Genre – Jazz – Big Band

Duke Ellington – Piano In The Background

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Piano In The Background

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  • This original Six Eye has a nearly Triple Plus (A++ to A+++) side one and a seriously good Double Plus (A++) side two – exceptionally quiet vinyl too  
  • Full-bodied and warm, exactly the way you want your vintage analog to sound – the piano is surprisingly real here, solid and dynamic
  • Classic Records remastered the album in the 2000s, as has Speakers Corner, but if you think either one of those versions can hold a candle to the real thing from 1960, let us send you this record and disabuse you of that notion
  • 4 stars: “One of Ellington’s rarer studio sessions… Ellington’s solo abilities were always a bit underrated due to his brilliance in other areas, but this set shows just how modern he remained through the years as a player.”

This vintage Columbia 6 Eye Stereo 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 this Classic Album of Ellingtonia from 1960 have to offer is clear for all 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 domestic pressings like this one offer the kind of Tubey Magic that was on the tapes in 1960
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the keyboards, guitars and drums having the correct sound for this kind of recording
  • 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, 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.

The Piano

If you have full-range speakers some of the qualities you may recognize in the sound of the piano are WEIGHT and 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 we look for in a good piano recording. 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 reproduce the full spectrum of the piano’s wide range (and of course the wonderful performance of the pianist) on vintage vinyl, showing us the kind of sound we simply cannot find any other way.

What We’re Listening For on Piano In The Background

  • 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 for the piano, horns and drums, 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 musicians 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.

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.

The Players

Duke Ellington – piano
Willie Cook, Fats Ford, Eddie Mullins, Ray Nance – trumpet
Lawrence Brown, Booty Wood, Britt Woodman – trombone
Juan Tizol – valve trombone
Jimmy Hamilton – clarinet, tenor saxophone
Johnny Hodges – alto saxophone
Russell Procope – alto saxophone, clarinet
Paul Gonsalves – tenor saxophone
Harry Carney – baritone saxophone, clarinet, bass clarinet
Aaron Bell – bass
Sam Woodyard – drums

TRACK LISTING

Side One

Happy Go Lucky Local 
What Am I Here For
Kinda Dukish / Rockin’ In Rhythm
Perdido

Side Two

I’m Beginning To See The Light
Midriff
It Doesn’t Mean A Thing
Main Stem
Take The “A” Train

AMG 4 Star Review

One of Ellington’s rarer studio sessions and last out on a French CD, the main plot behind this runthrough of his standards is that the leader’s piano is featured at some point in every song. His sidemen are also heard from and everyone is in fine form. Ellington’s solo abilities were always a bit underrated due to his brilliance in other areas, but this set shows just how modern he remained through the years as a player.

Amazon Review

The great sleeper album of the period. It compares well to “Ellington Uptown” and “Blues in Orbit.” The standards are re-arranged and made newly fresh. And yet, they capture the essential beauty and spirit of the originals. Sublime example: “Main Stem.” “It Ain’t Got That Swing” is nearly a new composition entirely.

One superb number after another… And don’t worry: the piano is hardly in the background! The keyboard intros are genius. The never before released “Harlem Air Shaft” is especially infectious. What a find.

Junior Mance – Get Ready, Set, Jump!!!

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Get Ready, Set, Jump!!!

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  • This outstanding copy of Mance’s 1964 release boasts Shootout Winning Triple Plus (A+++) sound from start to finish
  • Wonderfully big, rich and LIVELY, with boatloads of Tubey Magic and three-dimensional space
  • This vintage stereo pressing boasts exceptionally natural piano sound and the live-in-the-studio energy of a swingin’ group of veteran horn players
  • 4 stars: “Mance is joined by some of the cream of the West Coast studio and jazz players for a session that features Mance doing his blues thing on piano while the band swings at various tempi… resembling somewhat the style of the Count Basie Orchestra.”

(more…)

Duke Ellington – Ellington ’66

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Ellington ’66

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  • Insanely good shootout winning Triple Plus (A+++) sound throughout and the first copy to ever hit the site!
  • This Grammy award winning title features Ellington performing some of the biggest pop hits of the day: Red Roses For a Blue Lady, I Want to Hold Your Hand, All My Loving, and more 

The album won a Grammy Award for Best Instrumental Jazz Performance – Large Group or Soloist with Large Group. (more…)

Count Basie – Me and You

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Me and You

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  • An excellent sounding copy of Basie’s 1983 release, with outstanding Double Plus (A++) sound or BETTER from start to finish – exceptionally quiet vinyl too
  • Forget whatever dead-as-a-doornail Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of this wonderful session from 1983, this is the only way to go 
  • This is the Basie Big Band album that came out right after 88 Basie Street, a hard act to follow – top engineering by Dennis Sands
  • “… recorded only a little more than a year before his death. However, the spirit of this music (helped out by some Ernie Wilkins) arrangements) make Count Basie seem ageless.”

