Everything that’s good about All Tube Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record.
The huge studio the music was recorded in is captured faithfully here. The height, width and depth of the staging here are extraordinary. We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this.
Transparency and Tubey Magic are key to the sound of the orchestra and you will find both in abundance on these two sides.
Albums such as this live and die by the quality of their vocal reproduction. On this record Mr. Tony Bennett himself will appear to be standing right in your listening room, along with the 38 other musicians from the session (actually they’re probably sitting).
The space of your stereo room will seem to expand in all directions in order to accommodate them, an illusion of course, but nevertheless a remarkably convincing one.
- Our Shootout Winning stereo copy with Triple Plus (A+++) sound on both sides – this is As Good As It Gets, folks!
- Not the quietest copy we’ve ever played – Mint Minus Minus to EX++ – but clearly the best sounding
- Fitzgerald’s performance on this album won her the Award for Best Vocal Performance, her 7th Grammy (!)
- “The singer has rarely sounded better than during this period. Fitzgerald sticks mostly to familiar standards and is particularly memorable on “Don’t Be That Way,” “What Am I Here For,” “I’m Gonna Go Fishin’,” and “I Won’t Dance.”
See all of our Ella Fitzgerald albums in stock
Take it from an Ella fan, you can’t go wrong with this one, assuming you can put up with some light crackle underneath the music. The record itself looks exceptionally clean and well-cared for, but it clearly does not play as quietly as we would have hoped.
The sound is rich and full-bodied in the best tradition of a classic vintage jazz vocal album. You could easily demonstrate your stereo with a record this good! The space is HUGE and the sound so rich.
Prodigious amounts of Tubey Magic as well, which is key to the best sounding copies. The sound needs weight, warmth and tubes or you might as well be playing a CD.
Tubey Magic from 1961
This early stereo pressing has the kind of Tubey Magical Midrange that modern records cannot 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. (more…)