- This vintage Contemporary pressing is close to the best we have ever heard, with stunning Nearly Master Tape sound from start to finish, just shy of our Shootout Winner – fairly quiet vinyl too
- Both of these sides are amazingly Tubey Magical, yet incredibly clean and clear — something you can’t get from the tube-mastered originals
- Helen’s voice is PERFECTION — breathy, full, and sweet; and the orchestra sounds JUST RIGHT — just listen to the nice bite of the brass
- 5 stars: “One of the high points of Helen Humes’ career, this Contemporary set features superior songs, superb backup, and very suitable and swinging arrangements by Marty Paich. Humes’ versions of ‘If I Could Be With You,’ ‘You’re Driving Me Crazy,’ and ‘Million Dollar Secret,’ in particular, are definitive… This classic release is essential and shows just how appealing a singer Helen Humes could be.”
This vintage Contemporary pressing has the kind of Tubey Magical Midrange that modern records can barely 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 Songs I Like To Sing! 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 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 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.
Later Pressings Have The Real Sound
We prefer later pressings of this album to the Black Label originals, which sound tube mastered and have a bit of echo added to them. The later pressings offer superior clarity and resolution. I wouldn’t say one is necessarily better than the other, but this seems to be the more accurate reproduction of what happened in the recording session, and I know this is the one I would rather listen to.
Without a doubt it’s one of my all time favorite jazz albums. The amazing Marty Paich (Art Pepper Plus Eleven) did the arrangements for this group of top musicians, which includes Art Pepper, Ben Webster, Barney Kessel, Shelly Manne, Jack Sheldon and Leroy Vinnegar, just to name the ones whose work I know well. Does it get any better?