Superb nearly Triple Plus (A++ to A+++) sound from start to finish, the “big band” sound here is really jumping out of the speakers
Huge space, size and clarity, with Tubey Magical richness befitting the 1960 recording dates of these sessions
“My idea is not so much that we are a big band with a small-band feel, but that we have a big-band feel in the way that a big band ought to be.” — Gerry Mulligan.
“Mulligan stages a thrilling musical spectacle in which fierce rivalry, song-like harmony and refined counterpoint play the main roles.”
If you’ve never heard a good All Tube Recording of the baritone sax, buy this record — it will blow your mind!
Huge amounts of ambience fill out the space the extends from wall to wall (and all the way to the back wall of the studio), leaving plenty of room around each of the players.
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 surely be an unqualified Sonic Treat.
We guarantee that no heavy vinyl pressing, of this or any other album, has the kind of analog sound found here. (Or your money back.)
Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.(more…)
This 360 stereo pressing put every other copy we played to shame with Triple Plus (A+++) sound or close to it throughout
Tubier, more transparent, more dynamic, with that “jumpin’ out of the speakers’ quality that only The Real Thing (an old record) ever has
Hard to imagine any reissue, vintage or otherwise, can beat the sound of this LP – we sure couldn’t find one
“Jeru flawlessly swings with a relaxed, throbbing, positive life force… The recorded sound, achieved by an unidentified engineer at Nola Penthouse Studio in New York City, has remarkable presence and three-dimensionality.”
This outstanding copy of Mulligan’s superb collaboration with Chet Baker boasts solid Double Plus (A++) sound from start to finish
Remarkable Tubey Magical richness, as well as the kind of immediacy and transparency that few copies have – all qualities essential to reproducing both the trumpet and the baritone sax with exceptional fidelity
The sound of a vintage Pacific Jazz recording from 1957, on the rare stereo pressing no less, is really something to hear – you can be sure that no reissue can hold a candle to this LP
4 stars: “The Gerry Mulligan Quartet of 1952-53 was one of the best-loved jazz groups of the decade and it made stars out of both the leader and trumpeter Chet Baker… the music is quite enjoyable and the interplay between the two horns is still special.”
This original Verve All Tube Chain Stereo pressing boasts Shootout Winning Triple Plus (A+++) sound or close to it from first note to last
This copy is hard to fault – big, open, clear, with space and three-dimensionality that modern pressings fail miserably to reproduce
“With originals by Bob Brookmeyer, Gary McFarland and the baritonist/leader (in addition to the standards “Little Rock Getaway” and “My Kind of Love”), this is a high-quality if rather brief program. Trumpeter Clark Terry and guitarist Jim Hall co-star with Mulligan in the solo department. It is a pity that this orchestra could not prosper; all five of its recordings are worth getting.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1963 All Tube Analog sound can be, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There is of course a CD of this album, but those of us who possess a working turntable and a good collection of vintage vinyl could care less.(more…)
If you are a fan, this record will be a thrill. If you’re unfamiliar with the Duke’s music, I can’t imagine a better introduction than this.
This LP also includes Gerry Mulligan’s only performance with the Ellington band. Paul Gonsalves’s saxophone performance is superb and worth the price of the album alone. The clarinet parts on Princess Blue are out of this world — Ellington at his best!
A very different quartet appears on this record, with Mulligan’s baritone sax replacing Desmond’s alto and a whole new rhythm section behind both of these veteran leaders.
We’ve been surprised how good these mid- to late-’60s Brubeck recordings can sound. There’s still plenty of Tubey Magical richness on the best pressings of these records, a quality that is especially important when trying to reproduce the full-bodied sound of a baritone sax. (more…)
This original COLLECTOR QUALITY World Pacific Jazz LP has VERY GOOD sound and is EXCEPTIONALLY QUIET. Zoot Sims, Al Cohen, Lee Konitz and Allan Eager all play on this record. A pretty hot lineup if I do say so!
This is a very nice looking Verve Trumpeter Label Mono LP from 1957. Side one is wonderful and has the better sound here. It has more extension up top; the baritone sax is especially well reproduced.
Both sides of course have somewhat tubby bass, the type that characterizes all tube recordings from the ’50s and ’60s. Side two is a bit more veiled. The midrange is as musical as it is on side one but has less top end and therefore comes across as kind of dull. Musical and involving, but not as lively as it could be.
Supposedly the stereo pressings of this album are full of added echo, which is the reason Steve Hoffman chose to release the mono version of the album on gold CD for DCC back in the day. It’s one of our favorite DCC CDs; Steve did his usual top quality mastering on it.
White Hot on side two, nearly White on side one, this live album is crazy good sounding on this copy. Huge space, size and clarity, with Tubey Magical richness befitting its 1960 recording dates. On the second track of side two the swingin’ Zoot Sims is as immediate and real as any sax player can be.
Even though this is an All Tube Vintage Jazz recording, some copies tended to get a bit dry and midrangy. Some of this no doubt has to do with the different venues the songs were recorded in.
The sound is not particularly wide — some of it sounds almost mono — but it is tall and deep, and certainly more than spacious enough.(more…)
An incredible pressing of this Groundbreaking Jazz Classic, with Shootout Winning Triple Plus (A+++) sound on the first side and Double Plus (A++) on the second
This vintage mono pressing will show you just how well-recorded these 1949-50 sessions were
It’s the records they made from these tapes (more often from the dubs of them) that have given everybody the wrong idea about these wonderful sounding recordings
5 stars: “So dubbed because these three sessions are where the sound known as cool jazz essentially formed, Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate.”
NOTE: This is not the quietest copy we’ve ever heard, so we’re keeping the price down. If you want to hear how amazing the album can sound and can put up with less than-ideal surfaces, this is the copy to get.
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.
We’ve been trying to find copies of this classic music from 1949-1950 that really delivered the audiophile goods, but it took us years to track down the right pressings from the right era with the right stampers. We went through Monos, Stereos, Originals, Reissues of every kind… basically everything we could get our hands on.
It sure wasn’t easy and it sure wasn’t cheap, but after about ten years of digging we’re pretty sure we’ve got The Birth of the Cool’s number. This copy is proof positive. We guarantee you have never heard a version of this music that sounds remotely as good as this very record.(more…)