifetz was able not only to show off at unattainable for others tempo, but had a quite sofisticated taste and sounded beautifully. It is well audible on Ave Maria and Spanish dance. Common remasterings are often dull this moments but here you can feel it as good as it should be.

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