- An original Turquoise Label Capital Mono LP with INCREDIBLE Shoutout Winning Triple Plus (A+++) sound or close to it from start to finish
- Both sides here are wonderfully rich and sweet – it’s hard to imagine June sounding much better than she does here
- All the top West Coast jazz guys are here: Shelly Manne, Bud Shank, Bob Cooper, and the arrangements are by the wonderfully talented Pete Rugolo
- 4 1/2 Stars: “… The Misty Miss Christy mostly stays on auto-stroll with a wealth of subtle and sophisticated orchestral charts. The jazz-pop environs come courtesy of longtime arranger Pete Rugolo and optimally frame the singer on highlights like “That’s All,” “I Didn’t Know About You,” and “Dearly Beloved.” Both an essential Christy title and one of the best vocal albums from the ’50s.”
- If you’re a fan of Miss Christy’s, or vintage Pop and Jazz Vocals in general, this is a Top Title from 1956 that belongs in your collection.
- The complete list of titles from 1956 that we’ve reviewed to date can be found here.
Both sides of this ’50s All Tube Recorded and Mastered record are just as rich and relaxed as you would expect. The balance is correct, because the top is there as well as the bottom.
June is no longer a recording — she’s a living, breathing person. We call that “the breath of life,” and this record has it in spades. Her voice is so rich, sweet, and free of any artificiality, you immediately find yourself lost in the music, because there’s no “sound” to distract you.
Need a refresher course in Tubey Magic after playing too many modern recordings or remasterings? These June Christy records are overflowing with it. Rich, smooth, sweet, full of ambience, dead-on correct tonality — everything that we listen for in a great record is here.
If you’re a fan of vintage female vocals –- the kind with no trace of digital reverb — you may get quite a kick out of this one. And unless I miss my guess, you’ll be the first and only person on your block to own it! (That’s not a bad thing considering the average person’s taste in music and sound these days.)
What The Best Sides Of The Misty Miss Christy 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 1956
- 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.
What We’re Listening For On The Misty Miss Christy
- 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.
A Big Group of Musicians Needs This Kind of Space
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies —- my notes for these copies often read “BIG and BOLD” —- create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that —- a copy like this one —- it’s an entirely different listening experience.
What do we love about these vintage pressings? The timbre of every instrument is Hi-Fi in the best sense of the word. The unique sound of every instrument is reproduced with remarkable fidelity. That’s what we at Better Records mean by “Hi-Fi,” not the kind of Audiophile Phony BS Sound that passes for Hi-Fidelity these days. There’s no boosted top, there’s no bloated bottom, there’s no sucked-out midrange.
This is Hi-Fidelity for those who recognize The Real Thing when they hear it. I’m pretty sure our customers do, and whoever picks this record up is guaranteed to get a real kick out of it.
I Didn’t Know About You
Sing Something Simple
Maybe You’ll Be There
A Lovely Way To Spend An Evening
This Year’s Kisses
For All We Know
There’s No You
AMG 4 1/2 Star Review
Using Anita Day as starting point — but eschewing many of her scat-song histrionics in favor of pure tonal power and melancholic shading — June Christy honed her singing skills with Stan Kenton’s band before going solo in the ’50s. Christy’s relatively accessible vocal approach and blonde good looks eventually helped her gain success with such classic long players as Something Cool and The Misty Miss Christy. [Both Must Owns in our book.]
Less swinging than Something Cool, The Misty Miss Christy mostly stays on auto-stroll with a wealth of subtle and sophisticated orchestral charts. The jazz-pop environs come courtesy of longtime arranger Pete Rugolo and optimally frame the singer on highlights like “That’s All,” “I Didn’t Know About You,” and “Dearly Beloved.” With West Coast-style brass and reed accents gliding atop the lush strings, Christy also turns in fine renditions of Monk’s “Round Midnight” and Russ Freeman’s expressionistically torchy “The Wind.” Balancing out the predominant autumnal lull, Christy shows her swinging savvy on breezy gems like “Sing Something Simple,” “There’s No You,” and “A Lovely Way to Spend an Evening.” Both an essential Christy title and one of the best vocal albums from the ’50s.