St. Louis Blues (2017)

Rainger, Goodwin, Hamilton, Ellington, LINK, Campbell, De Paul, Handy, Gershwin, Goodman, Waller, Lewis

Teddy Wilson

 Whitney Balliett, one of America’s most distinguished jazz writers, produced a fine appreciation of Teddy Wilson in one of his New York Times columns in 1972 when he wrote: “Teddy Wilson is a marvel and we must not take him for granted”. He went on to describe Wilson’s “feathery arpeggios, the easy, floating left hand, the impeccable rhythmic sense, the intense clusters of notes that believe the cool mask he wear when he plays”.

All the prodigious pianistic artistry of Teddy Wilson is in evidence on this album which features the pianist with two excellent rhythm sections. The 1968 sides, originally released on Storyville SLP 1005, were produced by Timme Rosenkranz. They team Wilson with Denmark’s most famous jazz export, Niels Henning Ørsted Pedersen and his very accomplished compatriot, Bjarne Rostvold.Throughout Wilson gives generous solo space to his colleagues and they make the most of it. NHOP needs no recommendation, but Lundgaard is also extremely impres- sive. He has good time and intonation and is an inventive and harmonically accurate soloist.
The other six sides were recorded 12 years later, Wilson’s backing on this occasion being supplied by Ed Thigpen – an “adopted” Dane of more than ten years’ stan- ding – and (Where do they find them?) yet another superb Danish bassist, Jesper Lundgaard, who has worked with Dexter Gordon, Tommy Flanagan,Warne Marsh, Jimmy Raney and Benny Carter, among other.

Read more

Teddy Wilson

Teddy Wilson is universally regarded as one of the supreme keyboard masters of the swing era.  He refined the stride piano tradition established by James P. Johnson and Fats Waller and introduced qualities of elegance, delicacy and finesse that were to earn him wide-spread acclaim and a great number of imitators.  Among the major piano stylists who came under his influence in the thirties were Billy Kyle, Jess Stacy, Joe Bushkin, Hank Jones, Billy Taylor and Mel Powell.

Born Theodore Wilson in Austin, Texas on November 24th, 1912, he studied piano and violin and majored in music theory at Talladega College.  At 17 he started working with local bands in the Detroit area and in 1930 he moved to Toledo to join Milton Seniorís band.

The early thirties found Wilson in Chicago where he gained valuable experience with the bands of Louis Armstrong, Erskine Tate and Jimmie Noone.  Arriving in New York in 1933, he joined Benny Carterís Chocolate Dandies and recorded some sides for John Hammond. Then, after a short spell with Willie Bryantís Band, Wilson teamed up in July 1935 with Benny Goodman and Gene Krupa in the famous Goodman Trio in a group that pioneered racial integrated jazz and became a major force in the swing era.

In the late thirties Wilson, once described by Benny Goodman as ìthe greatest musician in dance music today, did posterity the inestimable favour of recording a large number of sides for Brunswick and Vocalion with the incomparable Billie Holliday and a band of Basie alumni who included Buck Clayton, Lester Young, Freddie Green and Jo Jones.  Those recordings represent the cream of Lady Day's recorded work.

Wilson remained with Goodman until the spring of 1939 and then formed his own excellent but unhappily short-lived band which included Ben Webster, Doc Cheatham, Al Casey and J.C. Heard. The band played such New York venues as the Famous Door on 52nd Street and the Golden Gate Ballroom, but broke up in June 1940.

For the first half of the forties Wilson led various small combos, appearing in and around New York, and he devoted an increasing amount of time to teaching, arranging and broadcasting.

Between 1949 and 1952 he had a staff post with the WNEW radio station in New York. In the sixties, Wilson continued to front small groups, to teach and to work in radio and television; he also made numerous trips to Europe for festival appearances, concert dates and recordings. In 1962 he visited the Soviet Union with his old boss, Benny Goodman. In the seventies he made a number of trips to Japan where he was received with great enthusiasm and was much in demand for record dates. 

Leonard Feather has described Teddy Wilson as succeeding Earl Hines in being the most imitated pianist in jazz. Joachim Berendt has assessed Wilsonís small combo recordings as ìsome of the best and most representative of the swing era.

(-- Mike Hennessey)

 

Read more

St. Louis Blues (2017)

Rainger, Goodwin, Hamilton, Ellington, LINK, Campbell, De Paul, Handy, Gershwin, Goodman, Waller, Lewis

Teddy Wilson

Analog Recording Equipment: Nagra-T
Digital Converters: Merging Technologies Horus
Editing Software: Pyramix
Mastering Engineer:

Rene LaFlamme, Transfer from Analog Master Tape to DSD 256

Notes:

The mastering chain consists of a selection of high-end vacuum tube equipment. For the recordings on this album, the original 1⁄4” 15 ips CCIR master tapes were played on a Nagra-T tape recorder, modified with high-end tube playback elec- tronics, wired from the playback head directly to a Telefunken EF806 tube, using OCC silver cable. The Nagra T, with its four direct drive motors, two pinch rollers and a tape tension head, has one of the best transports ever made. A custom- built carbon fiber head block and a head damping electronic system permit 2xHD FUSION to obtain a better resolution and 3D imaging.

The resulting signal is then transformed into high resolution formats by recording it in DSD11.2kHz using a Merging Technologies’ Horus A to D converter. All analog and digital cables that are used are state of the art. The 2xHD FUSION mastering system is powered by a super capacitor power supply, using a new technology that lowers the digital noise found in the lowest level of the spectrum. A vacuum tube NAGRA HDdac (DSD) is used as a reference digital playback converter in order to A and B with the original analog master tape, permitting the fusion of the warmth of analog with the refinement of digital.

Producer: Karl Emil Knudsen & Timme Rosenkrantz
Recording Engineer: Hans Nielsen & Birger Ulstad
Recording location: Studio 39, Copenhagen on June 15, 1980 and Metronome Studio, Copenhagen on December 14, 1968
Recording Type & Bit Rate: Analog Tape to DSD256

This album was recorded to Analog tape. It was then transferred to the DSD bit rate indicated above.

Quality & Channel Selection
Select Quality and Channels to calculate the price below More info

Quality

Channels

  • Binaural
  • Stereo
  • Multi
  • ST+MCH
For albums, lower DSD bit rates (128 and/or 64) are available at no surcharge. This does not apply for DXD selection.
Album Download duration price
2XHDST1082: St. Louis Blues
00:44:48   Select quality & channels above
Tracks.
1.
How High the Moon
Lewis
00:04:00   Select quality & channels above
2.
Keeping out of Mischief Now
Waller
00:04:25   Select quality & channels above
3.
Don't Be That Way
Goodman
00:04:40   Select quality & channels above
4.
George White's Scandals of 1924
Gershwin
00:03:35   Select quality & channels above
5.
St. Louis Blues (inst)
Handy
00:05:28   Select quality & channels above
6.
I'll Remember April
De Paul
00:05:02   Select quality & channels above
7.
If I Had You
Campbell
00:02:47   Select quality & channels above
8.
I've Got a Feeling I'm Falling
LINK
00:02:55   Select quality & channels above
9.
Prelude to a Kiss
Ellington
00:02:55   Select quality & channels above
10.
You're Blase
Hamilton
00:02:42   Select quality & channels above
11.
When You're Smiling
Goodwin
00:03:33   Select quality & channels above
12.
Easy Living
Rainger
00:02:46   Select quality & channels above

User Reviews

Other albums from this label