Top Artists – Paul Desmond

Dave Brubeck Quartet / Time Further Out’s Engineering – When Less Is More

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Reviews and Commentaries for Time Further Out

Fred Plaut is one of our favorite recording and mixing engineers.

His work on Time Further Out speaks for itself — we think it’s the best sounding Brubeck recording of them all. 

We could find no information about the venue for this recording. It might be the Columbia Studios known as “The Church” — that would explain the amazing sound quality of the album — but it may just be Plaut’s engineering prowess in another location that makes this some of the best sound to be found on any Brubeck record.

Frederick “Fred” Plaut was a recording engineer and amateur photographer. He was employed by Columbia Records during the 1940s, 1950s, and 1960s, eventually becoming the label’s chief engineer.

Plaut engineered sessions for what would result in many of Columbia’s famous albums, including the original cast recordings of South Pacific, My Fair Lady, and West Side Story, jazz LPs Kind of Blue and Sketches of Spain by Miles Davis, Time Out by Dave Brubeck, Mingus Ah Um and Mingus Dynasty by Charles Mingus.

Wikipedia

Mark Wilder was interviewed about the recording of these Fred Plaut sessions and noted [bold added by me]:

Fred Plaut and Frank Laico were two of Brubeck’s recording engineers. Plaut is a true balance engineer; he’s my idol. I don’t know how he could pull off what he did in three hours.

He continued:

It’s amazing how well-recorded the group was back then. The sound is so three-dimensional, bigger than life.

Yet it’s amazing how little the engineers did to get that sound. They just put one mic a few feet from each instrument, and mixed live to 3-track—for left, center, and right. Then they edited the tape and mixed down to 2-track.

The old stuff sounds better than what we’re doing now. We’ve been going in the wrong direction sound-wise for many years. The layout of the stereo stage was more realistic then, too. Drums were on the left, piano on the right, sax and bass in the middle. (more…)

Dave Brubeck – Time Changes

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More Jazz Recordings Featuring the Piano

  • With a breathy sax, lively and present piano, and a smooth, full sounding orchestra on some of these tracks, this is just the right sound for this music
  • The wonderful sounding CBS 30th Street Studios in New York deliver another amazing Demo Disc for Dave Brubeck and his famous fellow jazzmen
  • Produced by the legendary Teo Macero, this is the fourth entry in Brubeck’s time signature series of classic jazz

Production and Engineering

Teo Macero was the producer, Fred Plaut the engineer for these sessions in Columbia’s glorious-sounding 30th Street Studio. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording.

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Dave Brubeck Quartet – Time Further Out (Mono)

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Mono or Stereo? Both Can Be Good

  • With superb Double Plus (A++) sound throughout, this vintage 6-Eye Mono pressing will be very hard to beat – fairly quiet vinyl too
  • It’s extremely unlikely that any mono pressing will win a shootout, but just to keep us on our toes, we like to put some monos of famous albums in our shootouts from time to time to see how they measure up
  • This 2+ early pressing was the best of the bunch, and it’s guaranteed to beat the pants off any modern Heavy Vinyl pressing ever made
  • These sides are so Tubey Magical, rich, full-bodied and warm, yet clear, lively and dynamic
  • This copy demonstrates the big-as-life Fred Plaut Columbia Sound at its best – better even than Time Out(!)
  • 4 1/2 stars: “The selections, which range in time signatures from 5/4 to 9/8, are handled with apparent ease (or at least not too much difficulty) by pianist Brubeck, altoist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello on this near-classic.”
  • Mono or Stereo? Both Can Be Good

Time Further Out is consistently more varied and, dare we say, more musically interesting than Time Out.

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. These vintage recordings are full-bodied, spacious, three-dimensional, rich, sweet and warm in the best tradition of an All Tube Analog recording.

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Dave Brubeck – Reproducing the Phenomenal Size and Space of Time Out

More Columbia 30th Street Studio Recordings

Reviews of Recordings Made at Columbia’s 30th Street Studio

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. 

Listen to the drums on Everybody’s Jumpin’. This album was recorded on a big sound stage and there is a HUGE room which can clearly be heard surrounding the drum kit. Add to that that some of the drums are in the left channel and some of the drums are in the right channel and you have one big drum kit — exactly the way it was intended to sound.

Size and Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it’s an entirely different listening experience.

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Dave Brubeck – Time Out

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Reviews and Commentaries for Time Out

  • This Six-Eye Stereo pressing boasts out of this world Demo Disc Sound – Time Out captures the ambience and huge space of Columbia’s studio like no other record has (with a little reverb thrown in for good measure)
  • A knockout pressing of Brubeck’s astonishingly well recorded Jazz Classic, a record that belongs in every audiophile’s collection
  • Early stereo LPs in clean condition like this one are getting awfully tough to find nowadays…
  • “Buoyed by a hit single in Desmond’s ubiquitous Take Five, Time Out became an unexpectedly huge success, and still ranks as one of the most popular jazz albums ever. That’s a testament to Brubeck and Desmond’s abilities as composers, because Time Out is full of challenges both subtle and overt — it’s just that they’re not jarring.”
  • If you’re a fan of Brubeck and company, this 1959 album belongs in your collection, along with quite a few others from the classic jazz era
  • The complete list of titles from 1959 that we’ve reviewed to date can be found here.

