- A KILLER sounding copy with Triple Plus (A+++) sound from the first note to the last
- These side are doing it all right — big, rich and Tubey Magical yet still clean, clear and present with lovely breathy vocals
- “It Might as Well Be Swing, was a more structured, swing-oriented set than Sinatra-Basie, and in many ways the superior album… , what makes [it] more successful is the consistently high level of the performances. On their previous collaboration, both Sinatra and Basie sounded a bit worn out, but throughout this record they play with energy and vigor.”
- With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout – fairly quiet vinyl too
- A Top Basie Big Band title in every way – musically, sonically, you name it, this album has got it going on!
- This is the way it must have sounded in 1976, in the New York studios where the famous RCA engineer Bob Simpson was still behind the board
- 4 stars: “This is one of Count Basie’s best big-band studio recordings for Norman Granz during his Pablo years. The arrangements by Bill Holman are both challenging and swinging, containing enough surprises to make this session a real standout.”
On the best pressings, the horns are so present and high-rez, not to mention full-bodied, this could easily become a favorite big band album to demo or test with — or just to enjoy the hell out of.
I never noticed until just now that the album cover picture for Farmer’s Market Barbecue and this album are exactly the same! Wow, Pablo, that takes balls. (more…)
- An excellent sounding copy of Basie’s 1983 release, with outstanding Double Plus (A++) sound or BETTER from start to finish – exceptionally quiet vinyl too
- Forget whatever dead-as-a-doornail Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of this wonderful session from 1983, this is the only way to go
- This is the Basie Big Band album that came out right after 88 Basie Street, a hard act to follow – top engineering by Dennis Sands
- “… recorded only a little more than a year before his death. However, the spirit of this music (helped out by some Ernie Wilkins) arrangements) make Count Basie seem ageless.”
The story of our latest shootout is what real Progress in Audio is all about.
Back in the early ’70s this was actually the album that first introduced me to honest-to-goodness “audiophile” sound.
I was at my local stereo store listening to speakers one day, and the salesman made a comment that the speakers we were listening to (the old Infinity Monitors with the Walsh tweeter) sounded “boxy”. I confessed to him that I didn’t actually know what that meant or what it would sound like if it weren’t boxy.
So he hooked up a pair of Dahlquist DQ-10s and put Sinatra at the Sands on. I was amazed at how the sound just floated in the room, free from the speakers, presenting an image that was as wide and deep as the showroom we were in. That speaker may have many flaws, but boxiness is definitely not one of them.
This description is pretty close to what I thought I heard all those years ago
The presence and immediacy here are staggering. Turn it up and Frank is right between your speakers, putting on the performance of a lifetime. Very few records out there offer the kind of realistic, lifelike sound you get from this pressing.
This vintage stereo LP also has the MIDRANGE MAGIC that’s missing from the later reissues. As good as some of them can be, this one is dramatically more real sounding. It gives you the sense that Frank Sinatra is right in front of you.
He’s no longer a recording — he’s a living, breathing person. We call that “the breath of life,” and this record has it in spades. His 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.
Or so I thought at the time. (more…)
A distinguished member of the Better Records Jazz Hall of Fame.
Another amazingly well recorded Count Basie album, and this one is killer with Triple Triple grades. It’s bigger, more solid and rich, with extension on both ends of the frequency spectrum that no other copy could match. First time on the site – a great session with a fresh sound for Basie, with Milt Jackson on vibes and Joe Pass on guitar.
I was not familiar with this record until recently. We pick up all the Pablo Basie titles we can get our hands on, and when we needle dropped a copy of this album we were amazed at the sound. Don’t know much about the engineer but he did a great job at Kendun for this session.
This was the first of a series of smaller ensemble recordings under the heading of Kansas City. We have more coming, including the superb Kansas City piano trio album entitled “For the Second Time” with Louis Bellson and Ray Brown, a record that can have superb sound on the Pablo pressing (but steer clear of the OJC which is thin and opaque, the opposite of the sound you want). (more…)
- Incredible shootout winning Triple Plus (A+++) sound or very close to it from start to finish – relatively quiet vinyl too
- Both sides here are clear, present, and energetic, with plenty of Tubey Magic, befitting this All Tube Recording on Verve from 1962
- “A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover’s collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1962 All Tube Analog sound can be, this killer copy will do the trick. (more…)
A distinguished member of the Better Records Jazz Hall of Fame.
This early British import KILLS the Speakers Corner 180 gram reissue! I still like their version but this is what it should have sounded like: tonally much fuller and richer. The 180 gram copy suffers from the standard reissue MO — brighter is not necessarily better, and definitely not when you have a big band and a vocalist, as is the case here. I’ve never heard this album sound better and I doubt that it really can sound much better than this. This copy makes me want to turn it up as loud as the stereo will go and let those wonderful Quincy Jones arrangements come to life! (more…)
- A vintage stereo pressing of Joe Williams right at his peak in 1959, with outstanding Double Plus (A++) sound and fairly quiet vinyl
- This is one of the few Joe Williams records we’ve been able to find with audiophile sound and surfaces – it’s taken us years to get even one shootout going, but it produced this great copy, so we think it was worth it!
- “Williams’ vocals seem effortless throughout the date… highlights include the easygoing swinger “The One I Love (Belongs to Somebody Else)” and a foot-tapping “Honeysuckle Rose.”
This vintage LP has the kind of Tubey Magical Midrange that modern pressings cannot BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
Take it from an Ella fan, you can’t go wrong with this one. On the best pressings, the sound is rich and full-bodied in the best tradition of a classic vintage jazz vocal album with big band backup. You could easily demonstrate your stereo with a good copy, but what you would really be demonstrating is music that the listener probably isn’t familiar with, and that’s the best reason to put on an old record.
On the best copies, the space is HUGE and the sound so rich, with prodigious amounts of Tubey Magic as well, which is key. The sound needs weight, warmth and tubes or you might as well be playing a CD. (more…)
A distinguished member of the Better Records Jazz Hall of Fame
This is a Superb Basie Big Band title in every way — musically, sonically, you name it, this album has got it going on! With 18 pieces in the studio, “I Told You So” can be a real powerhouse — if you have the right copy, and this side one, with SUPER HOT Stamper sound, shows you just how lively, fun and dynamic this music can sound.
This is the way it must have sounded in 1976, in the New York studios where it was recorded, with legendary RCA engineer BOB SIMPSON behind the board.
Side one here was close to the best sound we heard in our shootout. If it’s not a Demo Disc it’ll do until one shows up.
I never noticed until recently that the album cover photo for Farmer’s Market Barbecue and this album are exactly the same. Wow, Pablo, that takes balls. (more…)