Columbia

J.S.Bach – Glenn Gould, 1960th USSR LP mono rip

Accord, Bach Johann, Classical, Columbia, Gould Glenn, LP Remastering, Piano
Anton Stepichev

On tour in the USSR Gould was recorded several times, including a live performance of the Three-Voice Inventions (1960) and a partita #2 (1962) with a well good LO-FI sound. Inventions convey the magic of the piano Gould better than studio recordings, we can only guess how great it sounded live. Rondo and sarabande from the second partita recorded somewhat tougher, there are noticeable detonations in the saraband. At the end of the list there are two finest Columbia 1964 studio recordings of inventions. The magic there is noticeably less.

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Bach Well-Tempered Clavier #1, Glenn Gould 1965 lp mono rip

Bach Johann, Classical, Columbia, Gould Glenn, LP Remastering, Piano
Anton Stepichev

Bach and Gould are made for each other. The language of heavenly beauty of the first and the stunning polyphony of the second are indescribable. The quality of the recording is not bad, the most clearly recorded tracks are selected.

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Prokofiev violin concerto №1 – Szigeti-Beecham, 1935 Shellac Rip

Beecham Thomas, Classical, Columbia, Prokofiev Sergey, Remastering from shellac records, Szigeti Joseph, Violin
Anton Stepichev

Argentine Columbia, a 1940s reissue. A great version of the concert, the sound is soft, expressive though somewhat muffled and smoothed. Shigeti plays impeccably.

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Prokofiev Violin Sonatas – J. Szigeti, 1950 LP Rip

Classical, Columbia, LP Remastering, Prokofiev Sergey, Szigeti Joseph, Violin
Anton Stepichev

Audiophile Lo-Fi! Szigeti differs from his colleagues by unusual, harsh sound production and broken, accented phrasing, and it is always interesting to listen to him. The sonatas are recorded with surprising musicality, the first one is better balanced, the second sounds more clear and sharp. The andante of the second sonata stands out with its melodic sound, it seems that you can look directly into the soul of Szigeti, or maybe Prokofiev, who knows…

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Haydn – Sonata No. 3 In E Flat Major – Glenn Gould, 1958 LP rip

Classical, Columbia, Gould Glenn, Haydn Joseph, LP Remastering, Piano
Anton Stepichev
NEW – Energophone take – 28-02-2020


Clear, faceted Haydn, high-quality record. Gould is out of competition.

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IS Bach, Concerto No. 1 In D Minor – Glenn Gould, 1957 LP rip

Bach Johann, Bernstein Leonard, Classical, Columbia, Gould Glenn, LP Remastering, Piano
Anton Stepichev


The recording is complex in sound, the piano does not fit well with the harsh-sounding Bernstein orchestra. The remastering conveyed the drama laid down by Gould as truthfully as possible. It is immortal concert, for all time.

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Édith Piaf – Encores, 1951 LP Rip

Chanson, Columbia, LP Remastering, Piaf ‎ Édith
Anton Stepichev

Good Lo-Fi sound is a clear, somewhat harsh. Orchestra and choir conducted by Robert Chauvigny. An unusual interpretation for a jazz lover of Autumn Leaves, which is difficult to evaluate from the first time.

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Édith Piaf ‎– Chansons Parisiennes, 1949 LP Rip

Chanson, Columbia, LP Remastering, Piaf ‎ Édith
Anton Stepichev


Lo-Fi audiophile sound. C’est Merveilleux perfectly conveys the smallest nuances of Piaf’s unique voice. And how many of them there are, these nuances! La Vie En Rose – a tape copy of the original with serious loss of clarity of sound.

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Charlie Byrd ‎– Brazilian Byrd, 1965 LP mono rip

Bossa Nova, Byrd Charlie, Columbia, LP Remastering
Anton Stepichev

Hi-Fi Brazilian sound of the 1960s, Excellent studio – the sound is clear and intonated. Corcovado is recorded almost flawlessly, on the other tracks there are noticeable errors in the tuning of the equipment — light overloads in some channels of the orchestra accompaniment and outright overloads in the channel of the guitar Byrd, in which the compressor is also unjustifiably rudely involved. Despite this, the recordings look interesting. Byrd’s chord technique and improvisations are on top.

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Doris Day with Harry James, 1950 mono LP

Columbia, Day Doris, Jazz, LP Remastering
Anton Stepichev


Harry James liked to have a lot of notes in his solos, but he often forgot to make sense of them. The sound of his trumpet is harsh, and the accompanist is not very good, at least not on this disc. There is an exception – Limehouse blues with his muffled trumpet solo.
The recording for 1950 is not quite successful, Day’s voice is somewhat clamped, but Day’s sexy intonations are almost completely preserved, the muffled trumpet sounds are dense and energetic.

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