How can it be that some old recordings sound sublime?

Class A tube mastering amps, tube microphones, minimal miking and a real sound engineer with real ears doing the work. Simple
enough as opposed to most of the dreck of today

THIS.....‼️

Celtic nailed it--no overdubs, heavy processing, etc.. But also minimal or judicious use of compression.  

A recording being mastered for home listening will not have the dynamic range compression of a recording that is anticipated for radio playback.  Heavy dynamic compression is used for radio playback because radio is often listened to in noisier environments--hence the need for "steady" volume levels.

Celtic66,
I believe that your  assessment is on the mark,  simple high quality equipment used in a simple /minimalist signal pathway. Sound engineers who seem to strive for a natural reproduction and relied on their ears. The vast majority of my jazz recordings from that era (1950s-1960s) are very good sounding. 

I don't listen to  much pop, rock or Hip hop, so can't comment on them . I can say unequivocally that most modern jazz recordings are done exceptionally well. As a jazz devotee I'm very happy with this outcome. It seems that the tendency to "over manipulate " or process the sound is avoided for this genre. I will say  that modern jazz recordings seem to get a fuller scale or weight from pianos than earlier recordings. The earlier era stereo recordings do have an undeniable natural ease and flow of the music.  I think that in most audio applications, simplicity has a high correlation with good natural sound quality. 
Charles, 

Modern live recordings aside, you're talking about two very different things.  Once you get very far beyond two mikes and a live recording you're putting together pieces of a puzzle rather than taking a snapshot of an actual event.  Non-live with multiple overdubs makes for a tricky process that is not likely to result in a natural sound.  There's also a difference between recording/reproducing acoustic versus electric sounds.  I, too, am often surprised if not astonished at the great sound of some recordings from the fifties, mono and stereo alike.

The reason they used a simply recording techniques is because they didn't have any alternatives.  4 or 8 track recorders weren't in general use, so everything had to fit on two channels.  As a result engineers used a small number of microphones and ran them through very basic mixers.  The only sound processors available were EQ and compressor/limiters which were used across the 2 channel mix.  A decade later you would have 16-24 channels with individual EQ on each channel.  The drums could have 4 mics, the piano 2 mics and separate mics for the bassist and each horn plus dedicated "room" mics for crowd noise.  For this you needed a bigger, more complicated mixer with multiple gain stages.

German tube condenser mics and RCA ribbons were the microphones of choice back then and they are superb instruments that are highly valued in today's market.  But engineers from that time period thought they were finicky.  Their sound could change from session to session or even within a 3-hour session.  Transistor mics quickly replaced the better sounding tube mics because they didn't have this problem.