Top Artists – Vince Guaraldi

Vince Guaraldi – Keeping the Players Together

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More of the Music of Vince Guaraldi

More Jazz Recordings Featuring the Piano

Another in our series of Listening Exercises here discussing the importance of transparency, ambience and resolution.

The arrangement of the players is straightforward, with the bass hard left, drums hard right (with leakage well to the left on the cymbals, but that’s another story), and Guaraldi on piano in the center. (The first track of side two reverses this arrangement; why, I have no idea.)

Here’s the crazy thing about this recording: The best copies really connect up — tie together — the space each of the players is in. I heard it during the shootout, and I can’t recall if it actually happened more than once or twice, but I know I heard it. They are all live, they are all on the same soundstage, but on most copies you would hardly know it.

They sound like they are playing in booths, the ambience never extending very far in any direction. The best copies have so much ambience that one player’s space extends all the way to the edge of the other player’s space. The effect, though rare, is nothing less than magical.

The piano is solid, mostly clear and not hard. Not many copies present the piano this way — correctly in other words. The amazing snare of Colin Bailey in the right channel is LIVELY and fun like you’ve never heard before.

There is no sacrifice in fullness, richness or Tubey Magic in the presentation, and that is the right sound for this music.

No Breakup on the Piano

I would be willing to bet that 90% or more of all the early pressings still in playable condition have some breakup on the piano. The old arms and carts of the day simply could not track the groove the way modern arms and carts can, and ended up damaging the record.

We are happy to report that this copy has no breakup on the piano at all.

The best copies bring out the contribution of the bass player better, the bass being essential to the rhythm of the music. On some, the bass is so tight and note-like you can see right into the soundstage and practically watch Monte Budwig play.

Further Reading

Vince Guaraldi – Jazz Impressions of Black Orpheus

Reviews and Commentaries for Vince Guaraldi

More Jazz Recordings Featuring the Piano

    • An outstanding copy of this classic audiophile favorite with Double Plus (A++) sound from first note to last – fairly quiet for a vintage vinyl pressing on Fantasy Deep Groove vinyl too
    • You’d be hard-pressed to find a copy that’s this well balanced, yet big and lively, with such wonderful clarity in the mids and highs
    • Sublime, practically magical jazz trio sound (and music!) that belongs in every audiophile’s collection
    • If you made the mistake of buying any pressing made in the last forty years, on any label, here is your chance to finally hear this wonderful music sound the way it was meant to
    • And if this strikes you as too much money to spend on the album, don’t buy an LP, buy Hoffmann’s Gold CD, it’s wonderful
    • 5 stars: “Here is Vince Guaraldi’s breakthrough album — musically, commercially, in every which way… The whole album evokes the ambience of San Francisco’s jazz life in the 1960s as few others do.”
    • It’s hard to imagine that any list of the Best Jazz Albums of 1962 would not have this record on it

This album checks off a number of important boxes for us here at Better Records:

    1. It’s a Jazz Demo Disc (on the right stereo pressings)
    2. It’s the Best Sounding Vince Guaraldi album we know of
    3. It’s a Jazz Masterpiece, and, lastly,
    4. It’s a Personal Favorite of yours truly

Great energy for this jazz classic. This quality cannot be emphasized enough — it’s critically important to the music.

The best copies really get the bottom right. They bring out the contribution of the bass player better, the bass being essential to the rhythm of the music. On these pressings, the bass is so tight and note-like, you can see right into the soundstage and practically watch Monte Budwig play.

This is precisely where the 45 RPM pressing goes off the rails. The bloated, much-too-heavy and poorly-defined bass of the Heavy Vinyl remaster makes a mess of the Brazillian and African rhythms inherent in the music. If you own that $50 waste of money, believe me, you will not be tapping your foot to “Cast Your Fate to the Wind” or “Manha de Carnival.”

If you happen to have a friend with that title in his collection, ask to take a peek at it. I’ll bet it’s pristine. Bad records don’t get played much. Some audiophiles have complained that we spend too much time bashing Heavy Vinyl, but if ever a record deserved it, it’s that one. It’s a failure as a remastering and an insult to the analog buying audiophile public at large. Searching the web, I am glad to see that no one seems to have anything nice to say about it, as of this writing. No one should, but that has not deterred the reviewers and forum posters in the past.

The piano is solid, mostly clear and not hard. Not many copies present the piano this way — correctly in other words. The amazing snare of Colin Bailey in the right channel is LIVELY and fun like you’ve never heard before.

There is no sacrifice in fullness, richness or Tubey Magic in the presentation, and that is the right sound for this music.

