Whatever Possessd Me - Dizzy Gillespie - My Way (Vinyl, LP, Album)
Continental [US]. Dizzy Gillespie and His All Stars. Lady Be Good - Klook Returns. Dizzy Gillespie and His Operatic Strings. Dizzy Gillespie Jazzmen. Here Come the Swinging Bands. Boyd Raeburn and His Orchestra. Charlie Parker. Bird and Dizzy - A Musical Tribute. Gonzalo Rubalcaba Trio. List of works Bird film. Years indicated are for the recording snot first release except for the film scores.
Johnson at the Opera House J. Johnson J. Sonny Stitt, Joyride Stanley Turrentine Reference Recording. Contemporary records do have a high content of naturalness. Even today many a Contemporary record can be qualified as being a true reference. Technical Data. Many record LP do print technical data on the back of their Whatever Possessd Me - Dizzy Gillespie - My Way (Vinyl just to impress the buyer.
Often these data are accompanied by an advertising slogan. The technical data mentioned on the back of Checkmate were there for advertising purposes, no doubt, but the mention of these data was really Album) and justified, and surely Lester Koenig wanted the buyer to know that his recordings were among the best a fan can get.
I had taken the wide frequency band of 30 to That stereo issue sounded rather thin. I realized that the cutting head was not yet able to engrave the same dynamics stereophonically. September The Stereo LP format was introduced in September worldwide. The Schwann catalog of that month and the editions of the following months show that the big companies had already been recording in stereo long before the introduction of the new format, and they were releasing discs, while most smaller labels, and jazz labels in particular, were late in releasing titles in stereo.
Nevertheless already LP Lester Koenig did produce his first stereo recordings. ByLester Koenig and engineer Roy Dunann were well aware of small sonic differences between mono and stereo discs which were displayed in the frequency band and the restricted dynamics. Maybe they were somewhat hesitant in issuing such recordings that might result in less favorable reviews. I guess that the stereo format did not meet exactly the standard set by Koenig and DuNann.
Meticulous as Lester Koenig was, he did not want the reputation of his Contemporary Records label be tainted by lesser quality stereo recordings. So he registered the Stereo Records label to release stereo recordings. Label, covers, and lay out of the back of the cover with the liner notes all were done in the Contemporary Records design, except that the front now carried an oval emblem with STEREO printed in black on a white background.
And on the back at the upper right corner, the line "In Association with Contemporary Records" was added. The Series. Schwann publications indicates that the "Stereo Records" label was first listed in the January issue that was available in December on news stands and in shops.
The label was listed as Stereo and in brackets was added 'in stereo only'. Schwann's list of stereo labels can be found on the last pages of the catalog. The releases had references in the series, the same used by Prestige which could have been somewhat confounding. The recordings appeared on the Contemporary label also but then in mono only.
An example is the disc Hampton Hawes: Four! Stereo Records was still listed in the early catalogs but was soon deleted from the list of record labels when the recordings became available in the Contemporary S Series.
The mono edition was issued in mono as Contemporary C Stereo Records S was later remastered and renumbered and issued as Contemporary S The mono edition was from December, S - Coop! I own At the Blackhawk 1, 2, 3 and 4. Nos 2, 3 and 4 have stamps on the back of the covers. The ink is smeared. As the sound is also somewhat thin, I suspect that these were the Album) issues on the Stereo label.
Volume 3 is also heavier normal. The labels of 2, 3 and 4 are black. Volume 1 has the later yellow Contemporary label. Now I have to check the stereo edition of Checkmate. Instrumental Realism. Making a live recordings in a club is something completely different from making a studio recording where producer and recording engineer can have full control over acoustics, the positions of the players, the sound can be tested and microphone placement can be meticulously adjusted, and if the musicians do not have the right spirit they just can go away and come back some other day.
Not so when an actual performance is to be recorded in Shelly's club in Hollywood. Then and there one must make shift with what one has. From the recording it is clear that there is no luxurious grand piano but a simple upright piano.
And an upright has a distinctive sound because the attack of the felt hammer moves the string with force towards the soundboard first. The reflection which is picked up by the microphone is primarily out of phase. In and Out of Phase. In recordings of a grand piano, microphones are often positioned left and right from the piano. And at least one microphone above or somewhat close to the strings.
There the felt hammer strikes from underneath and the mike s picks up the sound which is for the most part in phase. The intensity of the reflected sound is less and that reflected sound of course is out of phase with a minute time delay.
In an upright piano the sound board is in a vertical position and the space between the strings and the sound board is much smaller so there is less volume of sound. Now the felt hammer strikes in the direction of the sound board and the initial vibration is out of phase relative to the microphones, does not matter if these are positioned above the piano or in front when the lid is taken of.
Of course it is possible Album) connect the microphone out of phase, but only then if it does not mess up the characteristic of the complete sound recording. Primitive, but at the same time determining the atmosphere in the club. On top of that one can hear that during a few passages and solos the level of one of the microphones is adjusted to bring out the piano or another instrument better. One can hear, that at least in one instance in Cole Porter's melancholy "Ev'ry Time We Say Goodbye", the signal of the microphone placed near the piano, when a solo is played, is slightly increased.
That too tells the listener that this is a live recording. But there are more Contemporary titles on the shelves. A later title 'More Swinging Sounds' is from and - mind you - was already recorded in stereo. It has Russ Freeman's The Wind on it which is in some way foreboding the atmosphere of the Checkmate recording.
Whenever a Contemporary disc was spotted by me, it was bought. Too many examples. Add to wishlist Added to your wishlist. You can manage your wishlist here. You're not signed in You must sign in to manage your wishlist. Sign in. Customers also bought 9. Locomotive Arturo Serra SA Related products 9.
The Modern Sounds of A. Man with a Happy Sound Feat. The Magic Touch Audiophile gr. Out of stock. At Newport Vinyl Dizzy Gillespie Customer reviews. Start my Free Trial. Nate Chinen makes the argument that Kurt Elling is the most influential jazz vocalist of our time. JazzTimes Newsletter. America's jazz resource, delivered to your inbox.
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