- With two shootout winning Triple Plus (A+++) sides and two superb Double Plus (A++) sides, this is a phenomenal copy of Live in Japan
- This album captures Vaughan’s rich, playful style and transfixing vocal range like you’ve never heard before
- Full, big, present, and open, this album will recreate the sound of the concert hall right in your very own listening room
- 5 stars: “This two-fer (which finds Sassy accompanied by pianist Carl Schroeder, bassist John Gianelli, and drummer Jimmy Cobb) gives one a definitive look at the brilliant (and sometimes miraculous) singer.”
You may remember that Mobile Fidelity remastered this very album on CD, one of their very first releases, long before they came up with the idea of gold plating their discs and doubling the price. Some of those early discs were outstanding; I still own many of them to this day. That said, I don’t think I ever played this particular title.
This early 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 a real jazz club, this is the record for you. It’s what Vintage Records 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 is lost in these newly remastered recordings? Lots of things, but the most obvious and bothersome is TRANSPARENCY. And the loss of transparency in a live jazz club recording is practically the kiss of death.
What do the best Hot Stamper pressings give you?
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- 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.
What to Listen For (WTLF)
What are the criteria by which a record like this should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, and on and on down through the list.
When we can get all, or most all, of the qualities above to come together on any given side we provisionally award it a grade of “contender.” Once we’ve been through all our copies on one side we then play the best of the best against each other and arrive at a winner for that side. Repeat the process for the other side and the shootout is officially over. All that’s left is to see how the sides matched up.
It may not be rocket science, but it is a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at are as accurate as we can make them.
The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing — or your money back.
A Foggy Day
The Lamp Is Low
Willow Weep For Me
There Will Never Be Another You
Like Someone In Love
My Funny Valentine
All Of Me
Where Do I Begin (Love Story)
Over The Rainbow
I Could Write A Book
The Nearness Of You
I’ll Remember April
Watch What Happens
Bye Bye Blackbird
AMG 5-Star Review
…contains all of the music that Sarah Vaughan recorded during her Tokyo concert for Mainstream. The 49-year-old singer is heard at the height of her powers, really digging into the standards and making magic out of such numbers as “Poor,” “‘Round Midnight,” “Willow Weep,” “My Funny Valentine,” “Summertime,” and “Bye Bye Blackbird.” This two-fer (which finds Sassy accompanied by pianist Carl Schroeder, bassist John Gianelli, and drummer Jimmy Cobb) gives one a definitive look at the brilliant (and sometimes miraculous) singer.