Ella’s 1959 release for Verve (in stereo!) makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound on both sides
The sound is big, rich, lively and dynamic, with Ella’s astounding vocal range rendered as only an All Tube Analog chain can
These sides reproduce both the breath, as well as the front and center immediacy, of The First Lady of Song’s vocals, with tubey rich orchestral arrangements in support
“As usual, Ella uplifts all of the material and her best moments come on ‘Somebody Loves Me,’ a heartfelt ‘Moonlight Becomes You,’ a scat-filled ‘Blue Skies’ and (somewhat surprisingly) ‘St. Louis Blues.’… the formerly obscure ‘Get Happy’ finds Ella Fitzgerald at the peak of her powers.”
*NOTE: On side two, a small mark makes 1 loud then 1 moderate pop in the middle of track 2, Blue Skies.
The space here 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.(more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
This outstanding original Liberty Turquoise mono pressing boasts solid Double Plus (A++) grades, or close to them, on both sides. Thanks to superb engineering and vintage All Tube mastering, this 1957 LP is wonderfully rich and sweet, with a breathy, intimate Julie London performing live in your listening room. It’s also pressed on unusually quiet vinyl – Mint Minus Minus, with no issues to speak of – they don’t come quieter.(more…)
This outstanding vintage Liberty stereo pressing boasts solid Double Plus (A++) sound or close to it from top to bottom – exceptionally quiet vinyl for a Julie London album too (don’t get me started)
In-the-room presence, preternaturally breathy vocals, and boatloads of wonderful Tubey Magic
This amazing sleeper of a record belongs right up at the top of Ms. London’s oeuvre (25 albums strong) along with Julie Is Her Name – high praise indeed
4 stars: “Usually put into a torch song setting, this release allows London to shed that garment and become jazzy. Instead of being sultry, she becomes dazzling and sparkling. She also becomes more adept at phrasing and timing and takes a risk or two in the tradition of a jazz singer.”
The great Jimmy Rowles plays piano, handled the arrangements and fronts the big group here, taking the music in a wonderfully jazzy direction that suits Julie’s vocal style perfectly.(more…)
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 insanely good sounding copy with a Triple Plus (A+++) side one and an excellent Double Plus (A++) side two!
Both sides here are incredibly big and full yet still very clean and clear with excellent bass and none of the edginess that plagues the average copy
Fairly quiet throughout (w/ caveats, see below) — Mint Minus to Mint Minus Minus
“Armstrong finds the essence of each tune, bending and projecting them with his patented joie de vivre and gravel-voiced warmth every time.”
I first heard this album on the wonderful Classic Records pressing from the ’90s. I remember really enjoying the music and liking the sound of Bernie Grundman’s remaster very much. We reviewed and recommended the album (along with Under the Stars) in our old paper catalogs.
I have no idea what I would think of their version these days — well, to be honest I do have some idea of what I would think of it — but their version is at least good enough to make the case that Russell Garcia’s orchestral arrangements and Louis Armstrong’s sublime skills interpreting The Great American Songbook are a match made in heaven.
You may have seen Russell Garcia’s name on one of the landmark recordings of the ’50s: Ella Fitzgerald and Louis Armstrong’s recording of Porgy and Bess for Verve in the previous year, 1959. Watch for copies coming to the site one of these days. We’ve discovered some exceptional original and reissue pressings (as well as some that really do a disservice to the music and the engineers who recorded it. What else is new in the world of records?).(more…)