Particularly if the beer in this case, the great work of Gert Palmcrantz is unusually good. If you're familiar with , you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Nat King Cole at the Sands is killer, but I may just be inflicting my own bias on y'all. After I was convinced that I had completely familiarized myself with the sound of the record, I eliminated the record from the comparisons for that day. Recorded in 1976 at the Jazzclub Stampen in Stockholm - it's still alive to be visited - this is an expression of best sound mastering and a high quality original recording from nearly four decades ago.
. The fact that the simply recorded original tape for the recording discussed below underwent some remixing before the first stamper was made back in early 1977 could provide us with some evidence that he might be right. But why so many versions? Suffice it to say that it was recorded live before an audience in a club in Sweden in 1976, and it is widely regarded as one of the most natural-sounding jazz recordings of all time. This includes those who do not use tube electronics--which are generally softer but brighter; 2. Perhaps that's why I gave those Stax phones to a buddie who needs headphones for late night listening. I dread to think what would have resulted had another sound engineer multi-miked this session. Meanwhile the vibes have begun to shimmer in the background, adding another convincing level to my appreciation of the sound picture that's presented.
You're not actually sitting in some Swedish jazz club but who cares. It is hi-fi grade elevator music. However, to expand our offerings and develop new means to foster jazz discovery we need your help. Hope to see you there. Pianist Bengt Hallberg, usually an extremely delicate and very measured player, was obviously affected by the general ambience, and here and there cuts loose with awesome force. If you have a long-time familiarity with Pawnshop, my strongest recommendation would be to buy both and keep the one that appeals to you more.
Ultra High Definition 32-Bit Mastering! To me the music has always mattered the most. So, what did I find? It comes with previously unreleased material, a booklet in which a charmingly modest Palmcrantz very amusingly tells just how he did it. Maybe when Jazzfan gets back home, he'll have some in-print demo-quality discs to share. I've seen and heard many of the greats, like Benny Carter, Miles Davis, Ornette Coleman, Sonny Rollins and others, so I can usually tell the good ones from the bad. As always, I welcome your comments and questions regarding my articles on reissued music. Jazz At The Pawnshop is gloriously recorded.
BluesDaddy, Those are words to live by sir, just always try to keep that in mind. I just couldn't resist putting you on about the gratuitous excuse for not paying for them. Quote: Two points, Jazzfan: 1. But those glasses clinking sure do sound real. I'll be honest, I'd rather listen to great music on not so great equipment then crappy, unengaging music on audiophile state of the art. Personnel: Arne Domnerus: alto saxophone, clarinet; Bengt Hallberg: piano; Lars Erstrand: vibes, marimba; Georg Riedel: bass; Egil Johansen: drums.
The ambience of the club is beautifully communicated in the recording. For one thing, image size is downright puny. I've sat in the fabled Village Vangard, less than 10 feet from the likes of Keith Jarrett, McCoy Tyner, Don Pullen and many others, so I know the sound of a small club. Why, oh why, isn't there an audiophile approved live recording of the great Louis Armstrong. Struttin' with some barbeque 6. Depending on the caliber of the playback system you might even need an umbrella for the rainy sections. His lecture about calypso ranks with those black and white hygeine films from my childhood.
Wait, no, I have an even more incindiary comment for ya: Harry Belafonte at Carnegie Hall is less musically involving than those Saturday Night Live skits with the two music teachers doing medleys of obtusely related pop tunes. Amazingly, for a small country such as Sweden, the record sold more than half a million copies and still sells, at a rate of around 4,000 copies annually. Was this review helpful to you? Indeed, no matter what time of day I put this record onto my turntable, I'm immediately transported to the Pawnshop Club in Stockholm, I imagine low lights, a happy crowd, and the waiter is just about to serve me a single-malt Scotch over ice. The buffer can be filled without problems and to fake a recording is not that easy - just my opinion. How unnatural it sometimes sounded through some highly touted moving coils, but how effortlessly and rightly the Shure tracks it. So, go ahead and: Dim the lights. This could turn out to be fun.
The recording has developed something of a cult following among those in the know, and for good reason. Retrieved May 02 2019 from If you're a passionate audiophile who's read my two earlier installments on this theme, you have a feel for this writer's attachment to quality sound and music of nearly all varieties. The glossy, hard-cardboard case opens up in four sections, an inner sleeve fastened to each segment, within which lie the discs, each in its own static-free liner, the whole affair further housed in a handsome slipcover. I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. Producer Jacob Boethius and recording engineer Gert Palmcrantz made the album on location at the Stampen Pawnshop Jazz Club in Stockholm, Sweden in December of 1976. I'd bet that you could find it at a lot of used stores for a much more reasonable price, however. The Armstrong discs are indeed audiophile worthy efforts and although they are from later in his career they are still very fine, wonderful and enjoyable recordings.