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In Reply to: RE: The "ancients" would laugh at our idea of listening to recorded posted by tinear on November 10, 2011 at 15:18:31
The editing on a recording really doesn't bother me - recordings are their own medium and I don't consider it cheating to use the resources of that medium. Even in the days of 78's, I understand that some artists would record each four-and-a-half minute side as many as 5 times.
But to answer your question, I believe the Audiofon label used to have a policy of single-take, non-edited releases. This was mainly piano solo repertoire. I have a number of their CD's recorded by Valentina Lisitsa which are pretty amazing, considering the technical difficulty of the repertoire and that they were single-take performances. In the Earl Wild memoirs I've just finished reading, he mentions that he made a couple of recordings for Audiofon, but that he considered their apporach to recording "too casual". A couple of the Audiofon booklet covers are shown below:
Follow Ups:
Yes, I collected some of the Audiofon releases on vinyl. Unfortunately I did'nt come across any of the Litsitsa recordings. Does Audiofon still exist, I'd like to pick up a few of these releases on CD if they still exist. Oh, one more of the "bad" musical jokes. Just remember if your musical abilities are'nt up to the technical demands of the piece you are attempting to play ,play it any way & just call it "good enough for Jazz". I can think of a few classical piano recordings where the pianist might have taken this approach to the piece! I especially love the piano recordings made on "good enough for Jazz" pianos!
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"If people don't want to come, nothing will stop them" - Sol Hurok
My sister's ex husband was a pretty talented professional piano technician. I spent a lot of time at the shop where he rebuilt grand pianos. On more than one occasion when another person of his trade would visit the shop the term "good enough for Jazz" was thrown around as a description of the condition of some of the instruments they were called in to service(which in many cases was the reason they paid a visit to his shop). Due to the fact you can't throw your piano in it's case & easily drop it off for maintenance or repairs a lot of people put off having work done to their pianos until they can't ignore the problems anymore(hey,there are lots of other keys on this thing,I can live with a few that are'nt right)& in many cases the overall condition of the piano deteriorates to the point were using it for a "honky tonk" piano is even a stretch. Be honest for a second & think about the sound of the piano on many recordings by great jazz pianists. In many cases their musicality is so overwhelming we don't hear(or ignore) how absolutely horrid sounding the instrument they were playing was. If you hear enough recordings of great jazz pianists you don't hear the piano anymore(unless you've spent time around a piano shop where prep work for classical piano concerts has been done, then you're "ruined" for listening to piano recordings). My comments were not meant as a statement criticism of Jazz, just the fact that the acceptance of using "bad" instruments was'nt the exception,but the norm.
I understand. Brilliant jazz pianists have been disrespected by their instruments for ever. Guess it's the places they have to play. Club owner: Hey, I upgraded the piano. Got it painted white.
I think the rise of electric keyboards was precipitated/facillitated by the horrible condition of the pianos that folks had to play. Terrible trade off in a way.
"If people don't want to come, nothing will stop them" - Sol Hurok
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