Charlie Parker: The Charlie Parker Story (1945) Savoy

Parker-cover-1800-LJC

Selection: Ko Ko

Ko Ko – Short Take #1 (0:40)

Ko Ko – Orig Take #2 (2:50)

NEW!! courtesy of LJC poster FelixStrange – 78 master Ko Ko – mindblowin’!

Savoy-597--Parker-Ko-Ko-78rpm-master

Ko Ko Savoy 78rpm Charlie Parkers Bebop Boys: (FLAC by FelixStrange, conversion to MP3 160kbs by LJC to meet  Wordpress audioplayer restrictions)

“78s are usually a big step down in sound quality from LPs to say the least, but there’s something riveting about hearing Bird’s alto pouring from an original ’46 Dial pressing with “Released by Tempo Music Shop, Hollywood Calif.” across the bottom.

Back then, bop was still an underground revolution. It was an enigma to most, strange and esoteric to the uninitiated. It was still a couple of years until the endless cliches of Charlie Parker imitators were flowing out the doors of every night club in every American city and Diz’s beret and goatee were co-opted as dismissive shorthand by the media. These small shellac discs were bold artistic manifestos which remain without parallel in American art.”

– FelixStrange

Artists

Charlie Parker’s Reboppers: Charlie Parker (alto sax), Miles Davis or Dizzy Gillespie (tpt, p), Sadik Hakim [Argonne Thornton] (p), Dillon “Curley” Russell (b) Max Roach (d) Recorded November 26, 1945, WOR Studios, Broadway, New York City.

Music: ‘There are only two forms of jazz: before Parker and after Parker!’ 

As the London Jazz Festival moves into full swing, one of the more interesting features this year are a couple of guest lectures on Charlie Parker. Taking the hint,  the rival LondonJazzCollector Festival segues in with a special look at a Charlie Parker record that popped up in a London record store this week. It has more than a few scratches but a 1945 recording is not the full audiophile shilling and it is of more than enough historical interest to ignore a few clicks.

Charlie Parker compilations are ten a penny,  but this was one mighty historical session, captured like a fly-on-the-wall documentary, sixteen takes including false starts and abrupt cuts, studio banter, with a sense of spending an afternoon on the studio with the grand men of Bop. You can sense the musicians beginning to warm up across the three hour session, and finally it’s hot hot hot and swings like hell. By the end of the record side two, a towering achievement – a 2 minute 50 seconds take of Ko Ko, in which all wheels remain firmly on the trolley, no one trips up, and you are reminded – if a reminder was needed – of the genius that is Charlie Parker in full flow.

For some reason I had always thought these great musicians, being great and able to improvise, just arrived, recorded one take and that was it, in the can. In reality, getting to the final masterpiece involved many takes, getting that final three minute take right.

It was also a shock to read in print the liner notes by John Mehegan (himself a jazz pianist) assessing the young Miles Davis contribution as  “several bad goofs by Miles on head… no ideas… totally unswinging“.  See what you think:

Now’s The Time  – Orig. Take #4 (3:15)

Now compare – is this the same trumpeter (on mute) – Dizz or Miles?

Thriving from a Riff  – Orig.Take #3 (3:00)

Controversy Alert! (Lifted direct from Wiki, regarding The Ko Ko Session)

“John Mehegan’s “Special Notes and Commentary” to the original LP release (Savoy MG-12079) are the source of much confusion about this date. He claims, for example that Bud Powell is the pianist, when in fact Powell was states away recovering from a breakdown. And the Savoy notes also state, apropos of “Ko-Ko”

Thornton says he played piano during the intro and coda (while Dizzy played trumpet) and then moved over so that Dizzy could accompany Parker. Teddy Reig, who produced the recording session, says, “Dizzy plays trumpet on the opening and then goes to the piano and we put in the drum solo so Dizzy would have a chance to get back for the ending.”

Many discographies accept these claims — even Larry Koch writes, “Gillespie is the trumpet player on this first chorus, as the line proved a bit much for the young Miles” (Yardbird Suite, p. 73) — but Tommaso Urbano has patiently laid out the aural evidence, concluding that it is Davis, not Gillespie, playing trumpet on “Ko-Ko.” He also argues that, although Gillespie plays the piano introduction on take 1 of “Thriving on a Riff,” it is Argonne Thornton on the second and third take. See his excellect website, The Music of Miles.

Although Davis seems unsure of himself in places, his style and harmonic sense is already present — listen especially to his playing on “Now’s the Time” and “Thriving on a Riff.”

