- Ella’s 1959 release finally arrives on the site with STUNNING Mono sound from first note to last
- The sound is relaxed, full-bodied and lively, with Tubey Magical richness befitting the 1957 and 1959 recording dates of these sessions
- Skip the stereo pressing on this title – none of the copies we played could hold a candle to this killer mono LP
- “The album focuses on well-known songs not included in Fitzgerald’s epic Songbooks project, and several of the songs are tunes that she had recently recorded in duet with Louis Armstrong.”
- 4 stars: “A fine gem among the diamonds of Ella Fitzgerald’s late-’50s period with Verve… Wrapped in the strings of Frank DeVol’s orchestra, Fitzgerald is a bewitching presence singing these dreamy standards…”
This vintage Verve pressing has the kind of Tubey Magical Midrange that modern records rarely 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.).
Hot Stamper sound is rarely about the details of a given recording. In the case of this album, more than anything else a Hot Stamper must succeed at recreating a solid, palpable, real Ella Fitzgerald singing live in your listening room. The better copies have an uncanny way of doing just that.
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 less than one out of 100 new records do, if our experience with the hundreds we’ve played over the years can serve as a guide.
What the best sides of Hello Love 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 1959
- 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 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 Hello Love
- 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 Sta
You Go To My Head
Willow Weep For Me
I’m Thru’ With Love
Spring Will Be A Little Late This Year
Everything Happens To Me
Lost In A Fog
I’ve Grown Accustomed To His Face
I’ll Never Be The Same
Stairway To The Stars
Moonlight In Vermont
AMG 4 Star Review
A fine gem among the diamonds of Ella Fitzgerald’s late-’50s period with Verve… Wrapped in the strings of Frank DeVol’s orchestra, Fitzgerald is a bewitching presence singing these dreamy standards: “Tenderly,” “You Go to My Head,” “Willow Weep for Me,” and “Stairway to the Stars.” DeVol’s charts are dynamic as well, allowing space for expressive players such as trumpeters Harry “Sweets” Edison and Pete Candoli or tenor Ben Webster. A few of the titles are solo versions of songs she had recently sung on her Louis Armstrong duets.
This record sounds best this way: