- This superb collabration makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish on this early Jazzland stereo pressing
- With a rich, lively, present piano, as well as dead-on timbral accuracy for everyone else, this is by far the best sounding George Shearing record we have ever played
- “… features a rich blend of sound between piano, guitar and vibes all firmly supported by Monk Montgomery’s formidable bass work and Walter Perkins’ solid drumming.”
- 4 stars: “Pianist George Shearing meets up with guitarist Wes, vibraphonist Buddy, and bassist Monk Montgomery on this enjoyable if slightly lightweight outing… some fine soloing by the principals.”
- On side one, a group of marks makes 15 light to moderate crackly swooshes during the outro to Track 4, Enchanted.
Sometimes the copy with the best sound is not the copy with the quietest vinyl. The best sounding copy is always going to win the shootout, the condition of its vinyl notwithstanding. If you can tolerate the problems on this pressing you are in for some amazing George Shearing music and sound. If for any reason you are not happy with the sound or condition of the album we are of course happy to take it back for a full refund, including the domestic return postage.
This vintage Jazzland pressing has 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 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 The Best Sides Of George Shearing and the Montgomery Brothers 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 1961
- 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.
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 George Shearing and the Montgomery Brothers
- 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.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
- George Shearing – piano
- Buddy Montgomery – vibraphone
- Wes Montgomery – guitar
- Monk Montgomery – bass
- Walter Perkins – drums
- Armando Peraza – bongos, conga
- Ricardo Chimelis – bongos, conga, timbale
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 that is a key part of the appeal of these wonderful recordings.
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.
Love Walked In
Love For Sale
No Hard Feelings
Stranger In Paradise
The Lamp Is Low
And Then I Wrote
Darn That Dream
Mambo In Chimes
AMG 4 Star Review
Pianist George Shearing meets up with guitarist Wes, vibraphonist Buddy, and bassist Monk Montgomery on this enjoyable if slightly lightweight outing. The performances are a bit too concise at times, but the album has some fine soloing by the principals. Highlights include “Love Walked In,” “Love for Sale,” and “The Lamp Is Low.”
Jazz Profiles Review
Jazz is very egalitarian and ecumenical; it brings people together, especially those who have a stylistic affinity for certain approaches to the music.
Such was the case when The Montgomery Brothers – guitarist Wes, vibraphonist Buddy and bassist Monk – got together with pianist George Shearing.
Although they never worked as a formal group, The Montgomery Brothers and George did jam together on a few occasions and thankfully produced one album of music for Jazzland Records that features a rich blend of sound between piano, guitar and vibes all firmly supported by Monk Montgomery’s formidable bass work and Walter Perkins’ solid drumming.
The album, which is entitled George Shearing and The Montgomery Brothers, features a number of standards, some original compositions written expressly for the recording date and Latin Jazz tracks on which percussionists Armando Peraza and and Ricardo Chimelis were added.