LJC---sherlock--RTWhat I thought was just another Charlie Parker record turns out to be a major detective mystery. No-one is sure what they are talking about, not even agreeing who is playing. Having disposed of the Bud Powell body, it remains to be established, who is playing trumpet – is it Miles or is it Dizzy?  And who is on the piano if not Bud?

One version of event was that ” Miles Davis froze up / started vomiting / disappeared, feeling he was unable to play Parker’s difficult patterns, which meant that Dizzy Gillespie had to double up instruments on one take, playing the intro on the trumpet and then dashing across the studio, during the recording, to accompany Parker on the piano”

The tape box is unhelpfully vague.

session

For more insight, enjoy this full-on forensic dissection of the Ko Ko session, with thirty four Quicktime snippets from six different recording sessions. (Warning: contains explicit references to “music”, sample: “The harmonic structure is a thirty two bars A-A-B-A, with the eight-bars A section in Bb major and the eight-bars bridge essentially made of a cycle of 7th dominant chords D7 | G7 | C7 | F7 falling to the next section Bbmaj.”

The more you dig, the more you find. Dig ?

The Cover:

MG 12079 comes with controversy fitted as standard: what is described by various sellers as  a “rejected cover”. Rejected by whom?

Parker-rejected-cover

I consider it a good judgement call rejecting the above cover, HOWEVER may be just may be it is the original 1956 cover, since it got as far as printing, even found its way into the collection of the legendary Leon Leavitt .

Parker Leavitt Estate Capture

No doubt someone will leap up and denounce my copy as a “later issue”. I notice people do like doing that. Think you are so smart LJC eh, take that (biff) and that (boff). Well for the record, I prefer my cover, earlier or later, whatever

Vinyl: Savoy MG 12079

1945 recording re-mastered by van Gelder (RVG signature initials)  vinyl 163gm – not deep groove – so suspicion again of being a slightly later pressing, as deep groove would be the norm in 1957.

Savoy-Parker-labels-1800-LJC

 Liner Notes

Bearing in mind the musician attributions are contested. the liner notes are worth reading for the music critique alone.  The reader is treated as a musical intellectual equal, in the same manner as some liner notes are written for listeners with an unhealthy interest in condenser microphones.

Contrast today’s New Music LPs with no information on the cover, or an anti-capitalist polemic (if present, show solidarity by stealing it)

Parker-rear-cover-1800-LJC

Very daring, Savoy invite you to write to their A&R Director with any comments on the album.

Savoy-Write-to

Collectors Corner

Source: London record shop. I confess the attraction was the period cover – lovely 1957 solid card, laminated, and RVG in the runout, not something that you get with the legion of Parker reissues. The “originals” of Parker 1940 recordings are no doubt on 78’s, not something I propose to get into.

Footnote:

If you are in London today, you want to pay £10 or £20 for a seat, you can catch the actual Charlie Parker event at the London Jazz Festival.

LJF Parker Event

LJC SPAM AWARDS

The vitally necessary spam filters on WordPress do unfortunately snag the occasional genuine post – WB’s observations on Mercury this morning was one – so I do quickly go through all the tedious merchant spam, some clearly originating from countries where English is not the first language.

Today’s Winner

Submitted on 2013/11/14 at 18:56

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Runner Up

Submitted on 2013/11/13 at 17:16

Thanks for offering this kind of a great article, it was excellent and quite educational. as a 1st time customer to your site I am very impressed. I discovered a whole lot of informative things in your post. Preserve it up. Thank you.

Preserve it up, indeed!

LJC

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33 thoughts on “Charlie Parker: The Charlie Parker Story (1945) Savoy

  1. Supposedly the commercial pressing of “Ko KO” is off-center but the test pressing, which I have seen, is not. The test came from Teddy Reig. I have two copies of the “Ko KO” 78 and both play fine. Back in the ’80s. I started collecting Savoy and Dial 78s and was able to find many in E+ or N- shape. I also acquired the Savoy 78 albums. Starting back in the ’50s, I began acquiring the 12-inch Savoy LPs as they came out and believe I have all of them, including the hideous “Throne” cover.

    Jack Towers did a lot of re-mastering for Savoy. Virtually ever time they decided to reissue the Parker stuff, Jack would remaster it. The original master of “Ko Ko” no longer exists because the lacquer on the disc, which had not been dried properly after being washed, slid off the aluminum base. It came to Jack that way. When he removed the disc from its light-weight envelope, the lacquer slid off. Jack had some of the remastering tapes in a cardboard box in the second room of his basement. The first was his record-listening room.

    The vinyl Dial 78s have great sound!

  2. Just for fun, I played both versions of Ko-Ko (RVG and original 78) with a “3D” switch pressed. This will inevitably “enhance” any ever-so-slight artificial stereo effect, and it did in the case of the Savoy LP. It did not (how could it, anyway) in the case of the 78, which remained dead center. I thought this might be of interest in trying to date the RVG re-master. It supports LJC’s suspicion of it being a slightly later (not 1957) pressing.

    • Nothing as esoteric as that. The difference you noted is because LJC’s rip is a stereo rip of a mono record, while FelixStrange’s is a MONO rip of a mono record. That’s all.

      • I know what you mean, and you may be right (in fact, I have on occasion pointed to this phenomenon). Hard to tell in this case.

  3. Controversial opinions: I think bebop is really sloppy. There I said it. And I love that about the old Parker recordings! The horns just slide through the notes, barely cleanly hitting any of them at their lightning pace, and then end on a wagging version of the note written on the page. It’s beautiful. Thoughts? Arguments?

    • that man, Bird, fired a burst of demisemiquavers in the break of Night in Tunisia that changed Jazz.
      Sloppy?

      -§- Out of these sessions small combos evolved featuring Dizzy and Charlie Parker on alto saxophone. Bird’s style of playing suited Bebop perfectly and the band recording of “Night in Tunisia” met with resounding success. The alto sax solo from the tune that Bird played was so popular that on April 16, 1946 Dial Records had him record the solo individually at the Columbia Studios at 207 East 30th Street In NYC. Released as “The Famous Alto Break”

      Released as “The Famous Alto Break” it would influence young alto players such as Jackie McLean and Stan Getz and Bebop would completely change the direction of jazz music. The younger players would try to mimic Charlie’s improvs as well as trying to write down the music. They had little success. Only “Bird” was “Bird”.-§-
      http://www.examiner.com/article/today-jazz-history-charlie-parker-records-the-famous-alto-break

      • I had only known the Massy Hall Concert version of “Night in Tunisia” when I first played Dial 1002. My jaw hit the floor the first time I heard that break and I knew for a moment that combination of euphoria and despair which must have been felt by every alto sax player in the ’40s upon hearing Bird play for the first time.

      • yeah man! the notes are so closely spaced that it sounds like a bending of pitches rather than individual notes. this isn’t a bad slop we’re talking about this is a great slop! like a complex chili. i love that break. probably the best break ever recorded by a saxophone.

      • I kind of remember reading somewhere (Stash Dial 4 cd box?) that “The famous Alto Break” was cut from a take that was unusable because the rest of the take was ruined. The reason being the other musicians just could not play after the break! Could you ?

  4. Gentlemen, if I might draw your attention to an update above – the addition of the Savoy 78 rpm edition of Ko Ko, kindly supplied as FLAC by LJC poster FelixStrange – the first collaboration of its kind at LJC. You can now hear Ko Ko direct from shellac ( within the limitations of WordPress player requiring MP3). Huge thanks to felixstrange.
    LJC

  5. Mattyman, interesting indeed. I am not familiar with this author. But the jacket of his book proves that monstrosity (bad taste) may in the end lead a life on its own, to become the norm. For me, this 1945 session is forever associated with the throne cover, even if it is very ugly.
    (By the way, can you guide me with respect to Deelder’s best novel. It is always good to remain updated on what’s going on in the Low Countries.

  6. I have owned these recordings from this session – on a French RCA remaster edition – since I was a teenager and they have always fascinated me.
    Some of the greatest music ever recorded with a piano player – Dizzy – who was too limited to play solos and a rookie trumpet player.
    In his biography of Miles Davis, Ian Carr says that it was Thelonious Monk who didn’t turn up to the session – how different things might have been had he played.
    In a fairly comprehensive description of the whole session he also states that it was indeed Miles who is heard playing on Thriving on a Riff although the liner notes to my Savoy edition also cast doubt on that statement.
    Carr also says that the Koko theme was simply too difficult for Miles to play at that time and that Dizzy stepped in as a substitute. According to Carr, the date became a social occasion on which Dizzy came along for the ride although for contractual reasons he had to remain anonymous.
    He claims that Dizzy played so much piano because Parker knew that he would provide the right chords and timing to back his solos.
    It seems likely to me that Dizzy is playing piano on Koko rather than Argonne/Hakim given that there is no piano on the intro or the coda.

