- A KILLER sounding original Black Label Stereo pressing with Triple Plus (A+++) sound from the first note to the last
- If you have never heard an All Tube Analog piano trio recording by Roy DuNann from the Golden Age of Tape, you are really in for a treat with this phenomenal sounding LP
- Exceptionally (I’m tempted to write impossibly) quiet vinyl throughout – Mint Minus to Mint Minus Minus
- “André Previn’s ten records for Contemporary during 1957-1960 were among the finest jazz recordings of his career… Best known among the songs are “I Remember It Well” and “Thank Heaven for Little Girls,” but the trio also uplifts and swings the other lesser-known tunes.”
This vintage Contemporary Black Label pressing has the kind of Tubey Magical Midrange that modern records can barely 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 amazing sides such as these have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1958
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We Listen For on Gigi
- 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, not the smear and thickness so common to these 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.
I Remember It Well
It’s A Bore
Aunt Alicia’s March
Thank Heaven For Little Girls
She Is Not Thinking Of Me
André Previn’s ten records for Contemporary during 1957-1960 were among the finest jazz recordings of his career. Several of the albums were jazz interpretations of scores from Broadway shows although, ironically, the best-known one, My Fair Lady, came out under drummer Shelly Manne’s name… Previn, Manne, and bassist Red Mitchell perform eight songs from the Lerner & Loewe show Gigi. Previn had won an Oscar for his adaptation of the score, so he knew this music quite well. Best known among the songs are “I Remember It Well” and “Thank Heaven for Little Girls,” but the trio also uplifts and swings the other lesser-known tunes.