Not a blog-post title you see everyday, no? (I mean, yes?)
But every word of it is true. As sure as my name is Blelp Rentmeier, XVII.
My new Rek o Kut archival preamp, which I added to my stereo today, is bigger than a cellphone and smaller than a brick. It allows me to bypass the preamp in my Sony amplifier and go right into the AUX jacks--and with the choice of two freq. curves: RIAA or 78 rpm. At the moment, I'm using the 78 curve.
And what a difference it makes to have the 78 signal right from the get-go, to NOT have to fix it after it's been RIAA-curve-ized. I knew it would make a difference, but I didn't know how much of one. Wow. My stereo, transformed by a unit the size of one and a half Klondike bars.
So, here are four 78 restorations I did tonight, starting with Andre Kostelanetz' Rumba Fantasy from 1935. This is interesting on several fronts: It's a great example of early easy-listening, it's a superb performance, and--best of all--at the start (and during Siboney) the castanets are playing a Bo Diddley beat clear as morning. What we know as the Bo Diddley beat, I should say. In 16th notes, with the accents as follows: 1--4--7--/--3-5---. You can't miss it.
Rumba Fantasy (The Peanut Vendor-Siboney-Adios-Mama Inez-Tony's Wife)--Andre Kostelanetz Presents, 1935. From 12" Victor 78.
And here's the fabulous flip, Don Redman's Chant of the Weed, which I've featured before. Does "weed" refer to marijuana, you're wondering? I would say no; to my ears, it's just one of the many longing-to-return-to-Africa titles of the period. Lest the idea sound racist, think of it as Roots, only decades earlier. A popular relic of the Harlem Renaissance, I'm guessing, and not a celebration of "weed":
Chant of the Weed (Don Redman)--Andre Kostelanetz Presents, 1935.
And here are two by Paul Whiteman's orchestra, both from 1927. Bix Beiderbecke and his cornet appear near the end of Changes, right after Bing Crosby's raspy and slightly fuzzy solo spot. Crosby also shows up on Shanghai Dream Man, though he stays in the background.
Changes (Walter Donaldson)--Paul Whiteman and His Orchestra, 1927. Arranged by Bill Challis, 1927. From Victor 78.
Shanghai Dream Man (Davis-Akst)--Paul Whiteman and His Orchestra, 1927. Arranged by Ferde Grofe. From Victor 78.
Lee
6 comments:
Heeeey!What a surprise this morning! More Whiteman! With nice crisp sound too! And Crosby somewhere in the background! A treat!
It was me, up there, praising you! (and Whiteman..)
Anon.,
Crisp as frying bacon, AND very little tweaking is invovled. Just some hiss reduction and maybe a minor bit of boosting in the 2-4 KHz range. It's like dying and going to Audio Heaven!
Ravel-not-awaken,
Thank you! Just for that, I'll resurrect some more from that great bandleader! I have some Columbias that ought to sound amazing with my new set-up.
Lee
Hello Lee,
Wondrous Clean sounding 78's, they are 78's aren't they? Amazing job!
So rich sounding ! The Whiteman sides are new and exciting and that Full Bass on 'Changes' quite remarkable !
Thanks, just started the day out right, gonna play it again tonight.
Byron
Lee,
Now work your wizardry with the Whiteman recording of the Grand Canyon Suite, p-l-e-a-s-e. The Pearl reissue is just too subpar by today's standards--standards you helped to set. By the way, the Kostelanetz is wonderful. That "Chant of the Weed" is a masterpiece. And to think you were going to slow down the pace of your treasure sharing.
Thanks for your work about Diddley's roots!
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