    • A friend just hipped me to this great site. I happen to have the April 3, 1958 issue of ‘Down Beat’ and George Hoefer’s “The Hot Box” column addresses some of these issues. According to Hoefer pianist Sadik Hakim aka Argonne Thornton aka Dense Thornton wrote to DB in a response to their review of the then recent Savoy 12079 LP release. According to Thornton, he was definitely on the session and gave session producer Teddy Reig as his reference. Bud Powell was scheduled to be on the date, but was at home in Willow Grove, PA for a visit and didn’t return to NYC until a week after the date. Thornton also stated that Davis never left the studio as some Mehegan claimed at the time. On a side note, he also stated that Bird made the entire session on a borrowed horn – which would explain some of the horn squeaks.

      Again, according to Thornton, Dizzy was present for the entire session and played piano on both of the blues tunes, “Now’s The Time” and “Billie’s Bounce”. The Hen Gates pseudonym was used on account of Dizzy being under contract to another label at the time and Thornton not being a member of Musician’s Union Local 802 at the time. Dizzy is again the pianist on “Ko-Ko”. This is the only number that Thornton specified Gillespie also played trumpet on. The remaining 3 sides all feature Thornton on piano.

      Unfortunately (or at least to the best of my knowledge), DB did not print the actual letter it received, so this information is truly third-hand at this point. But hopefully I have distilled the essence correctly. That said, I would be happy to scan/email the column for anyone that would like to read it in its entirety.

      • Great input Nick and welcome. That Down Beat sounds a crucial issue, thanks for throwing it at us. I keep asking myself, why are there so many competing claims around this session. What’s the beef?

      • You can’t really have a complete discussion of the “Ko Ko” session without discussing fiery rotund proto-hipster Teddy Reig, who produced this session and most of Charlie Parkers other sides for Savoy. I just finished reading Reig’s biography “Reminiscing in Tempo: the Life and Times of a Jazz Hustler”, which was a fascinating read and I would highly recommend it.

        Reig grew up in Harlem and was one of the first in the record industry to recognize the importance of the new music. He was enlisted by radio store owner Herman Lubinsky to capture the new breed of musicians for Savoy, the label he had started in 1942. Lubinsky is rivaled only by the Chess brothers in the annals of music industry skin-flints.

        Running a recording session with bop musicians in the 40s seems to have been something akin to herding cats. Bird, Miles, Curley Russell, Max Roach and Bud Powell had been booked for the session and Parker had been payed $300 by Lubinsky as advance on four tunes (he only had three, one of which was composed just that morning). Upon locating Bird, Reig was informed that Powell had gone to his mother’s in Philadelphia and presented with Dizzy Gillespie: “Here’s your piano player!”

        After the first three tunes, something had to be done about Bird’s squeaking horn and so he went to 48th Street to get it fixed. When asked by Bob Porter whether he went with Parker to the shop, Reig responded “Of course! You think I’d leave Charlie Parker alone in midtown? What am I crazy?”

        Apparently there was a party atmosphere in the session at WOR, with many hangers on coming and going throughout the session accompanied by enjoyment of both liquid and herbal nature. When Bird and Reig returned Miles “wasn’t worth three dead flies,” according to Reig. Since Miles supposedly already had misgivings about playing on Cherokee, it was decided that Dizzy would fill in.

        According to Reig’s version of events, Thorton began playing piano on the false start heard on “The Charlie Parker Story,” but when Bird and Dizzy went into the melody of “Cherokee”, it’s Reig that is heard whistling and shouting “Hold it!”. Reig also claims he came up with the title “Ko Ko” off the top of his head when asked by Lubinsky what the name of the next tune was in order to avoid any mention of “Cherokee,” since Lubinsky would become furious at the mere suggestion of having to pay royalties for a published tune.

        Reig told biographer Edward Berger the following when asked about Argonne Thorton’s role:

        “Because Miles was in no condition to play on ‘Koko’ Dizzy said he would cover on trumpet. This led people to believe that it wasn’t him, but Sadik Hakim on piano. This I will contest until my dying day. Sadik was there, and we were going to use him, but he was on transfer from the union. The union man showed up and Sadik did a double boogie and split through the side door. If you listen closely, there is nobody but Dizzy on piano. Dizzy is on trumpet in the opening ensemble with Bird. When Bird gets two or three bars into his solo, you’ll here someone at the piano go “choink, choink.” That was Dizzy letting Bird know he had arrived. In order to get him back to the trumpet for the closing ensemble we stuck in a drum solo by Max. Sadik did not play on the record date. If you had been at this session you’d be lucky to remember anything. I was like a policeman on duty- where’s Miles, where’s Bird, where’s Dizzy? The only one who tended to be normal was Curly. Max stood around and took it all in. To him it was a floor show!”

