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HiRomy The Cat most generously lent a test CD engineered/restored lovingly by A. Liknnitsky (see link) - the transfers of the 78's retain their intrinsic surface noise BUT are on order of several magnitudes better musicially than anything I've heard on 78 dubs to LP or Cd and these perceptions were with a less-than' "reference" quality system - when a 1912 Chaliapin performance raises the hair on your head and has more bandwidth than you've experienced with acoustic phonograph,or any of your Lp/Cd dubs you instantly wonder if a lot of music has been "lost" though too much 'brickwall" filtering, etc. (btw-most of my Chaliapin Lp's/CDs sound almost underwater in comparison)
I realize the engineer faces difficulties both in work and with the market but in many cases suspect a 'minimalist' approach to filtering would serve music better than certain automated systems whether analog or computer-based to de-hiss/click, etc. IMO it stands to reason that attempts to get a lower noise floor than the original discs exhibit in their stylus/surface interface throws out "baby with bathwater" and destroys the timbre.
Why weren't/aren't Satchmo,Casals, etc tranferred like this? - are there other examples of full harmonics of old/great performers being preserved to CD format? - there should be enough 78's left in the world assuming demand. Is this partly the fault of the consumer? - I rather have some surface noise (and in the case of tapes - hiss) and hear these precious artists than get a cold/2-D rendering.
It would be very useful for the music lover to have lists both 'classical' and 'popular'of the dubs which really preserve these great artists. Might some of you give some examples?
Freddy
There is a 1939 Mahler 4th symphony conducted by Mengelberg on Iron Needle. I can't tell from the notes whether any filtering was used, but I have heard two other transfers on other labels in which most of the surface noise has been filtered out, and the Iron Needle doesn't throw the baby out with the bath water. It's almost like being there, only with surface noise. Remarkable.
I think the perception of record companies must be, especially in the CD era, that surface noise is the great villian and is to be minimized no matter what. Probably for the mass market, they are right. Who in their high tech mind wants to hear surface noise? That said, at least on a couple of recordings I am familiar with, Pearl does not follow that rule but emphasizes the music. If you like the artists, try out their CDs of Paul Robeson and John McCormack. Very musical and superior to other versions which tried harder to get at the surface noise, but at the expense of sacrificing some of the musicality.
c
agreed - this is a generation not used to medium with surface noise - [love Robeson and McCormack - appreciate the references]has Pearl changed disc formula? - most of Pearl's CD's were gold in color and "greasy" - dangerous to handle without dropping - their Frederich Schorr Cd was decent but sound quality on Pavel Listisian was not so good for such a great voice- very pale representation - not sure of the problem - both Lisitsian and Boris Gymrya had LP's on MK's label which are breathtaking - they sound fully in the room and alive.... Gymrya was a fabulous bass-baritone!
The recordings are mono and from 1930-1938 but the presence is awesome. There is slight surface noise but it's been minimized to the background. Pieces included are Bach's Suite No. 1 for solo cello, Beethoven Cello Sonata No. 3 and Minuet in G Major and Brahms Cello Sonata No. 2. I was totally shocked at the tremendous sound quality of all the pieces on this disc. By far the best reconstruction of redordings from the 30's I've heard. What a wonderful introduction to Casals since I'd never heard him before!
steve
Hey Steve -thanks for the EMI Casals CD referenece - will certainly check it out.
best wishes,
Freddy
And anyone who comes to my place, agrees! The transfers have mostly been wretched, for two reasons: Too much attention paid to noise reduction, and no knowledge of how good the things can sound on a fully-tweaked, hi-rez hi-fi.clark
Hey freddyi, get in touch.
JSP Record's CD set's of Armstrong, & Jelly Roll Morton are VERY well engineered & cleaned up without losing any of the music.
Thanks CZ -I'll have to look into these CD's - are there some nice restorations of Sidney Bechet's work?- some on LP were very dull but still beautiful - the concerts from around 1951 and 54 a bit 'brittle' in digital sense on my CD's fomr the mid 1980's
Freddy
Ummm not sure re Bechet ... there are, I know, various CD's out, but since I've not heard them, I would hesitate to give an opinion...
The Morton set is quite well done, the clarity of the recording transfers is quite good and were made off as clean as possible copies it appears. There is some 78-type noise, but its in the back ground.
Several tracks on CD-1 of the set use a string bass instead of tuba as was common at the time (1926-27) and the Bass is well reproduced.
The Morton CD set is 5 CD's which includes issued records as well as alternate takes. It can be purchased either one CD at a time, or all 5 in one box.
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The Armstrong set is, in my opinion, of equal quality as the Morton set: well cleaned up, but without loss to the music and the performance quality.
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Remastering for JSP Records is by John R. T. Davies, who I gather is considered to be one of the best of the Remastering experts.
"Jelly Roll Morton: The Last Sessions; The Complete General Recordings"
: Issued on "Commodore Recordings" label.
:
This cd contain's Morton's final sides that were made for commercial sales. 25 tracks, of which 13 are Piano Solos. All tracks were recorded between Dec. 14, 1939, & Jan. 30, 1940
Remaining 12 feature (depending on Personaell used) "Jelly Roll Morton's Hot Six", "Jelly Roll Morton's Hot Seven". All band sides feature Henry "Red" Allen on Trumpet.
:
Some of the Piano solo's are: "Sporting House Rag", "King Porter Stomp", "Buddy Bolden's Blues", "Winin' Boy Blues", "Mamie's Blues".
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