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Vince Guaraldi & Bola Sete – Live At El Matador

More Vince Guaraldi

 More Live Recordings of Interest

  • This early Fantasy pressing of Live at El Matador earned excellent Double Plus (A++) grades or BETTER from start to finish
  • Both of these sides are rich, clean, clear, lively and spacious with little of the grittiness that plagues the average copy
  • This is the third and final collaborative effort between Vince Guaraldi and Bola Sete, and if you’re a fan of either, you should find much to enjoy here
  • “… a virtuoso guitar performance; even as a living room listening experience, Sete demonstrates the mastery that so impressed club patrons.” – Five Cents Please

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Vince Guaraldi – Jazz Impressions Of Charlie Brown

More 5 Star Albums

  • This superb pressing boasts Shootout-winning Triple Plus (A+++) sound on side one and an excellent Double Plus (A++) side two
  • Guaraldi introduced the world to his unique, melodic, elegantly simple style with this very album – only a pressing this good does the timeless score justice
  • Not the quietest copy we’ve ever played, although finding one much quieter than this is simply not in the cards unless you’re willing to settle for much poorer sound quality
  • 5 stars: “The most remarkable thing, besides the high quality of Guaraldi’s whimsically swinging tunes, is that he did not compromise his art one iota for the cartoon world; indeed, he sounds even more engaged, inventive, and lighthearted in his piano work here than ever.”

On both sides, but especially on this Shootout Winning side one, the sound was jumpin’ out of the speakers. There was not a trace of smear on the piano, which is unusual in our experience, although no one ever seems to talk about smeary pianos in the audiophile world (except for us of course).

If you have full-range speakers, some qualities you may recognize in the sound of the piano on this recording are WEIGHT and WARMTH. The piano is not hard, brittle or tinkly. Instead, the best copies show you a wonderfully full-bodied, warm, rich, smooth piano, one which sounds remarkably like the ones we’ve all heard countless times in piano bars and restaurants.

In other words like a real piano, not a recorded one. This is what we look for in a good piano recording. Bad mastering can ruin the sound, and often does, along with worn out stampers and bad vinyl and five gram needles that scrape off the high frequencies.

But a few copies survive all such hazards. (Too few, hence our prices.) They manage to reproduce the full spectrum sound of the piano (and of course the wonderful performances of the musicians) on vintage vinyl, showing us the kind of sound we never expected from a ’60s Fantasy pressing such as this one.

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Vince Guaraldi – A Bloated Mess at 45 RPM from Acoustech

More Jazz Recordings Featuring the Piano

More Bad Sounding Pressings from Analogue Productions

We played an amazing Hot stamper copy that got the bottom end on this album as right as we’ve ever heard. The contribution of the bass player was clear and correctly balanced in the mix, which we soon learned to appreciate was fundamentally important to the rhythmic drive of the music.

The bass was so tight and note-like you could see right into the soundstage and practically picture Monte Budwig plucking and bowing away.

This is precisely where the 45 RPM pressing goes off the rails. The bloated, much-too-heavy and poorly-defined bass of the Heavy Vinyl remaster makes a mess of the Brazilian and African rhythms inherent in the music. If you own that $50 waste of money, believe me, you will not be tapping your foot to Cast Your Fate to the Wind or Manha de Carnival.
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Cal Tjader – Cal Tjader Goes Latin

This is the cleanest, quietest original colored vinyl Fantasy pressing I have ever played in my life. To say these are normally beat to death is the understatement of the year.

Even more surprising is the superb saxophone playing of Jose Silva, a tenor man with whom I was not familiar. I thought he was Ben Webster or maybe Coleman Hawkins, his tone is so rich and sweet. The tracks that he’s on sound amazing — very full bodied and not a trace of hi-fi-ishness.

Overall the sound is a bit dark. A little treble boost would do wonders.

“… the highlights of the album are the four ballads that showcase Guaraldi’s distinctive piano style and the light tone of tenor saxophonist Jose Silva: Howard Arlen’s “Happiness Is a Thing Called Joe,” “Out of Nowhere,” “Close Your Eyes,” and the bolero-like “Contigo.” – AMG

This is an Older Jazz Review.

Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we developed in the early 2000s and have since turned into a fine art.

We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)

We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.

Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions, up against a number of other pressings. We award them sonic grades, and then condition check them for surface noise.

As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us could ever come along to do the kind of work we do.

The term “Hot Stampers” gets thrown around a lot these days, but to us it means only one thing: a record that has been through the shootout process and found to be of exceptionally high quality.

Not just a good sounding record. A record that was played in a shootout and did well.

The result of our labor is the scores of jazz titles seen here, every one of which is unique and guaranteed to be the best sounding copy of the album you have ever heard or you get your money back.

Further Reading