Lucky Thompson - tenor saxophone
Hank Jones - piano
Oscar Pettiford - bass
Osie Johnson - drums
Recorded in NYC on January 30, 1956.
Mostly digital - speakers are still analog!
Welcome to “What’s Worse” in Audio:
50€ speaker cables, no interconnects (none needed), no audiophile fuses, basic stock power chord, no power supply regenerators/conditioners, basic streamer with WiFi, files on a basic Intel NUC, no audiophile network switch, reclockers, or other audiophile digital voodoo, all equipment sitting on Ikea shelves, no headaches and audiophile anxieties…stuff just works reliably and always sounds the same regardless of the time of day ( and it sounds good to me and my adult children).
Would the sound of Lucky Thompson’s saxophone be significantly different with more expensive gear? I honestly don’t think so, but everyone will have their opinion about that.
Consider what jazz critic Jan Evensmo wrote about these recordings: “His [Thompson’s] sound was always unique, now it has a glow making it the most beautiful tenorsax sound in jazz history (together with that of Zoot Sims in slow tempo decades later),”
Was he listening to high end audio gear when making this comment? No. Would he have gained even better appreciation of Thompson by listening with the best gear? Perhaps. I honestly wonder because my experience so far does not support this.