Part of what makes the Savory collection so alluring and historically important is its unusual format. At the time Savory was recording radio broadcasts for his own pleasure, which was before the introduction of tape, most studio performances were issued on 10-inch 78-r.p.m. shellac discs, which, with their limited capacity, could capture only about three minutes of music.
But Mr. Savory had access to 12- or even 16-inch discs, made of aluminum or acetate, and sometimes recorded at speeds of 33 1/3 r.p.m. That combination of bigger discs, slower speeds and more durable material allowed Mr. Savory to record longer performances in their entirety, including jam sessions at which musicians could stretch out and play extended solos that tested their creative mettle.
“Most of what exists from this era was done at home by young musicians or fans, and so you get really bad-sounding recordings,” Mr. Schoenberg said. “The difference with Bill Savory is that he was both a musician and a technical genius. You hear some of this stuff and you say, ‘This can’t be 70 years old.’ ”
Tuesday, August 17, 2010
Savory Jazz Collection
The National Jazz Museum has begun the digitization process of the old Savory collection, named after the 1930s audio engineer, William Savory. The NY Times has a great piece documenting the process. Looks like these recordings had gone unheard for 70 years! Regarding the actual recording technology, money quote: