Some one suggested this: Jazz at the Pawnshop
I’m blown away.
From Presto Music:
Arne Domnérus (alto saxophone & clarinet), Bengt Hallberg (piano), Lars Erstrand (vibes), Georg Riedel (bass) & Egil Johansen (drums)
Format: SACD
Label: Proprius
Quantity: 1
Catalogue Number: PRSACD7879
I have this version.
Sound is pretty good. Music is pretty good. I have always failed to be blown away by either. But I understand why others would be.
A classic if ever there was one in our world.
In the late ‘70s / early ‘80s JATP on vinyl was the measurement standard for testing high end audio. I remember carrying that record around to hi-fi shops in Boston and New York back in the day. While maybe from a performance POV the playing is more “clever” than it is “cool”, it’s still enjoyable.
A fine way to listen to one’s system. I’ve an original LP version stashed away around hear somewhere.
Clifton, did you hear this against the DSD128 version? I ask because from the release notes it seems the DSD128 was a straight capture from the Ayre QA9Pro while the DSD256 was mastered from the DXD352.8 capture from the DCS 905 - IOW not “really” DSD. I was wondering, given this, if it would be better to just get the DXD version. 
So many complain about the music itself, as if it’s mere audiophilia. I disagree. It sounds like a group of gifted and connected musicians playing mostly standards, having the time of their lives. Were I lucky enough to be in the audience that night, I’d consider myself a happy jazz fan.
Could be WOW Jazz at the Pawnshop how many versions are out there? Several hundred?
I have the AudioSource 2xCD set, the Proprius SACD, a FIM K2HD CD, and who knows what else stashed away. So far the AudioSource CD is still my favorite because, oddly, it sounds like the LP. Audiophile sound-wise, the FIM K2HD is my fav.
Yes I did, Tony. The DSD128 version sounds much more thinner and mechanical. The DSD256 is fuller, better textured, and analog like. Big difference. But they might not be mastered the same though.
Here’s what NativeDSD say about mastering. But I got the DSD128 a while back from another source.
[Analog to High Definition DSD 64, DSD 128 & DXD Digital Transfers – René Laflamme, V.P. Engineering at 2xHD; DSD 256 and DSD 512 editions created by Tom Caulfield at NativeDSD Mastering Studio using the Signalyst HQ Player 4 Pro Mastering Software]
I’m playing the two versions right now and with the DSD256 version, I echo Palouse’s WOW, incredible sound!!
I just dusted off my father’s original. It sounds amazing.
This one. I have it, too, and agree.
It is safe, comfortable jazz.
I have the two lp set. The ambience of the venue is captured. I hear the clink of glasses and banter of the audience very well, but on the digital, not so much.
I used to live 100 m from Stampen Jazz club where the record was recordered.
The recording was a mess, the person doing it was standing with a small mixing board among the bars glasses and pint glasses at a very uncomfortable location high up a bit above the bar, if I remember his retelling of the story correctly.
It took a while to get the basics right and very few microphones was used, just as when Eva Cassidy’s live blues alley record was made.
Maybe these kind of recordings where things do not go as a professional plan says it should are the key to audiophile recordings?
In the case of Jazz at the pawnshop I think is the feeling of the close facility with people eating, talking and doing things at the same time as the performance is made, is what’s made the record so appreciated.
Stampen in Gamla Stan (old town of Stockholm/Sweden) is a small place where everything is within very few meters, including dish washing, door opening, stage and beer tap… it is actually hard to record something without getting sound from forks, bottles and chairs in the recording…
There is a documentary about the day the recording was made at Swedish Public Radios website (sr.se ) but it’s in Swedish
Thank you for the background information.
