As usual, Charlie Christian is amazing. This is 1941 and nobody had ever played or sounded like that before. No wonder Bennie Goodman hired him immediately as soon as he first met him and jammed with him. Charlie's melodic and rhythmic sensibilities are still as fantastic today as they ever were. He was a total genius and it's incredible to think that he made all that amazing music, and then died at the very young age of only 26. Who knows what great music he would have recorded if he had lived to a much older age. To this very day, all the greatest jazz guitarists in history who have come after Charlie, still look up to him as #1. PS the trumpet player is definitely not on the same level as Charlie.
""OHHH....YESS!!!----if you got anymore of this I would surely like to hear it,...this is EXCELLENT RARE vintage --EVERY engineer, discographer, listeners, librarian, and collectors--we all seriously appreciate you for posting & sharing😍💜💯
FYI, these tracks were compiled on a 2006 JSP Records CD called “Charlie Christian, First Master of the Electric Guitar.” They have the first tune as “Topsy.” They also do not credit Monk as the pianist. The mastering engineer decided to reduce the surface noise by cutting the top end viciously, eliminating a lot of details in the process.
Thanks for posting this fantastic recording from Mintons in Harlem in '41! Like someone said, Monk sounds more like Teddy Wilson then, who was playing with Charlie in Benny's band, '39-'41. This sounds better with the surface noise from the 78, via your equipment, than my 33 record or my cassette of what appears to be the same material. My 33 record of this Live at Mintons from '70s-80s... is not filed in its place, so can't tell you what release until I find it, but it seems different as regards to crowd noise: my versions with same personnel I think (Joe Guy on trumpet) have a higher and more involved crowd responding to the riffs.
No, No. I’m Using GE 046+ genuine 3mil daiamond stylus. I assume you mean the tip radius. If you want to use metric measurements ,25microns is 1mil for microgroove and 75microns is 2.7mils for transcription. furthermore we no longer use microns but micrometers. The noise is not caused by the needle tip. Thank you.
I think this VOX is unconnected with the classical label. The music was originally recorded by Jerry Newman, who issued it on his label Esoteric. I think VOX either did a deal with Newman, or pirated it - don't know which.
@daigreatcoat44 This is great information, thank you. Maybe this was for the European market? I know that VOX also sold in Europe and did partnerships with French Pathe records. Thanks again.
@@arcajour-i2r I don't know about VOX or where they were sold. Newman was, I think, a rather shady character. Musicians who appeared on his records received no royalties, and were bitter about this; though considering the number of players on the different tracks, and the (presumably) small sales, I don't imagine any of them would have got more than a few cents. Esoteric later issued several LPs of the New York Pro Musica, one of the earliest Early Music groups. When they got a contract with Brunswick and were becoming quite famous, Newman reissued the LPs as a box set, and the group had to take him to court in order to get their royalties. Still: but for Newman, neither Charlie Christian or the NYPM would have got a start, or at least, not so soon.
@@daigreatcoat44 Awful. I'm sorry to hear that Newman was so ruthless. I've heard that another label, Urania, also pirated shamelessly. Again, mostly classical. It often misattributed performances. The other budget label, Remington, probably followed suit. The history of records in the late 1940's, as they transitioned from 78 rpm to LPS into the 1950's, is fascinating. Thanks for your vast knowledge! (Sidenote: in my childhood, one could buy a whole "Family Library of Great Music" [meaning, in those days, classical] at the grocery store; a new volume appearing once a week for about a dollar, and in faux leather albums. I still have the set, with a number or two missing, all unattributed performances and probably royalty-free.)
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As usual, Charlie Christian is amazing. This is 1941 and nobody had ever played or sounded like that before. No wonder Bennie Goodman hired him immediately as soon as he first met him and jammed with him. Charlie's melodic and rhythmic sensibilities are still as fantastic today as they ever were. He was a total genius and it's incredible to think that he made all that amazing music, and then died at the very young age of only 26. Who knows what great music he would have recorded if he had lived to a much older age. To this very day, all the greatest jazz guitarists in history who have come after Charlie, still look up to him as #1. PS the trumpet player is definitely not on the same level as Charlie.
The trumpet player's only claim to fame is being the abusive husband of Billie Holiday.
What an insane thing to own. Very cool to hear this rip
Et en plus, j'adore la friture ! 🎉
""OHHH....YESS!!!----if you got anymore of this I would surely like to hear it,...this is EXCELLENT RARE vintage --EVERY engineer, discographer, listeners, librarian, and collectors--we all seriously appreciate you for posting & sharing😍💜💯
FYI, these tracks were compiled on a 2006 JSP Records CD called “Charlie Christian, First Master of the Electric Guitar.” They have the first tune as “Topsy.” They also do not credit Monk as the pianist. The mastering engineer decided to reduce the surface noise by cutting the top end viciously, eliminating a lot of details in the process.
