The plates are quite worn out by the housewives of post-war America, but they bring the timbre and intonation of Sinatra like no other source. The atmosphere of those years is conveyed perfectly.
Remastering from shellac records
Django Reinhardt and Stefane Grappelly, 1935-1938 Decca personality series 78prm shellac rip
The post-war reissue, to estimate the loss of reissue clarity you can compare it with Honeysuckle Rose and Night and Day on the Ace Of Club vinyl, losses are definitely great. Well, Django himself – one of a kind, no one except him could not and can not extract from the acoustic guitar such a dense and expressive sound. The same can be said about Grappelli's graceful violin, as if created for a swing.
Soviet records – vocals, 78 rpm shellac rip
Amelita Galli-Kurchi and Lucretia Bori are so good that even in copies they still full of life and emotions, I doubt that in our time there are stars of this magnitude – digital recording and mic singing does not contribute to this. Obukhova and Chaliapin perform the famous elegy on an equal footing, it is difficult to give preference to someone, although, after all, it is Chaliapin. Partly because Obukhova is not so clearly recorded.
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J.S.Bach — Concerto in A minor— Guberman, Dobroven — 1934 78rpm shellac rip
A prefabricated set of records from the 1930s, the first record sounds clearer. The orchestra is written so-so, the violin is amazing. Guberman is considered not only a virtuoso, but also a great interpreter.
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J.S.Bach — Concerto For Two Violins — Szigeti, Flesch – 1937 78rpm shellac rip
A compilation of records from different sets, the first record from the United States is recorded with serious loss of clarity, the sound of the second, English version is great, but it is printed on a crackling mass of English HMV. In the first movement, you can appreciate the Szigeti violin with its emphasized upper formant, somewhat angular and beautiful in this angularity. Thanks to the efforts of American technicians, the Flash instrument sounds helpless, and only at the end of Largo and in the final it becomes clear that two equally great masters are playing, and their instruments are as good as their masters. It should also be noted that the orchestra is well-coordinated, emphasizing the expression of the allegro.
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J.S.Bach — Concerto For Two Violins — Jascha Heifetz , 1952 78rpm shellac rip
Both parts are recorded by Heifetz using an overdubbing. The recording is considered a failure, in my opinion, because of the relatively dull sound and the unsuccessful first movement: the tempo is too high, the orchestra plays monotonously, the violins do not differ in tone or style. I think because of this, many people never got to hear Largo, the first half of which is played and recorded musically perfectly. In the second part of Largo, the violins lost their voice, but the finale is recorded very well-expressively and with mood.
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J.S.Bach — Concerto For Two Violins — Yehudi Menuhin, Georges Enesco – 1932 78rpm shellac rip
Only the first record is present from the set. The orchestra sounds a little heavy, but Menuhin's violin is recorded elegantly – touching, soft and intonated, it is for this sound Menuhin loved by his fans. The Enesco instrument sounds calm and muted, the teacher does not interfere with his protege.
J.S.Bach – Concerto For Two Violins – Fritz Kreisler, Efrem Zimbalist – 1915 78rpm shellac rip
Re-release of the 1930s, two records from different sets – the crackling HMV and the clean Electrola. Unique 1915 version of the concert – acoustic recording with chamber accompaniment, which preserved unusually merged consonances and chords, built by two beautiful violins and a quartet. The narrative is on the rise – setting the mood for vivace, then the extraordinary beauty of Largo and the passionate, divine Allegro at the end.
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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Prewar USA pop orchestras, 78rpm shellac rip
American pre-war records with very good sound. Clinton has a great chorus of saxophones, the orchestra is good, but Bea Wain sings so-so, Ellington orchestra emits a powerful rhythm energy with perfectly played and recorded solo on the clarinet in the middle, Ella lively and perky, can be compared with the previous version. The last two records – subtle tenors, fashionable in the 1920s, The Westerners – acoustic record, the most intelligible, but its charm in digital form is almost completely lost.
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