- Stunning sound throughout with each side rating a Triple Plus (A+++) or close to it
- Both sides here are rich and smooth with a big bottom end and a lovely musical quality that’s missing from the average copy
- Plays Mint Minus Minus on side one and even quieter on side two — Mint Minus to Mint Minus Minus
- “Recorded in 1959, this excellent album finds Reese backed by an orchestra that Neal Hefti arranged and conducted.” – All Music
If you’re a fan of vintage female vocals – the kind with no trace of digital reverb – you may get quite a kick out of this one.
Tubey Magic Is Key
This early Living Stereo pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What to Listen For (WTLF)
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we heard them all.
The Lady Is A Tramp
If I Could Be With You One Hour Tonight
Let’s Get Away From It All
You’re Driving Me Crazy
And The Angels Sing
Baby, Won’t You Please Come Home
I’m Beginning To See The Light
I’ll Get By
Someday (You’ll Want Me To Want You)
Della Reese was never a hardcore jazz singer. Her specialty was traditional pre-rock pop, and unlike jazz-oriented singers — Sarah Vaughan, Ella Fitzgerald, and Carmen McRae, among many others — she was not improvisation-minded. Therefore, her work must be judged by pop standards instead of jazz standards. Anyone who isn’t a myopic jazz snob realizes that pop standards aren’t necessarily low standards; in fact, traditional pop singers like Frank Sinatra, Jo Stafford, Tony Bennett, and the seminal Bing Crosby have had very high standards. And similarly, Reese brings high pop standards to Della.
Recorded in 1959, this excellent album finds Reese backed by an orchestra that Neal Hefti arranged and conducted. Hefti’s presence doesn’t automatically make Della a jazz session, but he provides tasteful arrangements for a pop singer who has jazz, blues, and gospel influences. …Reese, to her credit, doesn’t even try to emulate Sinatra’s version; instead, she provides a playful interpretation that is rewarding in its own right.