- Outstanding sound for this Living Stereo pressing with each side earning solid Double Plus (A++) grades and playing about as quietly as any RCA from 1959 ever does
- These sides are unbelievably Tubey Magical, dynamic and spacious – this is vintage Analog Exotica at its best
- Credit for the Demo Disc sound of this one must go to one of our favorite engineers, Bob Simpson, here working with the glorious acoustics of Webster Hall
- “… the use of two organs, or double the signature sound of the next phase of Prado, is significant and very effective. This is more fun than any of his previous attempts at safe commercialism.”
The space is HUGE and the sound so rich. The vocals have dramatically less hardness and the orchestra sounds right for once. Prodigious amounts of Tubey Magic as well, which is key to the best sounding copies. The sound needs weight, warmth and tubes or you might as well be playing a CD.
If you don’t like at least some reverb on your vocals, this album is probably not for you. The standard recording approach for Male and Female Vocals in the ’50s and ’60s was to add reverb to them. Sometimes it sounds right and sometimes it’s too much. For “too much” play some of Nat King Cole’s records from the era to hear what I mean. (Try “Those Lazy-Hazy-Crazy Days of Summer” from 1963 if you want a good place to start.)
Like any processing of the sound in the studio — compression, limiting, reverb, EQ, etc. — it can be used with taste and discretion and make the recording better, or it can be overdone and ruin everything. For our part we think Astrud Gilberto’s recordings use reverb more or less tastefully. And of course there sure aren’t going to be any versions of this music coming along any time soon without the added echo. Getting the reverb to sound right is one of the things a good Hot Stamper has to do on a record like this. (more…)
- KILLER sound throughout with both sides earning Shootout Winning Triple Plus (A+++) grades – exceptionally quiet vinyl too
- This is Art Pepper at its best, and if anyone can capture the realism of a live jazz club, it’s the engineers and producers at Contemporary, in this case Bob Simpson and Lester Koenig
- One of the man’s most enjoyable albums – the sound here was bigger and livelier than any other – above all it’s balanced, avoiding many of the problems we heard on other pressings
- 4 1/2 stars: “The great altoist was clearly excited to be playing at the famous New York club, and his rhythm section — pianist George Cables, bassist George Mraz and drummer Elvin Jones — consistently stimulates his imagination.”
This album features the great Elvin Jones on drums, plus Geoge Cables on piano and George Mraz on bass.
We played all four volumes of Art Pepper’s Village Vanguard series recently, and this copy was one of the best of the bunch. It features an intense live version of Pepper’s tune The Trip, from the wonderful album of the same title, as well as extended versions of the tunes You Go To My Head and Cherokee. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
A wonderful copy with a White Hot Stamper side two – unbelievably Tubey Magical and spacious. Side one was Super Hot and maybe a bit better – the top is extended, and the reverb is positively luscious. This is vintage analog at its best — the magic really comes through on this pressing. Credit for the Demo Disc sound of this one must go to the amazing Bob Simpson, working in glorious Webster Hall.
BOB SIMPSON won the Grammy for engineering Belafonte at Carnegie Hall you may recall.
Such an amazing sounding organ, some of the best Pop Organ reproduction I have ever heard!
This SUPERB sounding copy of Pops and Prado has a lot in common with the other Living Stereo / Exotica titles we’ve listed over the years, albums by the likes of Henry Mancini, Esquivel, Arthur Lyman, Dick Schory, Edmundo Ros, Ted Heath, Martin Denny and a handful of others. Talk about making your speakers disappear, these records will do it!
An album like this is all about Tubey Magical Stereoscopic presentation. And of course the driving, syncopated, heavily percussive arrangements add immensely to the fun, with the timbre of every scratcher and drum rendered in glorious Technicolor sound. (If only Airto had been around in the ’50s!)
For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1958 All Tube Analog sound can be, this killer copy may be just the record for you!
This copy 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.
If you like the sound of percussion instruments of every possible flavor, including some you have never tasted before, you will have a hard time finding a more magical recording of them than this.
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 in possession of a working turntable could care less.
Truly a Spectacular Demo Disc in its own right.
A distinguished member of the Better Records Jazz Hall of Fame.
One of the all time great Pablo sleepers. Why is no one else writing about records like these? The music is wonderful and the sound is top drawer on the best copies. If you’ve tried and failed with other Pablo Zoot Sims records, fear not: this title is one of his best, musically and sonically.
If you want to hear the Duke’s music swing in top sound, get this album.
This is a big group, probably at least a dozen pieces at any given time, and all that energy is captured on the best copies with tremendous engineering skill. The lively arrangements are by none other than Benny Carter, a man who knows his jazz. His career started in the ’20s(!) and lasted into this century if you can believe it. I consider myself fortunate to have seen him play locally when he was more than 90 years old. He stlll had it, kind of. (more…)
This is one of the all time great Pablo sleepers.
Why is no one else writing about records like these? The music is wonderful and the sound is top drawer on the best copies. If you’ve tried and failed with other Pablo Zoot Sims records, fear not: this title is one of the best we have ever played, musically and sonically.
- A superb copy with solid Double Plus (A++) sound or BETTER from start to finish
- Rich, solid bass; you-are-there immediacy; sound that’s just jumping out of the speakers, this copy had the sound we were looking for
- Which wouldn’t mean much if the music wasn’t swingin,’ but it is – this could very well be the best record Oscar Peterson ever made
- Credit engineer Bob Simpson, the man behind the legendary Belafonte at Carnegie Hall recording from a couple of years before
- An absolute Must Own – for sound and music this is our pick for The Best Oscar Peterson album of All Time
I’ve known this was a well recorded album since I first heard the DCC gold CD back in the ’90s. It sounded great to me at the time — I had nothing to compare it to — but it sure didn’t sound like this. (more…)
- With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout – fairly quiet vinyl too
- A Top Basie Big Band title in every way – musically, sonically, you name it, this album has got it going on!
- This is the way it must have sounded in 1976, in the New York studios where the famous RCA engineer Bob Simpson was still behind the board
- 4 stars: “This is one of Count Basie’s best big-band studio recordings for Norman Granz during his Pablo years. The arrangements by Bill Holman are both challenging and swinging, containing enough surprises to make this session a real standout.”
On the best pressings, the horns are so present and high-rez, not to mention full-bodied, this could easily become a favorite big band album to demo or test with — or just to enjoy the hell out of.
I never noticed until just now that the album cover picture for Farmer’s Market Barbecue and this album are exactly the same! Wow, Pablo, that takes balls. (more…)
- Insanely good Shootout Winning Triple Plus (A+++) sound from start to finish and the first copy to ever hit the site!
- These sides, recorded brilliantly by one of our favorite engineers, Bob Simpson, are big, full-bodied and present, with plenty of Tubey Magic and set on a a huge, three-dimensional soundstage
- The record features the amazing Gabor Szabo along with other top players like Clark Terry and Ron Carter
- Great pop jazz with excellent sound; if you’re a fan of Gabor Szabo, this music will be right up your alley