Some copies are poorly mastered, so poorly that Ray Brown’s bass all but disappears from the trio!
Other copies made Thigpen’s snare sound hard and too forward in the mix.
This is obviously just a mastering EQ problem, since the good copies, such as this one, get all those elements to balance beautifully.
One of the Strobe label copies we played had such a boosted top end it was positively distorted. (The RIAA curve does not allow that kind of top end boost without causing serious problems.)
If you have big, full-range speakers one of the qualities you may recognize in the sound of the piano is WARMTH. The piano is not hard, brittle or tinkly. Instead the best copies show you a wonderfully full-bodied, warm, rich, smooth piano, one which sounds remarkably like the ones we’ve all heard countless times in piano bars and restaurants.
In other words like a real piano, not a recorded one. This is what good live recordings tend to do well. There isn’t time to mess with the sound. Often the mix is live, so messing around after the fact is just not an option. Bad mastering can ruin the sound, and often does, along with worn out stampers and bad vinyl and five gram needles that scrape off the high frequencies. But a few — a very few — copies survive all such hazards. They manage to capture these wonderful musical performances on vinyl, showing us the sound we never expected from Verve. This is one.
The trio is made up of Oscar Peterson, Ray Brown and Ed Thigpen, here recorded live at the height of their respective powers. Peterson really puts on a great show. He’s made an awful lot of records during his career and most of them aren’t very good. This is one of the exceptions. “If You Could See Me Now” is another one.