Top Artists – Charlie Byrd

Charlie Byrd – Byrd at the Gate – Our Shootout Winner from 2011

xxxxx

A distinguished member of the Better Records Jazz Hall of Fame.

This is a nice Early Riverside pressing 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.

Charlie Byrd – Delicately

xxxxx

  • 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…)

Stan Getz & Charlie Byrd – Jazz Samba

More Stan Getz

More Jazz Samba

xxxxx

A distinguished member of the Better Records Jazz Hall of Fame.

TWO INCREDIBLE SIDES on unusually quiet vinyl! We just finished a big shootout for this great album and this copy was a KNOCKOUT. The sound is rich and full with good size to the soundfield. It’s very tough to find good sounding Stan Getz records, so if you’re a fan I think you’ll be quite impressed with the sonics on this pressing. As for the music, it’s top notch; All Music Guide gave it a Five Star rating and we agree wholeheartedly!

It’s not easy to find good sounding, quiet Stan Getz records, so if you’re a fan I think you’ll be blown away by the sonics and the surfaces on this vintage pressing.

It’s vintage all right, but probably not the vintage pressing you think it is, a little secret we learned about the album a year or two ago, information we have been able to capitalize on quite successfully, this being but the latest clean, wonderful sounding copy to make it to the site.

And of course, it handily beats the the DCC pressing. How could it not? (more…)

Charlie Byrd – Byrd at the Gate – MoFi Debunked

xxxxx

Sonic Grade: F

A Hall of Shame pressing and another MoFi LP debunked.

This is a title Mobile Fidelity ruined, and having just played an early Riverside LP I can see how their mastering approach was — as is so often the case — misguided to say the least.

First off, the guitar and the drums on the original are tonally right on the money. They sound like bass and drums should. They sound, in a word, correct. Mobile Fidelity felt it necessary to brighten up both and the results are a phony sounding guitar and phony sounding drums, with tizzy cymbals thrown in for good measure.

(The Wes Montgomery MoFi title has many of the same faults, but it’s not quite as bad as this one. We’ve had Hot Stamper copies of the originals so we know they can sound superb, some of RVG’s best work.)

The old Mobile Fidelity — the pre-RTI Mobile Fidelity — rarely met a master tape they didn’t think needed a healthy dose of top end boost. They also never understood what an acoustic guitar sounds like. They blew it on every last one of the Cat Stevens albums, brightening up the guitars, which, as we all know from playing with the treble controls on our receivers way back when, emphasizes the “picking” of the strings 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. (Chesky anyone?)

Another 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. Bad guitars, bad drums and bad bass — that pretty much covers everybody in the trio. Resulting score: 0 for 3. (more…)

Behind the Scenes at Jazz Samba – Stan Getz – Charlie Byrd

Our Newest Hot Stamper

xxx

JazzTimes gets the lowdown on who did what to whom on the legendary Jazz Samba album.  Click here to read all about it.