- KILLER Shootout Winning Triple Plus (A+++) sound from start to finish for this original 360 label Columbia pressing
- Both sides here wonderfully rich, full-bodied, and as Tubey Magical as you would expect from Columbia in 1969
- Brilliant engineering by Frank Laico, the man who recorded I Left My Heart In San Francisco and Sketches of Spain, among others
- Tony Bennett was in fine form and still able to sing the hell out of these songs in 1969 – when you hear the quality of his voice on this very album you will perhaps appreciate the toll this century has taken on him
- Vintage record guys with top quality turntables – like us – get to hear Tony the way he should be heard, with his voice at the peak of its powers.
Sonic Grade: D
When we did a shootout for this record way back in October of 2007 we took the opportunity to play the Classic Records 200 gram pressing. Maybe we got a bad one, who knows, but that record did not sound remotely as good as the real thing (6 eye or 360, both can be quite good). The piano sounded thin and hard, which was quite unexpected given the fact that we used to consider the Classic LP one of their few winners and actually recommended it.
As we said in our shootout: “We dropped the needle on the Classic reissue to see how it stacked up against a serious pressing. Suffice it to say, the real Time Out magic isn’t going to be found on any heavy vinyl reissue!”
Everything that’s good about All Tube Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record.
The huge studio the music was recorded in is captured faithfully here. The height, width and depth of the staging here are extraordinary. We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this.
Transparency and Tubey Magic are key to the sound of the orchestra and you will find both in abundance on these two sides.
Albums such as this live and die by the quality of their vocal reproduction. On this record Mr. Tony Bennett himself will appear to be standing right in your listening room, along with the 38 other musicians from the session (actually they’re probably sitting).
The space of your stereo room will seem to expand in all directions in order to accommodate them, an illusion of course, but nevertheless a remarkably convincing one.
A distinguished member of the Better Records Jazz Hall of Fame.
Who knew? Not us and not anybody else it seems. We are not aware that any of the audiophile cognoscenti have ever taken this recording seriously, but that just goes to show how uninformed — or perhaps more likely underinformed — they’ve always been.
Gems such as this sit undiscovered even after thousands of pages of audiophile record reviews have been written. Then, along come a handful of guys in Thousand Oaks, California many years later, 52 to be exact, and reveal to the world a heretofore all but unknown yet nonetheless amazing Brubeck record.
And they back up everything they say with actual records that sound as good as they say they will. (more…)