        For further information about the “Ko Ko” session, you can see Bob Porter’s excellent liner notes to the 70s “The Complete Savoy Sessions” box set here:

        http://www.fredparcells.com/charlieparker/images/TheCompleteSavoyStudioSessions.pdf

        • Thanks for all of this info FelixStrange. Obviously, I need to read that Reig book. Bob Porter’s liner notes for the session are indeed excellent and bring up a good point about collecting Savoy releases, namely that sometimes these less desirable (in terms of audio) releases feature some excellent information that would otherwise be lost to the ages. I just picked up the One point of conjecture about Reig’s comments: if Thornton left the session on account of a union rep turning up, wouldn’t that question Porter’s claim that he played on the last title (based on the matrix numbers) of the session? Also note that Porter again makes the claim that Davis left he session at some point of time. Again, we have the problem of who is on “Ko-Ko”, right? Listening to the side again, Porter’s claim of Thornton playing on a least a portion of it sounds plausible, as the piano comping starts as soon as Parker starts his solo. The mystery lingers, it would seem.

          One more item to further muddy the waters. In his 1989 autobiography, Miles Davis talks a bit about the session, most of which we have discussed here. However he does state that, “When Dizzy played all them beautiful solos, I was fast asleep on the goddamn floor…” – what are we to make of that!

          All in all, this has been a great celebration of the 68th anniversary of this session, which is tomorrow!

  7. I personally love the statements made in superlatives sometimes on the back covers of records….in this case, “The Greatest Recording Session Made in Modern Jazz History in its Entirety!”. That’s so great.

    • In an industry where a relatively unknown (at the time) horn player describes himself as “Saxophone Colossus”, and an up and coming young pianist titles one of his first records “Everyone Digs Bill Evans”, nothing should surprise.

      Perhaps we need a competition for the most grandiose self promotion in Jazz? The Eminent JJ Johnson? The Amazing Bud Powell? The Incredible Jimmy Smith? The Talented Witty and Urbane LJC? Send in your Hype Nominations.

      • Well I rather like that last one myself! Let’s not forget the covers chock full of attractive females too while we’re at it since I always considered that to be declaratory statements of a players, um, prowess – in particular, I always find amusement in how many women graced the covers of George Shearing’s albums though he himself couldn’t enjoy those sights….

      • Grandiose self-promotion? Perhaps. But it is good to remember that most of the LP titles at this time were devised by the label bosses in an effort to sell discs (which also explains the profusion of “cheesecake” LP jackets during the same era). Knowing how critical Rollins has always been of his playing, I somehow doubt the title “Saxophone Colossus” sat very well with him. Jimmy Smith is a different story entirely however…

  8. the “throne” cover is a monstrosity. Savoy never excelled in worthwile cover art, but the throne is amongst the worst LJC’s new acquisition has deep grooves, and the second cover makes it a real beauty. Congrats.
    The 1945 Parker material, plus all the following nineteen- forties Savoy sessions, were initially on four 25 cm. Savoy albums. Full takes only. These albums were not re-mastered by van Gelder and I, for one, find the quality better than the re-mastered albums, which were on 30 cm. Also, the interest of all the false starts is limited, music-wise.
    Since I am in the process of slimming down, I still have the four 25 cms, but I sold all the 30 cms, but still keeping one, MG 12079, being THE original bop session, in its entirety.

    • This material was first issued by Savoy on 78 RPM discs. The version found on this record has reverb added. Not sure if that was RVGs doing, but it really takes away from the original recording. The fact that there are also several pops from current arcing in the reverb circuit resulting in ‘squeaks’ makes it even worse.

      Out of curiosity, I have compared the various 78 rpm issues of “Ko Ko” as well as the 45 rpm Savoy EP, which was released concurrent with the 10 inch releases Rudolph has.

