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Categories JAZZ Louis Armstrong - The Great Chicago Concert 1956 - 180g 3LP Box Set Mono
Louis Armstrong - The Great Chicago Concert 1956 - 180g 3LP Box Set Mono
Product no.: PPAN65119In stock
Available delivery methods: UK Tracked with Signature, UK Express, Airmail Tracked with Signature, UK Standard, Heavy Item
Columbia / Pure Pleasure PPAN 65119 - 180 Gram Virgin Vinyl
AAA 100% Analogue - Audiophile Mastering by Ray Staff at Air Mastering London
Pressed at Pallas in Germany - Limted Edition
"The presentation is excellent, including a full sized booklet in a well constructed box and of course three well pressed at Pallas LPs. For Louis fans who wished they could have attended one of these legendary road shows, well now they can in AAA sound." Michael Fremer Rated 9/10 Music, 7/10 Sonics in his September 2011
Featured in Michael Fremer's Heavy Rotation in Stereophile
In any case, this set covers as much of the concert as was recorded, which was a great deal of it because it takes up six mono LP sides. As a document of what it was like to attend an Armstrong show back in the 1950s it can't be beat. The band was filled with notable musicians of that era (or you could say of a previous era) but this music really doesn't date.
The mono recording quality is quite good but of course it was a remote in a big venue at a time when the technology was somewhat limited so don't expect audiophile quality. That said the recording is wideband and transparently immediate, though the minimal miking means some instruments will be heard from a distance.
Make believe you're sitting in the cheap seats and you are there!
The presentation is excellent, including a full sized booklet in a well constructed box and of course three well pressed at Pallas LPs.
For Louis fans who wished they could have attended one of these legendary road shows, well now they can in AAA sound.
Still raw from 9/11? It's difficult to believe a decade has passed. So imagine this Louis Armstrong concert from 1956. For most of the audience, and for much of America, except for the "Baby Boomer" youngsters too young to remember, World War Two and the enormous human toll it took on families across the country was still a current event.
But there was the eternally happy and entertaining Armstrong touring the world with his variety show-like entourage, showing people how its done, playing his heart out every time. How many entertainers could segue "Mack the Knife", "Tenderly," "You'll Never Walk Alone" and "Stompin' at the Savoy" as Louis does on this live set.
It's called "The Great Chicago Concert" but it's not really special. It's what Armstrong did every night. This set was taken from a live radio broadcast that sat on the shelves for decades, though producer George Avakian did cull a few tracks and put them on albums without attribution.
The show at Medina Temple in Chicago was a charity benefit for Multiple Sclerosis. The first half was supposed to be a presentation about Armstrong read by actress Helen Hayes but....well to get the whole story you'll have to read Avakian's terrific notes and those by jazz historian Dan Morgenstern.
In any case, this set covers as much of the concert as was recorded, which was a great deal of it because it takes up six mono LP sides. As a document of what it was like to attend an Armstrong show back in the 1950s it can't be beat. The band was filled with notable musicians of that era (or you could say of a previous era) but this music really doesn't date.
The mono recording quality is quite good but of course it was a remote in a big venue at a time when the technology was somewhat limited so don't expect audiophile quality. That said the recording is wideband and transparently immediate, though the minimal miking means some instruments will be heard from a distance.
Make believe you're sitting in the cheap seats and you are there!
The presentation is excellent, including a full sized booklet in a well constructed box and of course three well pressed at Pallas LPs.
For Louis fans who wished they could have attended one of these legendary road shows, well now they can in AAA sound.
Featured in Michael Fremer's Heavy Rotation in the September 2011 Issue of Stereophile!
Re-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London.
Deluxe 3 180g Audiophile Mono LP Box Set!
• 12-Page Booklet with Liner Notes by George Avakian and Dan Morgenstern
• Re-mastering by Ray Staff at Air Mastering, Lyndhurst Hall, London
Musicians:
Louis Armstrong, trumpet, vocal
Edmond Hall, clarinet, vocal on “Buckets Got A Hole In It”
Trummy Young, trombone, vocal on “Rockin’ Chair” & “Margie”
Billy Kyle, piano
Dale Jones, bass
Barrett Deems, drums
Velma Middleton, vocal on “Big Mama’s Back In Town, “That’s My Desire” & “Ko Ko Mo
1. Medley: Flee As A Bird To The Mountain/ Oh, Didn't He Ramble
2. Medley: Memphis Blues/Frankie And Johnny/Tiger Rag
3. Do You Know What It Means To Miss New Orleans
4. Basin Street Blues
5. Black And Blue
6. West End Blues
7. On The Sunny Side Of The Street
8. Struttin' With Some Barbecue
9. When It's Sleepy Time Down South
10. Medley: Manhattan / When It's Sleepy Time Down South
11. Indiana
12. The Gypsy
13. The Faithful Hussar
14. Rockin' Chair
15. Bucket's Got A Hole In It
16. Perdido
17. Clarinet Marmalade
18. Mack The Knife
19. Medley: Tenderly / You'll Never Walk Alone
20. Stompin' At The Savoy
21. Margie
22. Big Mama's Back In Town
23. That's My Desire
24. Ko Ko Mo (I Love You So)
25. When The Saints Go Marching In
26. The Star Spangled Banner
Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
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Plated and Pressed at Pallas in Germany on 180 Gram Virgin Vnyl
Released in Limited Quantities
