Oscar Peterson was a virtuoso, but he was not distinguished by the subtlety of his improvisations. He was far from the exquisite style of Wilson and Gardner, but he was not discouraged and was popular, like none of his competitors. His speed cliches are predictable and boring, but where Peterson doesn’t try to play fast and for some reason holds back his temper, he’s not bad at it. Peterson’s piano sounds full-fledged and sometime you can get purely audiophile pleasure from it, while omitting the jazz aesthetic.
The orchestra recorded poorly, but the piano is of audiophile and musical value, and the percussion is perfectly recorded in the Cubana Chant with a separate microphone.
Here you will find precise descriptions of unusual Lo-Fi audio technologies, as well as excellent music restored from old vinyl and shellac records.
Monk’s Music, 1957 LP
NEW – Energophone take – 14-05-2020
The original Riverside record, it is a bit harsh, but “Ruby, my dear”, where Coleman Hawkings soulfully improvises, was a great success.
Thelonious Monk’s Dream, 1963 LP
NEW – Energophone take – 16-05-2020
Monk is an extremely unusual type, worthy of the closest attention. His style I would call not Bebop, as it is customary, but Punk-Jazz. Once a beautiful Columbia studio, it is difficult to recognize it here: hard, aggressive notes have appeared in the sound, the fullness of the 1940s has sunk into oblivion. But Monk doesn’t care about anything, good guy.
Count Basie and his orchestra, 1957 LP
German 10 ‘ LP Brunswick. In the 1950s, the original 78 rpms were remastered on LP by Decca, then Brunswick copied them from the Decca. The record is in decent condition, the orchestra sounds harsh, which is usually associated with re-recording 78x originals on an LP. Basie is fine, playing to his heart’s content and enjoying life.
Erroll Garner Vol.1, 1950 lp
Fine Lo-Fi recording, 10 ‘ Savoy LP, recorded in 1950 from 78 rpm originals of 1945. The record is thoroughly worn and makes a lot of noise. A typical example of the sound quality of the LP of those years. Garner is good – expressive, relaxed and positive as usual.
Teddy Wilson and Piano Pastries, 1952 LP
Lo-Fi recording transferred to 10 ‘ LP from shellac sources by Mercury. The record is worn so that there is not a single living shine left on the tracks, the surface is matte gray. The recording sounds like it was recorded on an old cassette player, especially the gorgeous Sweet Georgia Brown. Wilson, despite everything, is still very well alive!
Teddy Wilson and his piano, 1950 LP
Lo-Fi recording, transferred by Columbia to LP from shellac sources. In parallel with such 10 ‘long-playing records, 10’ albums of 78-rpm records were released. The recording on shellac was more full-bodied and expressive, but something remained even on the LP. Despite the extreme technical imperfection of the recording, Wilson’s drive is well felt and pleasantly excites the nervous system.
Stan Kenton – Artistry Jamps, 1950th LP
The “Battle of the bands” compilation would have been nothing if it hadn’t been for this track, which was surprisingly inspired and recorded on very interesting, unusually clear-sounding equipment. The sound engineer can be blamed for overloading the orchestral tutti, but what a perfect piano turned out and how it perfectly sounds. What a clean, expressive saxophone and energetically charged rhythm section!
Chet Baker With Strings, 1954 LP
Philips B 07034 L mid-1950s (original album-Columbia, 1954), the condition of the disc is below average. From an audiophile point of view, it is interesting to listen to “You don’t know what love is” where the accompanying orchestra is recorded cleanly and clearly.
Flat spring tonearm
Precision tonearm based on a flat spiral spring for high-quality playback of warped 78 records. The design allows you to follow Vector orientation of the tonearm parts as accurately as possible and, as a result, achieve high clarity of the sound of the system as a whole.