      Savoy 78s are generally of pretty low quality relative to Parker’s Dial sides, which can rival LPs for sound quality if they are in good condition. The original red label and 2nd ‘modern’ Savoy label discs unfortunately are plagued by heavy surface noise common to so many early post WWII small label 78s. Even after the war, high quality, unadulterated shellac was still hard to come by. Because of this, the shellac used in these pressings contained filler material which has degraded completely over the intervening decades resulting in extremely noisy surfaces.

      The 45 rpm EP release of “Ko Ko” unfortunately features even more egregious reverb than the RVG version as well as some very poorly done EQing/filtering, so I would recommend avoiding it.

      The best version of “Ko Ko” I have heard so far is the purple-label 78 rpm Savoy issue which is made from the same master as the original 1945 78 rpm release, but are pressed on “nonbreakable Sav-o-Flex” which as far as I can tell is a composite material using a mix of both shellac and vinylite and is comparable to vinyl in terms of surface noise. Later Dial 78 rpm discs are also pressed on a similar material. Since the 78 rpm speed is actually superior 33 rpms, even with 3 mil coarse grooves, these later pressings can actually sound quite amazing, especially when played back properly with the proper pre-RIAA de-emphasis curve. The only inferiority is the fact that these discs were still cut to wax masters and therefore usually feature a fairly low cutoff frequency (10kHz or even lower in some cases).

      Rudolph, you are very lucky to have those 10 inch releases. Unfortunately, they are far out of my price range and I doubt I will ever have the chance to hear them. I am curious, do the have any added reverb or any other alterations to the original recordings?

      At this point, it’s unclear to me in what form the original recording of “Ko Ko” still exists. Is the original 16″ transcription disc still around (I believe WOR was using lacquer instead of wax by 1945) or are there only magnetic tape copiess of the original session disc which still survive?

        • Felixstrange: I listened closely to side two of 12079 and to the first side of MG 9000, feat. Ko Ko.
          The reverb on 12079, to these ears, is virtually absent.
          What is most striking in comparing the two is the brilliance, the attack, the crisp sound of the 10″ version, whereas the 12079 is slightly more subdued.
          But, it is very relative, certainly not a difference between day and night. LJC does not need to worry. His purchase is a good one.
          My four volume 10″ versions have beautiful art work by Burt Goldblatt. Four different pictures of Bird, not seen elsewhere. This means that I have a second version, the first being a standardized, uniform cover, with changing colours of the print, a different colour for each volume.
          What made me decide to part with the five 12″ albums on Savoy, is the boring and totally unintersting sequence of false starts, short versions, not so definitive versions, master takes etc. etc
          The 10″ give only the master takes, which are not necessarily the best ones. Tant pis. Also, like the 12″, the music is not presented in chronological order.

      • Jeez, Felix, that’s one interesting comment on top of the LJC post about this release. I always love reading stuff like this. Lacquers, transcription discs, vaults, master tapes, what’s lost, what isn’t, etc etc. No to mention great recordings that have gone lost altogether and only survive because the records are still around.

        On a side note, about the rejected cover: Jules Deelder (a.k.a. J.A. Deelder), my favourite Dutch writer, poet, drummer and avid collector of Jazz on vinyl, once published his book “Swingkoning” with the rejected Parker cover on the front of it. You can see it by clicking HERE.

      • Thanks Felix and LJC for a very interesting comparison! Bird on shellac – a rare pleasure indeed.

        I’ve often wondered about the strange, very artificial-sounding reverb glitches on some of Rudy’s earlier masterings (mostly Savoy and Prestige sessions, I think). I know that spring-based mechanical reverb units have an inherent sound, but these glitches/squeaks that I’m hearing can’t all be intentional (Donald Byrd’s “Byrd’s Word” comes to mind as a particularly reverb-soaked LP).

        So this is a result of “current arcing in the reverb circuit” then?

      • I have few Parker 78s and they are just absolutely wonderful ! I think RVG stamp on LP reissues doesn’t add anything… but the echo. Around 15 year ago I found an English 50’s (?) Bush record player with Garrard turntable. Then discovered it has a double Stylus so I could play both 33 1/3 and 78 rpm records. So I bought some 78s and realised there is something very special about them that you don’t find from LP reissues. The best sounding Charlie Parker 78s I have are those Dial Shellac/vinylite (later?) pressings: Dial 1002,1024, 1032. A Night of Tunisia, Bird of Paradise…

        Playing a Charlie Parker 78rpm: A side “Bird of Paradise”. Heaven, I’m in heaven…
        Take a breath. Okay, I’m ready for the B side “Dexterity”…
        Well, I shoud play the A side again a couple of times and then the B-side…

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