- This 1968 jazz classic boasts outstanding Double Plus (A++) sound from first note to last
- Stan interprets these songs beautifully – for those who don’t mind a bit of easy listening from time to time, this is music worth playing
- Another top jazz recording from Rudy Van Gelder – big, bold and lively, just the right sound for this music
- “Forget those snobs who dismiss this album, Getz does a wonderful job interpreting some of Bacharach’s hits. He ‘jazzes’ up ‘A House is not a Home’ with a nice upbeat tempo and ‘Alfie’ is lush with his wonderful tenor sax.”
As expected, if you clean and play enough copies of a standard domestic major label album like this Verve, sooner or later you will stumble upon a good one. The best copies are filled with studio ambience, with every instrument occupying its own space in the mix and surrounded by air. On those pressings, there is not a trace of grain, just the silky sweet highs we’ve come to expect from analog done right.
This is, of course, the premise behind Hot Stampers themselves. They are out there to be stumbled upon. You can’t tell what pressing, from what era, from what country is going to be The One (Keanu, are you listening?) until you actually sit down, clean and play a big pile of them.
This vintage Verve 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 band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What the best sides of What The World Needs Now have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1968
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We’re Listening For on What The World Needs Now
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
The Players and Personnel
Jim Buffington – French horn
Jerome Richardson – woodwinds
Chick Corea, Herbie Hancock – piano
Kenny Burrell, Jim Hall, Phil Upchurch – guitar
Gloria Agostini – harp
Walter Booker, Ron Carter – bass
David Carey – vibraphone
Bill Horwath – cimbalom
Roy Haynes, Grady Tate – drums
Paul Gershman, David Mankovitz, David Nadien, Gerald Tarack – violin
Bernard Zaslav – viola
Charles McCracken – cello
Additional unidentified brass, strings and chorus arranged and conducted by Claus Ogerman and Richard Evans
Wives And Lovers
Windows Of The World
The Look Of Love
Any Old Time Of The Day
In Times Like These
A House Is Not A Home
Trains And Boats And Planes
What The World Needs Now Is Love
In Between The Heartaches
Walk On By
Forget those snobs who dismiss this album, Getz does a wonderful job interpreting some of Bacharach’s hits. He “jazzes” up A House is not a Home” with a nice upbeat tempo and “Alfie” is lush with his wonderful tenor sax. No, this isn’t Getz with Gilberto swooning “Girl from Impanema”, but it’s still classic Getz. I’m listening to this on vinyl and it’s a beautifully recorded album. Put it on as background music during a house party and watch your guests sway to “In Between the Heartaches” or start to sing “Walk On By” while doing the rumba! Buy this album and enjoy the wonderful tenor sax as only Getz can play it.