- Ella’s first album to come out after Clap Hands finally makes its Hot Stamper debut, with outstanding Double Plus (A++) sound on both sides
- What took us by surprise was how rich and sweet this original Verve was – so many of Ella’s early albums don’t have the smooth, natural vocals of this pressing
- We absolutely love the swinging R&B organ Bill Doggett brought to these big band sessions, all backing an exceptionally well recorded First Lady of Song
- “Ella Fitzgerald is in the spotlight throughout, mostly singing swing-era songs along with a couple of newer pieces… [her] voice was in its prime, and the charts are excellent.”
This copy is about as quiet as any domestic original Verve stereo pressing can be found. The monos of this title — which naturally are five times more common — have that hard, honky sound that so many mono cuttings made from Ella’s stereo recordings are cursed with.
Clap Hands is a notable exception to that rule, and of course any of her albums recorded in mono sound best in mono, when cut right and pressed right.
1962 was a great year for Ella. She released this album early in the year and followed it up with the Grammy winning Ella Swings Brightly with Nelson. Later in the same year Verve released Ella Swings Gently with Nelson, and it’s interesting to note that all three of these classic albums were recorded late in 1961. The woman could do no wrong!
We would have to wait for her first release of 1963, Ella Sings Broadway, before she put out a clunker. But who’s fault is that? The music is fine, it’s the recording that’s bad (as far as we can tell; we have yet to hear one sound good).
This original stereo LP has the kind of Tubey Magical Midrange that modern pressings barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.
Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real ELLA FITZGERALD singing live in your listening room. The best copies have an uncanny way of doing just that.
If you exclusively play modern repressings of older recordings (this one is now 57 years old), 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 less than one out of 100 new records do, if our experience with the hundreds we’ve played can serve as a guide.
What the best sides of this Verve pressing 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 1962
- 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 studio
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 above.
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. Strings and brass with 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-bodied 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.
What We’re Listening For on Rhythm Is My Business
- 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.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful originals.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
You Can Depend On Me
Show Me The Way To Go Out Of This World ‘Cause That’s Where Everything Is
I’ll Always Be In Love With You
Hallelujah I Love Him So
I Can’t Face The Music
No Moon At All
Laughin’ On The Outside
After You’ve Gone
Organist Bill Doggett had a rare chance on this album to write swinging charts for a big band. Ella Fitzgerald is in the spotlight throughout, mostly singing swing-era songs along with a couple of newer pieces, such as “Hallelujah I Love Him So” and “No Moon at All.”
… Ella’s voice was in its prime, and the charts are excellent.