Emanon
Nick Rossi noticed something on this record: distinct rhythm guitar, on a session with no guitarist listed in the standard discographies or the CD booklet. He hears it come into focus around 1:12, under Milt Jackson's vibraphone solo, and again from 2:17 under James Moody's tenor solo. His best guess at the player is John Collins, who floated in and out of this band. Listening to the isolated stems, Rossi adds that the timbre and note decay point to an unamplified, likely fully acoustic instrument.
The mixer below separates the guitar from the rest of the band, so you can skip the headphones and solo the part instead. The guitar sits low in every source, and its fader starts pushed up to compensate.
Different transfers of this side give up different amounts of guitar. Seven sources are compared, from the 2002 Savoy remaster that Rossi heard to raw 78 transfers, each through two passes: a guitar model, and a cascade that removes the upright bass and then the piano before running a plucked strings model on what remains, so its guitar stem comes with separate bass and piano faders. The separation is not perfect: what a model calls the guitar stem sometimes carries leakage from other instruments, most often the piano, which comps in the same register.
Every guitar stem, ranked
Active % is the fraction of half-second windows above −50 dB (higher means fewer holes); the waveform shows where the gaps fall. Sorted most-continuous first, but trust your ears: play and pick. Click a name to load that version in the mixer.