- This superb Brubeck recording, with Carmen McRae on vocals, finally returns to the site with Shootout Winning Triple Plus (A+++) sound from start to finish
- This Six-Eye Stereo pressing was richer and tubier and just plain more musical than every other copy we played (which is exactly why it won the shootout)
- The first of three collaborations between Brubeck and McRae in the early ’60s
- Billboard notes that “Brubeck teams up with canary Carmen McRae on this package and the results are eminently tasteful and listenable”.
- Every reviewer on Amazon for this album (on CD of course) gave it Five Stars – how often does that happen?
- You’ll find excellent Double Plus (A++) sound on both sides of this Brubeck Mulligan Masterpiece
- The fullness of the lower midrange on this Columbia 360 Stereo pressing brings out all the magic of this pair’s piano and baritone, respectively
- Recorded in Mexico, the superb sound captured here was no easy feat, but the Columbia engineers were clearly up to the challenge
- 4 1/2 Stars: “This fine LP was the debut of Brubeck’s new Quartet, a group featuring baritonist Gerry Mulligan… this enjoyable set showed that for Brubeck there was life after Paul Desmond.”
If you haven’t heard one of our killer Gerry Mulligan vintage Columbia pressings, with the fullness of its lower midrange bringing out all the magic of the man’s remarkably rich baritone, this is your chance.
And if too much baritone sax is not your thing, this may be just the right record for you, with Brubeck taking half the leads.
As is the case with most live albums, the sound of the crowd tells you a lot about the recording, and on this copy the crowd sounded exceptionally clear and natural. Many live albums have crowds that are either too bright, or too loud between tracks, both of which can be very off-putting. When the crowd is recorded and mixed right — again, these are pros from Columbia Records who really know their jazz — you feel as if you are immersed right there with them in the audience. (more…)
A distinguished member of the Better Records Jazz Hall of Fame.
This Minty looking Columbia Six Eye Demo LP has SUPERB SOUND and some of the quietest Six Eye vinyl I’ve ever heard. If you’re a fan of either Dave Brubeck or Jimmy Rushing you can’t do better than this album. The sound is as close to perfection as I can imagine.
A distinguished member of the Better Records Jazz Hall of Fame.
Clean and Clear, Yet Rich and Sweet. This copy managed to find the perfect balance of these attributes.
You want that rare copy that keeps what is good about a Tubey Magical analog recording from The Golden Age of Jazz while managing to avoid the pitfalls so common to them: smear, lack of top end extension, opacity and blubber. To be sure, the fault is not with the recording (I guess; again, not having heard the master tape) but with the typically mediocre pressing.
Bad vinyl, bad mastering, who knows why so many copies sound so thick, dull and veiled?
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 be an unparalleled Sonic Treat. We guarantee that no heavy vinyl pressing, of this or any other album, has the kind of analog magic found here. (more…)
- A KILLER 6-Eye original stereo pressing of this wonderful recording, with Shootout Winning Triple Plus (A+++) sound on the first side and Double Plus (A++) sound on the second
- Both sides are incredibly Tubey Magical as befits a Brubeck recording from 1962 produced by Teo Macero
- Superb 1962 All Tube sound courtesy of the extraordinary engineering skills of Fred Plaut
- 4 Stars: “One of Dave Brubeck’s more adventurous albums… Highly recommended along with Brubeck’s other Time recordings.”
Need a refresher course in Tubey Magic after playing too many modern recordings or remasterings? These vintage Brubeck recordings 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.
Getting The Balance Right
Clean and clear yet rich and sweet, this copy managed to find the perfect balance of these attributes so essential to the sound of vintage jazz recordings. You want to find that rare copy that keeps what is good about a Tubey Magical analog recording from The Golden Age of Jazz while managing to avoid the pitfalls so common to them: smear, lack of top end extension, opacity and blubber. (more…)
See How Well They Handle the Energy of Far More Drums
The drum solo Joe Morello lets loose on Far More Drums is one of the best on record. I was playing that very song recently and it occurred to me that it is practically impossible for a screen or panel speaker of any nature to reproduce the sound of those drums properly, regardless of how many subs you have.
Most of the music is not in the deeper bass anyway. It’s the whack of instruments whose energy is in the lower midrange and midrange that a screen speaker will struggle with, while a good large-driver dynamic speaker seems to handle the energy in that range with ease.
This is precisely the right album to take with you next time you head to your local stereo store to audition speakers. It will help clarify the issues. Screen speakers do many things well, but drums are not one of them in my experience.
If drums are important to you, do yourself a favor and buy a dynamic speaker, the bigger the better. (more…)
- An exceptional pressing – Nearly Triple Plus (A++ to A+++) on side one, an excellent Double Plus (A++) side two, big and open, with note-like bass and huge amounts of studio space
- Original Six Eye stereo LPs in playable condition are getting tough to find nowadays – even this one has issues
- 5 stars on Allmusic, an audiophile favorite and a great example of what’s phenomenally good about 1959 All Tube Analog recordings
- “Dave Brubeck’s defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time.”
Spacious and transparent, this copy has the big three-dimensional soundstage that makes this record such a joy to listen to. The piano has weight and heft, the drums are big and dynamic, and everything is relaxed and sweet — in short, this copy is doing pretty much everything we want a top quality Time Out to do. (more…)
As is the case with most live albums, the sound of the crowd tells you a lot about the recording, and on this copy the crowd sounded exceptionally clear and natural.
Many live albums have crowds that are either too bright, or too loud between tracks, both of which can be very off-putting. When the crowd is recorded and mixed right — again, these are pros from Columbia Records who really know their jazz — you feel as if you are immersed right there with them in the audience. (more…)
The best copies such as this one demonstrate the big-as-life Fred Plaut Columbia Sound at its best (better than even Time Out in our opinion). These vintage recordings are full-bodied, spacious, three-dimensional, rich, sweet and warm in the best tradition of an All Tube Analog recording. If you want to hear big drums in a big room these Brubeck recordings will show you that sound better than practically any record we know of. The Engineering tab below has much more on that subject.
The one standout track on this album for audiophiles is surely Unsquare Dance, what with its uncannily real sounding handclaps in 7/4. The copies that did the best job of reproducing that “flesh on flesh” sound of actual human hands clapping scored very well in our shootout.
More to Listen For
For starters listen for a fat snare and rich piano on the first track of side one. When you hear that, assuming you do, you should know you are in for a treat. Our best copies captured those two sounds brilliantly.
On the second track the clarity of the brushed snare is key to how resolving and transparent any copy is. The rich, smooth sound of Desmond’s sax balanced against the clarity of the brushes will help you make sure that the overall sound is tonally correct from top to bottom. (more…)
Sonic Grade: D
A Hall of Shame pressing.
This Direct Disk Labs Double LP is an exceptionally WELL-RECORDED Direct-to-Disc. The bass is punchy, the piano sounds tonally Right On The Money (ROTM) and the overall sound is lively and immediate. It’s one of the better sounding Direct-to-Discs we’ve played lately.
The music goes nowhere however, hence the grade.