- Carmen McRae’s superb live double album from 1972 arrives on the site with stunning Shootout Winning Triple Plus (A+++) sound on FOUR sides
- Everything sounds immediate and unprocessed – no other copy in our shootout had this kind of natural, analog sound, putting a living, breathing Carmen McRae right between your speakers
- Recorded at Dante’s Jazz Club right here in Los Angeles, the lively banter between songs reveals the lady’s charm and wit
- 5 stars: “Joined by pianist Rowles, guitarist Joe Pass, bassist Chuck Domanico, and drummer Chuck Flores, McRae had what was at the time a rare opportunity to record a live, spontaneous, jazz-oriented set. She sounds quite enthusiastic about both her accompaniment and the strong repertoire…'”
In the early seventies, when I was first becoming seriously interested in audiophile-quality equipment, this was a famous Demo Disc at some high-end audio salons. (Five years later I would have speakers larger and more expensive in real dollars than the speakers I now own. At a tender age I acquired Stereophile’s cost no object, state-of-the-art speaker system from the mid-’70s, the Fulton J. I was the youngest person ever to own a pair of the behemoths, a record that has never and will never be broken I suspect.
The other monster speaker from that time was the Infinity Servo-Static 1A, which I auditioned before buying the Fultons. During the audition the electrostatic drivers kept blowing if the level got up too high, so that was the end of that. Who wants a speaker that can’t play at realistic sound levels?)
Of course, many of you may never have heard of Carmen McRae’s The Great American Songbook album, because the heyday for this record was probably 30-40 years ago, back when the audiophile magazines were actually writing about exceptionally natural, realistic recordings such as this one. I don’t know what they write about now; I stopped reading them years ago. But I doubt very much they are writing about recordings of this quality.
What’s striking about this album is how immediate and unprocessed everything sounds. It really gives you the feeling of being at a live show in a club. It helps that the performance was captured directly onto analog tape with minimal miking. Michael Cuscuna was the remix supervisor, by the way.
These vintage Atlantic pressings have the kind of Tubey Magical Midrange that modern records rarely 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 listening live at Donte’s, 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 the best sides of The Great American Songbook 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 1972
- 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 space of the club
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.
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.
Tube smear is common to most vintage pressings 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.
What We’re Listening For on The Great American Songbook
- 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 common to most LPs.
- Tight, note-like bass with clear fingering — which ties in with good transient information, as well as 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 players.
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt would have put them.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Carmen McRae – vocals, piano on “If the Moon Turns Green” and “Mr Ugly”
Jimmy Rowles – piano
Joe Pass – guitar
Chuck Domanico – double bass
Chuck Flores – drums
At Long Last Love
If The Moon Turns Green
Day By Day
What Are You Doing The Rest Of Your Life
The Days Of Wine And Roses
A Song For You
I Cried For You
Behind The Face
The Ballad Of Thelonious Monk
There’s No Such Thing As Love
They Long To Be Close To You
Three Little Words
It’s Like Reaching For The Moon I Thought About You
AMG 5 Star Rave Review
On this popular two-LP set, singer Carmen McRae interprets songs by Duke Ellington, Cole Porter, Michel Legrand, Warren & Dubin, Henry Mancini, and Jimmy Van Heusen, among others, but it is her rendition of a humorous Jimmy Rowles novelty (“The Ballad of Thelonious Monk”) that is best remembered.
Joined by pianist Rowles, guitarist Joe Pass, bassist Chuck Domanico, and drummer Chuck Flores, McRae had what was at the time a rare opportunity to record a live, spontaneous, jazz-oriented set. She sounds quite enthusiastic about both her accompaniment and the strong repertoire, which includes “At Long Last Love,” “I Only Have Eyes for You,” “Sunday,” “I Cried for You,” and “I Thought About You.”