The Noble Art of Teddy Wilson (2018)

Porter, Warren, Brooks, Duke, ROSE, Hanley, Anderson, Rodgers, Brown, Fain, Suesse

Teddy Wilson

Truly one of the greatest this gifted jazz pianist has shown impeccable taste and skill ever since his first tremendous solo on record 'Once Upon a Time' with Benny Carter's Chocolate Dandles in 1933. Everything Teddy plays is in perfect balance and order; he plays with warmth and enormous drive and a dazzling technique.

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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)

 

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The Noble Art of Teddy Wilson (2018)

Porter, Warren, Brooks, Duke, ROSE, Hanley, Anderson, Rodgers, Brown, Fain, Suesse

Teddy Wilson

Analog Recording Equipment: Nagra-T modified with high end tube playback electronics
Digital Converters: Merging Technologies Horus
Editing Software: Pyramix
Mastering Engineer:

René Laflamme - Transfer from Analog Master Tape to DSD 256

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 electronics, wired with OCC silver cable from the playback head direct to a Nick Doshi tube head preamplifier. 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 to obtain a better resolution and 3D imaging.

The resulting signal is then transferred into high resolu- tion formats by recording it in DSD 11.2 MHz 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.

2xHD was created by producer/studio owner André Perry and audiophile sound engineer René Laflamme.

2xHD Mastering by: René Laflamme 2xHD Executive Producer: André Perry

Producer: Timme Rosenkrantz
Recording Engineer: Birger Svan
Recording location: Metronome Studio Copenhagen 1968
Recording Type & Bit Rate: Analog

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

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2XHDST1108: The Noble Art of Teddy Wilson
00:39:28   Select quality & channels above
Tracks.
1.
My Silent Love
Suesse
00:02:25   N/A
2.
You Brought a New Kind of Love to Me
Fain
00:03:10   N/A
3.
Paradise
Brown
00:02:20   N/A
4.
A Connecticut Yankee: My Heart Stood Still
Rodgers
00:03:07   N/A
5.
Serenata
Anderson
00:02:23   N/A
6.
(Back Home Again In) Indiana
Hanley
00:05:12   N/A
7.
Walk a Little Faster: April in Paris
Duke
00:02:30   N/A
8.
'Deed I Do
ROSE
00:04:12   N/A
9.
Autumn in New York
Duke
00:02:29   N/A
10.
Ain't Misbehavin'
Brooks
00:02:52   N/A
11.
Serenade in Blue
Warren
00:02:56   N/A
12.
Can-Can: It's All Right with Me
Porter
00:05:52   N/A

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