Really love how Charlie opens up on those "Rhythm" bridges.
Thanks for posting this fantastic recording from Mintons in Harlem in '41! Like someone said, Monk sounds more like Teddy Wilson then, who was playing with Charlie in Benny's band, '39-'41.
This sounds better with the surface noise from the 78, via your equipment, than my 33 record or my cassette of what appears to be the same material.
My 33 record of this Live at Mintons from '70s-80s... is not filed in its place, so can't tell you what release until I find it, but it seems different as regards to crowd noise: my versions with same personnel I think (Joe Guy on trumpet) have a higher and more involved crowd responding to the riffs.
Astonishing.
Great music from a “GREAT GUITARIST” Mr. Charlie Christian 🎼🎸🎼 played on a beautiful piece of equipment. 🎼🎸🎼
Thank you for watching.
Enjoy!
Exímio guitarrista. maneco - Brasil.
So nice...
Thank you.
Excellent merci !!!!!!!!!
Wow, I would have never guessed that's Thelonious Monk. Sounds more like Teddy Wilson.
That must have sounded extraordinary in 1947 - even more so when it was recorded in 1941.
You are using a 0.7 micron, 33 rpm microgroove pick. You have to use a 78 rpm 2.7 micron pick.
That's why there is so much noise.
No, No.
I’m Using GE 046+ genuine 3mil daiamond stylus.
I assume you mean the tip radius.
If you want to use metric measurements ,25microns is 1mil for microgroove and 75microns is 2.7mils for transcription.
furthermore we no longer use microns but micrometers.
The noise is not caused by the needle tip.
Thank you.
Wow, this is from DEEP in the archive! Nice. And Monk on piano. Bonus! Any idea what year this was recorded? Its definitely from back in the day!
1941
@@saturnindejardin8740 Thanks! Appreciate it.
LP盤しか知らなかったので、なぜフェイドインで始まるのか不思議に思っていました。今回謎が解けて大変勉強になりました。
拍手の回数も頻繁に入っているのですね。（しかし若しかすると、裏返しと盤交換の回数が多いSP用に、SEとしてダビングしてる？？？）
つぎはぎはインチキくさいですね。しかも録音はよくないけど、Jerry Newmanさんに感謝です。
ついでにこのアルバムはオートチェンジャー用に作成されています。side1の裏がSide6という具合です。
@@tarocross8636 さま
なるほど、本物の「アルバム」とは、全部重ねてターンテーブルにポン！
全部纏めてポン！とひっくり返す。なのですね！
「アルバム」は交響曲ですと最初から当たり前だったと思いますが、オートチェンジャー1号機がいつの時期に出て、いつ頃から「アルバム」の面配列がオートチェンジャー仕様になってきたか？という新たな向学心が芽生えて来ました。
良いですねぇ、お調べいただき、分かりましたらご教示お願います。
13:00
1st e.guitar jaźz
Charlie Christian on VOX???? Wow. I think of VOX as a classical budget brand.
I think this VOX is unconnected with the classical label. The music was originally recorded by Jerry Newman, who issued it on his label Esoteric. I think VOX either did a deal with Newman, or pirated it - don't know which.
@daigreatcoat44 This is great information, thank you. Maybe this was for the European market? I know that VOX also sold in Europe and did partnerships with French Pathe records. Thanks again.
@@arcajour-i2r I don't know about VOX or where they were sold. Newman was, I think, a rather shady character. Musicians who appeared on his records received no royalties, and were bitter about this; though considering the number of players on the different tracks, and the (presumably) small sales, I don't imagine any of them would have got more than a few cents. Esoteric later issued several LPs of the New York Pro Musica, one of the earliest Early Music groups. When they got a contract with Brunswick and were becoming quite famous, Newman reissued the LPs as a box set, and the group had to take him to court in order to get their royalties. Still: but for Newman, neither Charlie Christian or the NYPM would have got a start, or at least, not so soon.
@@daigreatcoat44 Awful. I'm sorry to hear that Newman was so ruthless. I've heard that another label, Urania, also pirated shamelessly. Again, mostly classical. It often misattributed performances. The other budget label, Remington, probably followed suit. The history of records in the late 1940's, as they transitioned from 78 rpm to LPS into the 1950's, is fascinating. Thanks for your vast knowledge! (Sidenote: in my childhood, one could buy a whole "Family Library of Great Music" [meaning, in those days, classical] at the grocery store; a new volume appearing once a week for about a dollar, and in faux leather albums. I still have the set, with a number or two missing, all unattributed performances and probably royalty-free.)