About The Blues with KILLER Triple Plus (A+++) sound from first note to last; we rarely have this title on the site
Julie’s lilting vocals are clear, breathy, Tubey Magical, and sweet, like practically nothing you’ve ever heard
This copy is about as quiet as we can find these 1957 Turquoise original mono pressings, Mint Minus Minus* throughout
4 stars: “About the Blues … may just be her best orchestral session. Since downbeat torch songs were London’s specialty, the album features an excellent selection of nocturnal but classy blues songs that play to her subtle strengths…”
Rich, smooth, sweet, full of ambience, dead-on correct tonality — everything that we listen for in a great record is here. (more…)
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.)
The early OJC reissues of this title are awful, and whatever Heavy Vinyl they’re churning out these days is probably every bit as bad, but in the opposite way.
The OJC is thin and bright, and the modern reissue (I’m guessing, based on playing scores of them) is probably thick, veiled, overly smooth, lacking in space and boosted in the bass — because that’s the sound that audiophiles record buyers seem to like these days.
Without the excellent sounding ’60s and ’70s reissues that we are still able to find in audiophile playing condition, all that we would have available with which to do our shootouts would be the originals. At the big bucks those records go for nowadays, shootouts would simply be impossible.
So our thanks go to Rudy for doing a good job on these later pressings!
And brickbats to George Horn, who seems to be the guy who cut the original OJC pressings. We like a lot of his work, but in this case he’s let us down.
Insanely good sound throughout with both sides earning Shootout Winning Triple Plus (A+++) grades
This copy was doing it all right: rich, full-bodied and Tubey Magical yet still super open and spacious
“A somber and unusual album by the standards of any style of music, Out There explores Dolphy’s vision in approaching the concept of tonality in a way few others — before, concurrent, or after — have ever envisioned.” – All Music, 5 Stars
This KILLER Prestige not-very-stereo pressing has Shootout Winning Triple Plus (A+++) sound or very close to its on both sides
Like many other Prestige “stereo” reissues, if there is any left-right information, you would never know it without checking it on a pair of headphones
In other words, this ’50s mono recording has been mastered in the ’60s to sound like it’s supposed to sound – there’s absolutely nothing artificial or modern here, which makes this a very special pressing indeed
Again and again the notes read “solid, big and rich,” and that’s the kind of sound fifty year old records give you, in spades
“Tenor Madness was the recording that, once and for all, established Newk as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why a young Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz.”
If you’re a fan of Sonny’s, this is a Top Title from 1956. The complete list of titles from 1956 that we’ve reviewed to date can be found here.
Shockingly good All Tube Mono Recording Chain sound from 1957 courtesy of Rudy Van Gelder, and the high-rez, tonally correct and wide-bandwidth mastering brings out even the most subtle nuances of the sound of this superb sextet
McLean’s sax is joined on the first side by Curtis Fuller on trombone and Webster Young on Trumpet
4 stars: “Although not quite as intense as McLean’s later Blue Note dates, the ballad renditions show just how mature and original a soloist he was even at this early stage.”
If you’re a fan of Jackie’s, this is a Top Title from 1957 that belongs in your collection.
The complete list of titles from 1957 that we’ve reviewed to date can be found here.
Two rare Donald Byrd albums in one, both with outstanding Double Plus (A++) sound or BETTER on all sides – exceptionally quiet vinyl too
The Tubey Magic is fully intact, making these two albums sound just the way 1956 RVG jazz should
Composed of two superb LPs, 2 Trumpets and The Young Bloods, these wonderful pressings capture some of Byrd’s best sound
“Art and Donald are in fine form, and if there is any competition it serves only to increase the musical yield.”
“… These blowing sessions (typical of Prestige’s albums of the 1950s) have their enjoyable moments with Farmer and Woods taking overall solo honors.
This reissue is spacious, open, transparent, rich and sweet. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording Technology, with the added benefit of mastering using the more modern cutting equipment of the ’70s in this case. We are of course here referring to the good modern mastering of 40+ years ago, not the generally opaque, veiled and lifeless mastering so common today.
The combination of old and new works wonders on this title as you will surely hear for yourself on both of these superb sides.
We were impressed with the fact that these pressings excel in so many areas of reproduction. What was odd about it — odd to most audiophiles but not necessarily to us — was just how rich and Tubey Magical the reissue can be on the right pressing.
This leads me to think that most of the natural, full-bodied, lively, clear, rich sound of the recording was still on the tape decades later, and that all that was needed to get that vintage sound on to a record was simply to thread up the tape on the right machine and hit play.
The fact that practically nobody seems to be able to make a record nowadays that sounds remotely this good tells me that I’m wrong to think that such an approach tends to work, if our experience with hundreds of mediocre Heavy Vinyl reissues is relevant.
Ella’s 1959 release finally arrives on the site with STUNNING Mono sound from first note to last
The sound is relaxed, full-bodied and lively, with Tubey Magical richness befitting the 1957 and 1959 recording dates of these sessions
Skip the stereo pressing on this title – none of the copies we played could hold a candle to this killer mono LP
“The album focuses on well-known songs not included in Fitzgerald’s epic Songbooks project, and several of the songs are tunes that she had recently recorded in duet with Louis Armstrong.”
4 stars: “A fine gem among the diamonds of Ella Fitzgerald’s late-’50s period with Verve… Wrapped in the strings of Frank DeVol’s orchestra, Fitzgerald is a bewitching presence singing these dreamy standards…”
It may say stereo on the cover, but this album is pure, glorious MONO, with sound that is full-bodied, relaxed, Tubey Magical and tonally correct.
This is a mono recording that has supposedly been reprocessed into stereo. Rudy Van Gelder did the mastering, and my guess is he decided to leave the sound mono and simply not tell anyone. Who can blame him? He engineered it in mono, so why fix what ain’t broke just because the label decided to print the cover and the label with the word “stereo” in order to generate more sales?
We’re lucky he did. The early OJC reissues of this title are awful, and whatever Heavy Vinyl they’re churning out these days is probably every bit as bad.
Without these excellent ’60s and ’70s reissues, all that we would have available to do our shootouts would be the originals.
At one to three thousand dollars each for clean copies, few of which could ever be found anyway, that makes for a shootout whose costs could simply never be justified.
This outstanding copy of The Kinks’ sophomore release has Shootout Winning Triple Plus (A+++) sound on the second side and solid Double Plus (A++) sound on the first
This Pink and Green Reprise original MONO pressing is lively, balanced and vibrant, with a healthy dose of the Tubey Magical Richness the Kinks’ recordings need in order to sound the way they should
4 1/2 stars: “…this album showcased a much more sophisticated sound… it also put them right in the front of the British Invasion pack for seriousness and complexity, out in front of where the Beatles or almost any of the competition were in early 1965…”