LO-Fi audiophile sound. Young’s sax can be a little harsh, while Nat King Cole’s (Eye Guy) grand piano and percussion sound great everywhere.
Jazz
Jazz At The Philharmonic – vol. 2, 1957 LP rip
The jam session was recorded in 1946, released only in 1957, which is probably why the record sounds too harsh for the 1940s. In musical terms, everything is played somehow not smoothly. The recorded track is a fragment of a performance, where Lester Young begins on tenor, then Charlie Parker picks up on alto, and Willie Smith ends, also on alto. You can hear that compared to Smith, Parker has a lousy instrument. Packer was famous for constantly pawning his instruments and playing most of the time on anything but the ones he really deserved.
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Django Reinhardt, 1954 HMV LP Rip
Lo-Fi audiophile sound. In 1954, the English HMV released a series of records with Django remastered, all of them were somewhat sluggish, but the atmosphere of the 1930s was conveyed quite well on them, the sound remained soft and expressive.
Django Reinhardt, 1951 Dial LP Rip
Studio Dial is primarily famous for its magnificent recordings of Charlie Parker, Django recorded on it in 1943 and 1947, some of these recordings are presented here.
Django Reinhardt, 1967 French HMV LP rip
An example of a French remastering from 1967. Made not bad, but somewhat worse than the ACL’ job, the bottom is excessively clipped. The drive of Django and Grappelli is well conveyed, the clarity of the sound for swing is quite sufficient. Django performed the wonderful “I’LL See You In My Dreams” in a trio with Emmanuel Soudieux (double bass) and Pierre Ferret (rhythm guitar).
Django Reinhardt – Stephanie Grappelly, 1964 ACL LP rip
Remastered by Ace of Clubs from the 1938 Decca shellac originals (except Liza 1946 and H. C. Q. Strut 1939). For 1964, the remastering is very decent. The golden period of Django and Grappelli, the very hot juice.
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Reinhardt – Grappelly – Bechet, 1960s LP rip
An example of remastering of Django and Bechet on the German Decca of some philophonist club. A thin 10″ plate with convex sides, most likely the late 1960s. The Bechet originals are a real audiophile Lo-Fi, recorded with overloads that give an extra drive, you can imagine how powerful it sounded in the original source.
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Sarah Vaughan – Hot Jazz, 1953 LP mono rip
Records from the 1940s, noisy 10 ‘ Remington-RLP-1024, fresh Sarah. On Mean To Me, the intro is played by none other than Charlie Parker, and Max Roach drums. Trumpets by Dizzy Gillespie, quite warm company.
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Sarah Vaughan, 1955 LP rip
Reissue of 1974, the sound is somewhat clamped, but a good studio of the 1950s and good sound engineering still please the ear. Sarah is a little muffled, except for it’s crazy. Percussion and trumpet sound great almost everywhere. In general, the album makes a normal, background impression, somewhat hindered by Sarina’s cliches.
An evening with Billie Holiday, 1953 LP rip
NEW – Energophone take – 28-02-2020
Studio recording by Clef Records in 1952. The record is jaded and makes a lot of noise. Billy is not as fresh as in the 1930s, but it only gives a deeper meaning to her interpretations.
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