This stellar copy of Bud Shank’s 1966 release boasts Shootout Winning Triple Plus (A+++) sound or close to it on both sides – open, lively and dynamic throughout
Full, rich, and spacious with tons of Tubey Magic and, better yet, never dry, hard or transistory — true DEMO DISC QUALITY sound
An absolutely amazing recording engineered by none other than Bruce Botnick – the sound of multiple saxes playing these lively arrangements is music to our ears
“… the album works, largely because of Bob Florence’s arrangements and the shrewd doubling of the baritone and bass sax parts, which give the charts heft at the bottom… The overall sound remains wonderfully reedy and flighty.”
Bruce Botnick sure knew what he was doing on this session. He succeeded brilliantly in capturing the unique sound of each of the saxes. The album is really more of a West Coast pop jazz record than it is a “real” jazz record. The arrangements are very tight, the songs are quite short — none exceed three and a half minutes — so there is not a lot of classic jazz saxophone improvisational blowing going on.
Spacious and transparent with plenty of analog Tubey Magic to go around, this is a really wonderful way to hear the music. The sax sound is excellent — rich and full, with none of the hard, edgy quality we heard on the less than stellar pressings. For richness and Tubey Magic — with no sacrifice in clarity or dynamics — these sides just could not be beat.(more…)
Many, many years ago we reviewed a copy of this album, reproduced here:
East Wind Japanese Direct to Disc LP.
Number 1 in rarity and demand! The sound is stunning! You won’t find many records as transparent as this one, if you can find even one!
The band really comes alive on side two.
That’s where the real jazz is. The star of this record is Shelly Manne, who really plays up a storm. Bud shank is also fairly lively. Some of the LA 4 records can really put you to sleep. Side one of this album has a little bit of that quality, but side two shows how good this band can be.
This copy plays m-. It’s lightly ticky, but that’s not unusual for this record. For whatever reason, the Japanese vinyl on these East Wind direct discs is always a little ticky. Copies quieter than this one are very hard to come by.
With seriously good Double Plus (A++) sides or close to them, this Van Gelder mastered copy was one of the best we played in our shootout (but the vinyl is iffy at best)
The sound here has real texture to the strings and breath to the vocals, key elements if this music is going to work
4 1/2 stars: “The Astrud Gilberto Album was at least as good as Getz/Gilberto (despite what jazz fans say), for several reasons. Gilberto sounded beautiful on a range of material, from the sentimental “Dindi” to the playful “Agua de Beber,” and as long as intelligent musicians were playing to her strengths (as they do here), the results were splendid.”
If you can tolerate the slightly noisier surfaces of this pressing you are in for some amazing music and sound. If for any reason you are not happy with the sound or condition of the album,we are of course happy to take it back for a full refund including the domestic return postage.
This is an early stereo LP – the monos may be five times more common, but every last one we played was awful!
Check out this list of top jazz players:
Astrud Gilberto – vocals Antônio Carlos Jobim – vocals, guitar (track 2) João Gilberto – guitar Joe Mondragon – bass Bud Shank – alto sax, flute João Donato – piano Stu Williamson – trumpet Milt Bernhart – trombone (more…)
Shank’s 1962 collaboration with Laurindo Almeida arrives with a Shootout Winning Triple Plus (A+++) side one and an outstanding Double Plus (A++) side two – exceptionally quiet vinyl too
Another superb Rickard Bock production from the early ’60s, with huge amounts of studio space and Tubey Magic to die for
The combination of Shank’s sax and flute with Almeida’s Brazilan folk-influenced guitar creates a delightful and unique fusion of bossa nova-influenced jazz
These two would go on to form the L.A. 4, but we much prefer their earlier work on this album
4 stars: “…once again combining Brazilian rhythms and folk melodies with cool bop improvising… highly recommended.”
This World Pacific pressing has the kind of Tubey Magical Midrange that modern records rarely even 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 musicians, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(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…)