Jazz LPs from the 50s and 60s

[CapMan]

I really love jazz albums from the mid 50s to mid 60s. I think that perhaps it was the convergence of the right technical apparatus and recording techniques with top-rate musicians who were very, very comfortable playing live together and recording as a single unit. They performed multiple sets each day, every day in clubs - it was second nature.

I know the recordings are flawed in some technical ways, but those old albums have such an authenticity to them, wonderful dynamics, warmth and superb feel.

At a technical level - perhaps a little distortion adds to the joy of listening?

 

[levimax]

While the Blue Note music this from this era is some of my favorite the original LP's are going for huge money.... some for many thousands of dollars. I actually like the original "McMaster" CD's , they got a bad rap from some audiophile gurus which is not deserved. They are more or less flat transfers of the master tapes, warts and all, and can be had for a few dollars.

 

[Joe Smith]

I agree. I treasure the ones I have as LPs, because prices do keep going up. Fortunately, the remastered CDs sound very good too. I also treasure my couple of red vinyl Fantasy label albums from that period - great sound.

 

[CapMan]

I try to seek out the JVC CD remasters from the 90s on discogs.

 

[Timcognito]

Anything recorded by Roy DuNann

The Search for Roy DuNann

Roy DuNann

jazzprofiles.blogspot.com

 

[CapMan]

Anything recorded by Roy DuNann

The Search for Roy DuNann

Roy DuNann

jazzprofiles.blogspot.com

From the article

“My respect for DuNann's achievements reached a new level in spring 2001, when I received a batch of Contemporary titles on the JVC XRCD label. They included classics like Art Pepper + Eleven, André Previn's West Side Story, and, yes, Way Out West.”

That recording of Art Pepper + Eleven is extraordinary. I have the JVC XRCD - its a brilliant remaster.

 

[Timcognito]

That recording of Art Pepper + Eleven is extraordinary. I have the JVC XRCD - its a brilliant remaster.

Then you must get Curtis Counce's "You Get More Bounce From Curtis Counce" if you don't have it.

 

[CapMan]

Then you must get Curtis Counce's "You Get More Bounce From Curtis Counce" if you don't have it.

I will get that fired up right now

 

[CapMan]

Then you must get Curtis Counce's "You Get More Bounce From Curtis Counce" if you don't have it.

Great recommendation - thank you, and beautifully recorded . 1957 - just wow !

I’d encourage everyone to take a listen - 65 years ago this level of quality was possible. No loudness war compression, proper dynamics - quiet bits and loud bits that have a real punch. A band that can jam together in a studio.

When you listen to this, you might start to think we have lost as much as we have gained in music reproduction over those years

 

[Timcognito]

beautifully recorded . 1957 - just wow !

Look for DuNann and artists you like. On Discogs one search Contemporary label, and DuNann. I do like the JVC versions but the OJC ones are good too! Most of the Shelly Mann stuff is good and everyone loves Rollins Way Out West.

 

[CapMan]

Question - do those old stereo albums with very heavily panned left right mixes sound so good because the individual instruments are almost playing as mono ? I remember @amirm talking about it being easier / better to test speakers in mono.

I just wonder if it’s similar with these old stereo records…

 

[CapMan]

Look for DuNann and artists you like. On Discogs one search Contemporary label, and DuNann. I do like the JVC versions but the OJC ones are good too! Most of the Shelly Mann stuff is good and everyone loves Rollins Way Out West.

The Shelly Mann and His Men recordings
Live at the Blackhawk are memorable for sure

 

[Timcognito]

Question - do those old stereo albums with very heavily panned left right mixes sound so good because the individual instruments are almost playing as mono ? I remember @amirm talking about it being easier / better to test speakers in mono.

I just wonder if it’s similar with these old stereo records…

Well DuNann modified and used only two Neuman mics and modded his mixing board, so I'll bet stereo is is best.

 

[CapMan]

There is a great book called “Perfecting Sound Forever” - in one section Sir George Martin talks about recording a tribute album to The Beatles featuring some Famous guest rock bands . He was dismayed that some struggled to record a decent take playing live as a band, needing upwards of 20 attempts to get it right!

 

[mhardy6647]

Then you must get Curtis Counce's "You Get More Bounce From Curtis Counce" if you don't have it.

Even if only for the cover art.

 

[Chazz6]

Thelonious Monk's 1963 Criss Cross is just amazing out of Spendor A1 speakers. The A1s made such a difference in realism and smooth dynamic range. In these respects this album on these speakers excel over all my .flac files. The music gives you a feeling that you have direct insight into Monk's mood, which is pretty disciplined here.

The staging is very sensitive to the amount of toe-in.

The album was recorded in a Columbia studio, mixed and mastered by unnamed Columbia engineers. I doubt they agreed with Rudy Van Gelder's methods.

You can hear someone, presumably Monk, mumble on "Don't Blame Me." Perhaps the engineers eliminated as much of it as they could; at listening distance it is a bit of noise, but close to a speaker, it is clearly a voice.

 

[Snoopy]

I think it has to do with how they placed the microphones back in those days.. there are some of these older recordings that sound so realistic.. like you are there in the crowd when suddenly someone caughs, clapps the hands or mumbles something in the background.

I noticed this often with live recordings from the three blind mice label out of Japan. Hiss and tape noise is often present here and there but the realism is unreal.

 

[Waxx]

The old consoles and tape machines had very little tracks at that time (1950's), so it was more recorded with room mics to catch many instruments in one microphone than close miced like today is (too much) done. Rudy Van Gelder (Blue Note) mentioned in many interviews that untill the early 1970's most recordings were mixed live to 2 track, mixed on the spot and that there are no multitrack recordings of those sessions. He had 6 channels on his Altec 230B console untill 1956, and after that a custome Narma 10ch tube console and recorded straight to mono and stereo at the same time on Amperex 300 tape machines (one mono, one stereo). It's only in 1970 that he really started to use multitrack recording.

 

[Waxx]

I think it has to do with how they placed the microphones back in those days.. there are some of these older recordings that sound so realistic.. like you are there in the crowd when suddenly someone caughs, clapps the hands or mumbles something in the background.

I noticed this often with live recordings from the three blind mice label out of Japan. Hiss and tape noise is often present here and there but the realism is unreal.

He used a mix of modified (lower gain) Neumann U47's and KM54a's, Schoeps (M 221B, CM 51/9) SDC's, Western Electric (633, 639) and RCA (44DX, 77DX) ribbons and EV dynamic microphones. The ribbons were more used in the early years, the german condensor microphones came later and took most over but not all. The dynamic microphones were used where needed (drum close micing where needed)

Those are all legendaric microphones that are still in use and sold for ridiculous prices on the second hand market. Schoeps and Neumann are stil with their actual lineup absolute toplevel on microphones for studio's and the Western Electric and RCA ribbons are cloned a lot and used a lot still.

And as he mixed live, the recorded sound must be good from start, so mic placement is key. He knew his space and it's acoustics and took time to do the placement right and that is what you hear.

 

[CapMan]

And as he mixed live, the recorded sound must be good from start, so mic placement is key. He knew his space and it's acoustics and took time to do the placement right and that is what you hear.

And the musicians knew how to listen to each other , play with sympathetic dynamics AND get a good sound from their instruments. Must have made it easy for Rudy