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

When we’re 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 the Bird. I wonder where is he flying now.

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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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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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John Coltrane – Love Supreme, 1965 LP mono rip

NEW – Energophone take – 17-05-2020

Digitally remastered Impulse of 1986. The magic of the album is preserved but the timbres are liquid. ALS is the best avant-garde album – the last period of Coltrane's work and the best line-up he's ever played with.

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Milt Jackson, John Coltrane ‎– Bags & Trane, 1961 LP mono rip

Warm, jazzy atmosphere of Atlantic studio, Hi-Fi 1950s. Coltrane is clearly out of shape and out of luck with the microphone, frequently blowing into idle. The rest of the participants are on top.

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John Coltrane ‎– Stardust, 1963 LP mono rip

Japanese reissue of 1984, thin, flexible and light LP with convex sides, such a pity. The tracks were recorded on Prestige in 1957-58, a collection of ballads was published in 1963 and sounded accordingly cool in the original. The Japanese certainly did their best, but they only got technical Hi-Fi. The Jazz, scrubbed and combed, was dejected, but not dead — Coltrane is in good shape, and so are his sidemen. I wish I could listen to the original though.

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John Coltrane ‎– The Last Trane, 1965 LP mono rip

Recordings from 1957-58, first released on Prestige in 1965 in stereo. Solidity in the sound is absent as a class, its remnants most likely died when they were translating tracks into stereo. But the Prestige studio of the 1950s is still audible and delivers in the middle range at its top, the hot jazz atmosphere is present and Coltrane’s sax is great.

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Charlie Parker – blue star 6811, 1951 LP rip

Energophone-II Full Range take

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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Lester Young Trio, 1951 LP rip

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.

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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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