Top Artists – Charlie Byrd

Charlie Byrd / Direct to Disc – Dark and Unnatural, Not My Idea of Good Sound

More of the Music of Charlie Byrd

More Jazz Recordings Featuring the Guitar

This is a very nice looking Crystal Clear 45 RPM Direct-to-Disc LP pressed on white vinyl. Out of the couple of copies we played, this one had the best sound. It had more clarity than the other copy, which sounded veiled and smeary.

I admit I never liked the sound of the record though. It’s dark and unnatural to my ears.  I would avoid it.

There are so many other, better Charlie Byrd recordings, why waste your time and money on this one?

Another example of an “audiophile” record with little in the way of audiophile merit.


FURTHER READING

Record Collecting for Audiophiles – 45 RPM Pressings
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Charlie Byrd – Mr. Guitar

More Charlie Byrd

More Jazz Guitar

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  • Mr. Guitar makes its Hot Stamper debut here with KILLER Shootout Winning Triple Plus (A+++) sound on both sides
  • Big, rich and lively, this trio is having a blast and we think you will too
  • Features Keter Betts joining Byrd on bass and Bertell Knox’s “deft touch” on drums
  • 4 1/2 stars: “A delightful trio outing with an adroit and light feel… Byrd’s playing combines jazz swing with influences from both Spanish guitar and classical music on a session comprised of both Byrd originals and covers, usually of Gershwin and Ellington

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Stan Getz and Charlie Byrd – Jazz Samba

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More Charlie Byrd

  • A stunning copy of Jazz Samba with Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
  • Exceptionally spacious and three-dimensional, as well as relaxed and full-bodied – this pressing was a noticeable step up over practically every other pressing we played
  • 5 stars: “[Jazz Samba] was the true beginning of the bossa nova craze, and introduced several standards of the genre… But above all, Jazz Samba stands on its own artistic merit as a shimmering, graceful collection that’s as subtly advanced — in harmony and rhythm — as it is beautiful.

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Charlie Byrd – Latin Impressions

More Charlie Byrd

More Bossa Nova

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  • An incredible sounding copy with Shootout Winning Triple Plus (A+++) sound from the first note to the last; exceptionally quiet vinyl too!
  • These sides are doing everything right — clean, clear and spacious with tons of space around all of the players and a lovely bottom end
  • “Having been a major part of Stan Getz’s very popular Jazz Samba album, it was only fitting that guitarist Charlie Byrd would start recording his own bossa nova records… Byrd and his trio are augmented on some selections by strings, extra percussion, plus horns. In reality the background musicians are not needed since Byrd was at the top of his form in those days.”

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Charlie Byrd – Brazilian Byrd

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  • Brazilian Byrd makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound or close to it throughout
  • Big, balanced, lively and musical, these two sides had the best sound we heard in our most recent shootout
  • 4 stars: “Acoustic guitarist Charlie Byrd always had a strong affinity for Brazilian jazz, and he sticks exclusively to Antonio Carlos Jobim songs (including ‘Só Danço Samba,’ ‘Corcovado,’ ‘Dindi,’ and ‘The Girl from Ipanema’) during this tasteful and melodic effort. Truly beautiful music.”

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Charlie Byrd – Byrd at the Gate

This is a nice Early Riverside stereo pressing (not as pictured) with excellent sound! It’s also a title Mobile Fidelity ruined, and having just played this record, I can see hear how they did it.

First of all, the guitar and the drums are tonally right on the money. Mobile Fidelity of course brightened up both and the results are a phony sounding guitar and a phony sounding drum kit, with tizzy cymbals. (The Wes Montgomery MoFi title has many of the same faults, but it’s not quite as bad as this one.)   

The other reason the Mobile Fidelity is such a joke is that this recording inherently has a lot of ill-defined bass. Since Half-Speed mastering causes a loss of bass definition, their pressing is even WORSE in this respect.

Mobile Fidelity rarely understood what an acoustic guitar was supposed to sound like. They blew it on all the Cat Stevens masterpieces, brightening up the guitar which emphasized the “picking” at the expense of the resonating guitar body and vibrating string harmonics.

What makes Byrd At The Gate a good record is the natural acoustic guitar tone. Once you screw that up, what’s left?

An audiophile record. For audiophiles who like phony sounding guitars.

Riverside cut this record, and they knew how to cut it right.


This is an Older Jazz Review.

Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we developed in the early 2000s and have since turned into a fine art.

We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)

We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.

Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions, up against a number of other pressings. We award them sonic grades, and then condition check them for surface noise.

As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us could ever come along to do the kind of work we do.

The term “Hot Stampers” gets thrown around a lot these days, but to us it means only one thing: a record that has been through the shootout process and found to be of exceptionally high quality.

The result of our labor is the hundreds of titles seen here, every one of which is unique and guaranteed to be the best sounding copy of the album you have ever heard or you get your money back.


FURTHER READING

New to the Blog? Start Here

Helpful Advice on Cleaning Your Records

Helpful Advice on Doing Your Own Shootouts

What We’ve Learned from Record Experiments

Charlie Byrd – Delicately

  • Byrd’s 1968 release finally arrives on the site with STUNNING Shootout Winning Triple Plus (A+++) sound on this Columbia 360 Label LP
  • Teo Macero’s production here is rich, sweet, and highly resolving, with all the space and three-dimensionality that Frank Laico’s brilliant engineering is known for
  • This is the first Columbia Charlie Byrd shootout we’ve ever done – we dropped the needle on a copy a while back and were shocked at the sound we were hearing
  • More importantly, the music on this enchanting jazz/pop guitar album is every bit as good as the sound quality (and that is rarely the case with these kinds of records – we should know, we’ve played scores of them)

Hearing is definitely believing, especially in our unique corner of the record business — we don’t give a fig about who, why or when a record was made; we just play it and judge it based on what we hear in its grooves. Needless to say. this pressing of the album was judged to be a knockout.

Apparently the album has garnered attention from other audiophiles – HDTracks offers a high-rez digital download of it! (more…)