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Duke Ellington – Blues In Orbit

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Blues In Orbit

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  • An excellent original Columbia Six-Eye pressing with solid Double Plus (A++) sound or BETTER from start to finish  
  • Huge amounts of three-dimensional space and ambience, and Tubey Magic by the boatload – this amazing 30th Street recording from 1960 shows just how good Columbia’s engineers were back then
  • “… it captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter.”

For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1959-1960 All Tube Analog sound can be, this killer copy will do the trick. (more…)

Duke Ellington – Ellington Indigos

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More Ellington Indigos

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A distinguished member of the Better Records Jazz Hall of Fame.

This 6-Eye Stereo pressing blew us away with its superbly well recorded romantic big band jazz, of which Ellington was a master. Both sides of this pressing are huge, rich, tubey and clear. This is absolutely the right sound for this music. A near-perfect demonstration of just how good 1958 All Tube Analog sound can be – no modern record can hold a candle to a pressing as good as this one. If you like your jazz ballads performed with deep feeling, by a road-tested group of virtuoso players, this record is for you.

If you like the sound of relaxed, tube-mastered jazz, you can’t do much better than Ellington Indigos. Many of the other Six Eye copies we played suffered from blubbery bass and transient smearing, but the clarity and bass definition here are surprisingly good. The warmth and immediacy of the sound here may just blow your mind. (more…)

Duke Ellington – Interpretations of Peer Gynt & more

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A distinguished member of the Better Records Jazz Hall of Fame.

One of Ellington’s most enjoyable classic collaborations with Billy Strayhorn.

A++, huge, so big it really fills the room from wall to wall, floor to ceiling. Not many records can do that.

Clear and hi-rez. It could use more richness — that alone would earn it another plus. (more…)

Count Basie – On My Way & Shoutin’ Again

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On My Way & Shoutin’ Again

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  • Incredible shootout winning Triple Plus (A+++) sound or very close to it from start to finish – relatively quiet vinyl too
  • Both sides here are clear, present, and energetic, with plenty of Tubey Magic, befitting this All Tube Recording on Verve from 1962
  • “A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover’s collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.” 

For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1962 All Tube Analog sound can be, this killer copy will do the trick. (more…)

Benny Goodman – Benny Goodman Swings Again

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Benny Goodman Swings Again

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  • Benny Goodman Swings Again makes its Hot Stamper debut with Nearly Triple Plus (A++ to A+++) sound throughout – exceptionally QUIET vinyl too 
  • This Columbia Six Eye stereo pressing was hard to fault – big, open, clear, with space and three-dimensionality that modern pressings can only dream of
  • On a live recording such as this, the transparency of this All Analog recording has the power to transport you to the front row of Ciro’s in West Hollywood – what a thrill!
  • “With a particularly strong lineup that includes vibraphonist Red Norvo, tenorman Flip Phillips and trumpeter Jack Sheldon, this out-of-print LP features Benny Goodman at his best (even if the swing era had supposedly ended 15 years earlier).”

These Nearly White Hot Stamper pressings have top quality sound that’s often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers (“relative” being relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don’t agree, please feel free to return the record for a full refund, no questions asked. (more…)

Duke Ellington & Count Basie – The Count Meets the Duke

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A distinguished member of the Better Records Jazz Hall of Fame.

Huge amounts of three-dimensional space and ambience, and rich Tubey Magic by the boatload – this 30th Street recording shows just how good Columbia’s engineers were back then. Quiet throughout – good luck finding a Six Eye Stereo pressing this nice on your own, they sure don’t grow on trees.

What the best sides of this wonderful collaboration between two jazz giants 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 back 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 of this large group of players 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 above

Production and Engineering

Teo Macero was the producer, Fred Plaut or Ray Moore were probably the engineers for these sessions — we cannot find the credits to know one way or the other — in Columbia’s glorious sounding 30th Street Studio. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording. (more…)