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Dave Brubeck / Time Out – We Happily Admit the Originals Are (Potentially) the Best Sounding

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Reviews and Commentaries for Time Out

Time Out is Yet Another Record We Have Been Obsessed with for a Very Long Time

This time around [2014] no other copy of Time Out could touch our good Six Eye Stereo pressings. They were simply in a league of their own.

If you’ve been with us for a long time you may remember that this was not always the case. We used to really like some 360s as I recall, as well as the original mono pressing. This time around, not so much. 

This time around most everything is different. Allow us to explain.

1. Our stereo is different; we’ve made quite a number of changes to it since our last big shootout for Time Out a few years back. We are strong proponents of Making Audio Progress.

2. We’re different; we have better (I would hope) listening skills. In fact I’m sure we listen for different qualities in a recording than we might have years ago.

3. Even more importantly, we don’t have the same pile of pressings we had years ago. They’re gone, replaced by a new batch. This new batch had some killer original pressings, some good 360s, and not much to speak of on the later labels. This comes under the heading of Moderately Helpful Title Specific Advice.

With a different batch we might have found a great sounding 360 pressing; we have to believe they exist, and we certainly can’t say that our best copy here could not have been bettered in some way. That would be foolish; anything can be bettered.

The next time we run this experiment, the results could be different.

[Update from 2021: we have run the experiment a number of times in the five yeas since this commentary was written, and the best Six Eye in the shootout has not been beaten yet. Yet.]

For us, in 2014 (and probably through 2015), this is it. This is the right sound. (more…)

Paul Desmond & Gerry Mulligan – Two Of A Mind

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More Living Stereo Recordings

  • Superb Double Plus (A++) sound from the first note to the last on this RCA pressing in glorious Living Stereo
  • Both sides here are tonally rich, and with killer Living Stereo sound, you hear both of these brilliant hornmen presented as solid and real in the soundfield as any you may have heard
  • If you’re looking to demonstrate just how good 1962 All Tube Analog sound can be, this vintage pressing may be just the record for you
  • 4 1/2 stars: “Altoist Paul Desmond and baritonist Gerry Mulligan always made for a perfect team during their infrequent collaborations. Both of the saxophonists had immediately distinctive light tones, strong wits, and the ability to improvise melodically. Highly recommended.”
  • If you’re a fan of the smooth jazz stylings of Paul Desmond, this is a Must Own Classic from 1962 that belongs in your collection.
  • The complete list of titles from 1962 that we’ve reviewed to date can be found here.

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 actually IS a CD of this album, and YouTube videos of it too, but those of us with good turntables could care less.

And if you have an especially good turntable and the system that goes with it, we think you will find a world of difference in the sound of our Hot Stamper early pressing and any of the Heavy Vinyl records being produced of this very title.

They may be good — excellent even — but you won’t know what you are missing until you hear our record (or yours if you have an especially good one).

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Dave Brubeck Quartet / Time Further Out – What to Listen For

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Reviews and Commentaries for Time Further Out

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 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.

On side two the first track has the Wall to Wall Big Drums in a Big Room sound that positively blows our minds.

Note that in some places it sounds like the piano is overdriving its mic. We heard that sound on practically every copy we played, so we’re pretty sure it’s on the tape that way.

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The Dave Brubeck Quartet / Time Further Out – We Was Wrong

More of the Music of Dave Brubeck

Reviews and Commentaries for Time Further Out

Mono Vs. Stereo

The monos we played in our last few shootouts didn’t do much for us. They tended to be thin and hard sounding, and of course much of the space of the studio disappears completely. One side of one copy did well enough I suppose but my advice would be to avoid them if you’re looking for good sound.

Previously we had written:

This Columbia Six-Eye pressing is THE BEST SOUNDING MONO COPY OF THIS ALBUM WE’VE EVER HEARD! The better Mono pressings of this album give you extra immediacy, more solidity to the drums, and energy like you wouldn’t believe. That makes the drum solo on side two sound OUT OF THIS WORLD. Most copies are congested and veiled, but not this one! The sound is spacious and transparent with wonderful presence. You will not believe how lively it is! 

Both sides are rich and full-bodied with lots of sweetness and extension up top. The energy and transparency are wonderful. The bass is a bit tubby, but that’s what you get on these vintage Six Eye pressings. It’s worth it when there’s as much tubey magic as you get on this pressing.

A classic case of Live and Learn.

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Dave Brubeck – Time In from 1966

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  • You’ll find excellent Double Plus (A++) sound or BETTER on both sides of this pressing of Time In, the last album recorded in Brubeck’s “Time” series
  • This 360 Stereo pressing boasts the clean, clear, solid, lively piano sound we love about Brubeck’s records from this era
  • The best vintage pressings of Brubeck’s Columbia albums from the ’50 through the ’60s are exceptionally natural, with unerringly correct sound from top to bottom
  • 4 stars: “The last of pianist and composer Dave Brubeck’s “Time” recordings, and one of his most musically adventurous. Though it is seldom celebrated as such, this is one of Brubeck’s finest moments on Columbia.”

This vintage Columbia 360 stereo pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing any sign 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 audience at the live show, this is the record for you. It’s what Live Jazz Recordings are known for — this sound. (more…)