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 band so you can solo it instead of reaching for headphones. It sits low in every source, so its fader starts pushed up to compensate.

Different transfers give up different amounts of guitar. Seven sources are compared, from the 2002 Savoy remaster Rossi heard to raw 78 transfers, each run through two passes: a guitar model, and a cascade that strips the upright bass, then the piano, before a plucked-strings pass on what remains, giving that stem separate bass and piano faders. The separation isn't perfect: what a model calls guitar sometimes carries leakage from other instruments, most often the piano, which comps in the same register.

Listen · guitar and band

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. Click a name to load it in the mixer.