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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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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Charlie Parker – blue star 6811, 1951 LP rip

NEW – Energophone take – 19-05-2020

French reissue from 1940s Dial Records. Miles Davis plays trumpet, and Dodo Marmarosa plays grand piano. Bi-bop of the highest standard at the peak of its popularity. Audiophile Lo-Fi sound, precise and clear, without artificial additives, especially the first four tracks of 1946.The cool sound of the Davis trumpet is worth mentioning too.

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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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