- You’ll find outstanding Double Plus (A++) sound on this Emus pressing of Count Basie and Tony Bennett’s 1959 classic collaboration
- The originals we have played are uniformly horrible sounding compared to these wonderful reissues – the tonality here is Right On The Money
- 4 1/2 stars: “… the pairing between Bennett and Basie remains impressive. The band raves through tunes like “With Plenty Of Money And You,” and Bennett matches them, drawing strength from the bravura arrangements, while band and singer achieve a knowing tenderness on “Growing Pains.” This is an album well worth owning…”
This vintage 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.
Old and New Work Well Together
This reissue is spacious, open, transparent, rich and sweet. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording Technology, with the added benefit of mastering using the more modern cutting equipment of the ’60s and ’70s. We are of course here referring to the good modern mastering of 40+ years ago, not the dubious modern mastering of today.
The combination of old and new works wonders on this title as you will surely hear for yourself on these superb sides.
We were impressed with the fact that these pressings excel in so many areas of reproduction. What was odd about it — odd to most audiophiles but not necessarily to us — was just how rich and Tubey Magical the reissue can be on the right pressing.
This leads me to think that most of the natural, full-bodied, lively, clear, rich sound of the album is on the tape, and that all one has to do to get that vintage sound on to a record is simply to thread up the tape on the right machine and hit play.
The fact that practically nobody seems to be able to make a record that sounds this good nowadays tells me that I’m wrong to think that such an approach would work. In our experience that is rarely the case in the modern world of vinyl reissues, and has been that way for many years.
What do the best pressings give you?
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks for the piano notes, not the smear and thickness so common to most LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
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’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information. Brass will get shrill and congested without enough top end air to breathe.
Tube smear is common to most pressings from the ’50s and ’60s and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich. (Full sound is especially critical to the horns; any blare, leanness or squawk ruins much of the fun, certainly, at the loud levels the record should be playing at.)
I Guess I’ll Have To Change My Plans
With Plenty Of Money And You
Life Is A Song
I’ve Grown Accustomed To Her Face
Poor Little Rich Girl
Are You Having Any Fun
AMG 4 1/2 Star Review
Tony Bennett recorded two albums with Count Basie and His Orchestra under a contractual agreement giving one of the records to Bennett’s label, Columbia, and the other to Basie’s, Roulette. The Columbia album, In Person!, was released once, while the Roulette album, initially issued under the title Strike Up The Band, has been re-released by various labels under various titles endlessly. This is one of those reissues, and while one may deplore the duplicitous marketing scheme, the pairing between Bennett and Basie remains impressive.
The band raves through tunes like “With Plenty Of Money And You,” and Bennett matches them, drawing strength from the bravura arrangements, while band and singer achieve a knowing tenderness on “Growing Pains.” This is an album well worth owning; just make sure you don’t buy it twice.