Labels We Love – Verve

Kenny Burrell with Gil Evans – Guitar Forms

More Kenny Burrell

More Gil Evans

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  • A superb sounding original stereo pressing with solid Double Plus (A++) sound from first note to last
  • Gil Evans wrote the superb orchestral arrangements and Rudy Van Gelder captured them on lovely analog tape – what’s not to like? 
  • We’ve really been digging these Creed Taylor productions for years now – it may not be serious jazz, but it’s no less interesting and captivating for it
  • “His landmark 1965 collaboration with Gil Evans, Guitar Forms rivals anything the arranger did with Miles Davis. Indeed, the track “Lotus Land” has a bolero form very reminiscent of Sketches of Spain. Throughout, Burrell takes thoughtful, concise, and utterly musical solos, and even switches to acoustic classical guitar on “Prelude #2” and “Loie.””

For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1965 All Tube Analog sound can be, this killer copy will do the trick. (more…)

Stan Getz & Joao Gilberto – Getz-Gilberto #2

More Stan Getz

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  • A KILLER sounding copy with Shootout Winning Triple Plus (A+++) Live Jazz sound from start to finish 
  • This original stereo pressing is the first copy to make it to the site in years – boy are these hard to find in this kind of clean condition with top quality sonics
  • Rich, tubey and musical, the sound is wonderful for these live performances of two very different groups, one featuring Getz, the other Jobim 
  • 4 1/2 Stars: “Getz/Gilberto #2 holds its own with an appealing selection of fine jazz and bossa nova cuts.”

This original Verve 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 a real jazz club, this is the record for you. It’s what Vintage Records 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…)

Ella Fitzgerald – Sings the Harold Arlen Song Book #2

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  • This STUNNING stereo pressing of the Harold Arlen Song Book earned Shootout Winning Triple Plus (A+++) grades, or close to them, on both sides
  • One of the best copies to hit the site in a long time, Ella is incredibly rich, Tubey Magical and breathy throughout
  • Check out all the great songs here: Come Rain Or Come Shine, It’s Only A Paper Moon, One For My Baby, Get Happy, I Gotta Right To Sing The Blues, Over The Rainbow, and more
  • 5 stars: “Of all of her Songbooks, the Harold Arlen and Duke Ellington sets are the most jazz-oriented.”

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Ella Fitzgerald – Ella Swings Lightly

More Ella Fitzgerald

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  • With two outstanding Double Plus (A++) sides, this original Bow Tie Verve Stereo pressing is going to be very hard to beat – exceptionally quiet vinyl too
  • Lovely All Tube sound from 1958, with a huge, rich orchestra conducted by one of our favorite arrangers, Marty Paich 
  • Grammy Award for Best Improvised Jazz Solo – these were the days when Ella was on top of the world
  • “The bright, sunny optimism of Fitzgerald’s style comes through in several tracks, including ‘If I Were a Bell’ (which also includes several remarkable variations on the melody), and ‘Teardrops From My Eyes’ (which alternates between rock and jazz beats—not a big leap back then!)”

When you are lucky enough to find an album chock full of standards from the Great American Songbook, you cannot help but recognize that this era for Ella will never be equaled, by her or anyone else.

The recording is excellent, with space and midrange richness that might just take your breath away. (more…)

Gerry Mulligan – The Concert Jazz Band

More Gerry Mulligan

More Jazz Recordings Featuring the Saxophone

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  • Superb nearly Triple Plus (A++ to A+++) sound from start to finish, the “big band” sound here is really jumping out of the speakers
  • Huge space, size and clarity, with Tubey Magical richness befitting the 1960 recording dates of these sessions
  • “My idea is not so much that we are a big band with a small-band feel, but that we have a big-band feel in the way that a big band ought to be.” — Gerry Mulligan.
  • “Mulligan stages a thrilling musical spectacle in which fierce rivalry, song-like harmony and refined counterpoint play the main roles.”

If you’ve never heard a good All Tube Recording of the baritone sax, buy this record — it will blow your mind!

Huge amounts of ambience fill out the space the extends from wall to wall (and all the way to the back wall of the studio), leaving plenty of room around each of the players.

Full-bodied sound, open and spacious, bursting with life and energy — these are the hallmarks of our Truly Hot Stampers. If your stereo is cookin’ these days, this record will surely be an unqualified Sonic Treat.

We guarantee that no heavy vinyl pressing, of this or any other album, has the kind of analog sound found here. (Or your money back.)

Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it. (more…)

Ella Fitzgerald – These Are The Blues – Another Top Ella Title

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  • An outstanding early Stereo copy with solid Double Plus (A++) sound from start to finish
  • Only the best vintage pressings like this one offer the kind of Tubey Magic that was on the tapes in 1963
  • Allmusic Users 4 1/2 stars: “Ella Fitzgerald was never thought of as a blues singer but she does a surprisingly effective job on the ten blues songs here, including “See See Rider,” “Trouble in Mind,” “St. Louis Blues,” and Bessie Smith’s “Jailhouse Blues.” She somehow sings more or less in the style of the classic blues vocalists of the 1920s and largely pulls it off. …organist Wild Bill Davis (with assistance from guitarist Herb Ellis, bassist Ray Brown, and drummer Gus Johnson) dominate the ensembles. It’s an interesting set.”blues

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Stan Getz – Big Band Bossa Nova

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  • Getz’s superb 1962 release finally arrives on the site with outstanding Double Plus (A++) stereo sound or BETTER from start to finish – and the vinyl plays about as quietly as any vintage Verve ever does
  • Speakers Corner produced an unimpressive remaster on Heavy Vinyl years ago, and there are probably plenty of newer pressings that have come out since then, but none of them can begin to compete with the All Analog sound of this very pressing
  • 4 stars: “Fresh from the sudden success of Jazz Samba and “Desafinado,” Stan Getz asked the 28-year-old, strikingly gifted Gary McFarland to arrange a bossa nova album for big band as a follow-up. Getz is always his debonair, wistful, freely-floating self, completely at home in the Brazilian idiom that he’d adopted only a few months before.”

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Ed Thigpen – Out Of The Storm

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  • Ed Thigpen arrives on the site with this STUNNING copy of his debut album, boasting Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
  • Lively, dynamic, transparent, spacious and musical throughout – you won’t believe how good this Jazz Classic from 1966 sounds
  • Superb engineering by Rudy Van Gelder – Out of the Storm features jazz legends Clark Terry, Kenny Burrell, Herbie Hancock, and Ron Carter
  • 4 stars: “Drummer Ed Thigpen’s first album as a leader… Although not soloing much, Thigpen wrote three of the seven selections and occasionally played tuned drums, which sound a little bit like timbales… the performances are enjoyable.”  

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Stan Getz / Getz Au Go Go – Live and Learn

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A classic case of We Was Wrong. Many years ago we had written:

Of course, you would never know this is a good recording by playing the average domestic copy. This Japanese LP is one of the few pressings that can show you that this wonderful smoky night club jazz LP really can have Demo Disc sound.

Ridiculous, right? Well, at the time we believed it. Now our understanding is quite a bit more sophisticated, in the sense that the Japanese pressing is clearly better than most originals, not all of them.

More importantly, there are amazing sounding domestic reissues of the album that we’ve auditioned over the last ten years or so that really blew our minds and helped to set an even higher standard for the sound of Getz Au Go Go.

Our old story: (more…)

Getz Au Go Go – A Bossa Nova Classic

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  • Truly superb sound for this incredible recording, Triple Plus (A+++) on the second side and Double Plus (A++) on the first
  • Amazingly present, immediate and REAL — musically and sonically, this is one of our favorite jazz albums
  • This is an incredibly tough album to find with the right sound and decent surfaces, which is the main reason it’s been years since we did the shootout
  • 4 stars on Allmusic: “Highly recommended for all dimensions of jazz enthusiasts.” [We would of course give it the full 5 Stars]

This Stan Getz record has the kind of LIVE JAZZ CLUB SOUND that audiophiles like us (you and me) dream of. More importantly, this ain’t no Jazz at Some Stupid Pawnshop — this is THE REAL THING. Stan Getz, Gary Burton, Kenny Burrell and the lovely Astrud Gilberto, the living embodiment of Cool Jazz, are coming to a listening room near you.

This is about as good a copy as has ever hit the site. Fans of cool jazz — in point of fact, some of the coolest jazz ever recorded — take note. 

Cool Jazz Is Right

I’ve gotten more enjoyment out of this Getz album than any other, including those that are much more famous such as Getz/Gilberto (which doesn’t sound as good by the way). This one is (mostly) live in a nightclub and it immediately puts you in the right mood to hear this kind of jazz.

Listening to side one I’m struck with the idea that this is the coolest jazz record of cool jazz ever recorded. Getz’s take on Summertime is a perfect example of his “feel” during these sessions. His playing is pure emotion; every note seems to come directly from his heart.

What really sets these performances apart is the relaxed quality of the playing. He seems to be almost nonchalant, but it’s not a bored or disinterested sound he’s making. It’s more of a man completely comfortable in this live setting, surrounded by like-minded musicians, all communicating the same vibe. Perhaps they all got hold of some really good grass that day. That’s the feeling one gets from their playing. As one is listening, there’s a certain euphoria that seems to be part of the music. This is definitely one of those albums to get lost in. (more…)