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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Django Reinhardt and Stefane Grappelly, 1935-1938 Decca personality series 78prm shellac rip


The post-war reissue, to estimate the loss of reissue clarity you can compare it with Honeysuckle Rose and Night and Day on the Ace Of Club vinyl, losses are definitely great. Well, Django himself – one of a kind, no one except him could not and can not extract from the acoustic guitar such a dense and expressive sound. The same can be said about Grappelli's graceful violin, as if created for a swing.

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Charlie Parker & Lester Young – 1950th 78rpm shellac rip

In my opinion in jazz there were two saxophonists who talked to God on equal terms – it's Charlie Parker and John Coltrane. Parker's recordings presented here were made in 1952, during this period of creativity in almost all Parker’s improvisations feel a piercing sadness – two years later he will die at the age of 34. Young’s records are a wonderful LO-FI of the early 1950s. After the shake-up caused by Parker's play, Young acts soothingly, aided by the characteristic sound of his saxophone's lower register.

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Prewar USA pop orchestras, 78rpm shellac rip


American pre-war records with very good sound. Clinton has a great chorus of saxophones, the orchestra is good, but Bea Wain sings so-so, Ellington orchestra emits a powerful rhythm energy with perfectly played and recorded solo on the clarinet in the middle, Ella lively and perky, can be compared with the previous version. The last two records – subtle tenors, fashionable in the 1920s, The Westerners – acoustic record, the most intelligible, but its charm in digital form is almost completely lost.

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Billie Holiday ‎– Solitude, 1956 LP mono rip


The album is a prime example of Clef's recordings in the mid-1950s. The wholeness of the sound is somewhat lacking, but on successful tracks the vocals are still clear and tremulous – "You Turned The Tables On Me" and "You Go To My Head" are recorded cleanly and sound comfortable, in the second case only the piano failed.

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Billie Holiday – vol1, 1954 Jolly Roger LP mono rip


Re-release of 1930s-40s records on the pirate label Jolly Roger, 1954. The recors are cut from home made tape copies with very large HF losses, which can be estimated by listening on YouTube to the one remastered from the original tape – I’ll Never Be The Same. I didn’t want to mess with such LP, but then I decided to leave it as an example, and the songs are good, the best times of the great Lady Day. Also listen to Teddy Wilson’s solo on the same I’ll Never Be The Same, it is a balm for the soul. What a pity I have no original.

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Billie Holiday, 78RPM vinyl Rip


Rare 1940s 78 records of the Navy and the U.S. Army: light, thin and flexible. Sound is full and melodic, Billy is inimitable.

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Louis Armstrong with Earl Hines, 1953 LP RIP


Acoustic recordings of 1928, French remastered Odeon. Not that I liked Armstrong, but rather the magic sound of the music box in Basin Street Blues hooked.

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Billie Holiday ‎– Music For Torching, 1955 LP Rip

Clef, as always, has carelessly recorded trebles, someone there liked to twist the sibilants to the maximum. The record as a whole sounds sharp and harsh on the forte. You can abstract from the distortion when listening to good equipment, remastering Back To Music allows you to do this without any problems. Billy sings most emphatically in “It Had To Be You” and “I Don’t Want To Cry Anymore”.

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