Columbia 30th Street Studios is one of our favorite recording venues. Click on the link above to find our in-stock Hot Stamper pressings of albums recorded at that location from 1949 to 1981. The list of recordings made there stretches from West Side Story to Kind of Blue, all the way up to Pink Floyd’s The Wall in 1979. (Who knew?)
CBS 30th Street Studio, also known as Columbia 30th Street Studio, and nicknamed “The Church”, was an American recording studio operated by Columbia Records from 1949 to 1981 located at 207 East 30th Street, between Second and Third Avenues in Manhattan, New York City.
It was considered by some in the music industry to be the best sounding room in its time and others consider it to have been the greatest recording studio in history. A large number of recordings were made there in all genres, including Miles Davis’ Kind of Blue (1959), Leonard Bernstein’s West Side Story (Original Broadway Cast recording, 1957), Percy Faith’s Theme from A Summer Place (1960), and Pink Floyd’s The Wall (1979).(more…)
FRED PLAUT is one of our favorite recording and mixing engineers. Click on the link to find our in-stock Fred Plaut engineered or produced albums, along with plenty of our famous commentaries.
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 most 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.
Amazingly clear and Tubey magical Triple Plus (A+++) sound on the first side and excellent Double Plus (A++) sound on the second
Dramatically richer, fuller and more Tubey Magical than most other copies, with breathy vocals and rosiny, fairly smooth strings
I’m a Fool to Want You on this very copy may just send chills racing up and down your spine
4 1/2 stars on Allmusic: “Lady Day herself said that this session was her personal favorite.”
On the better copies both the sound and music are absolutely breathtaking.
What to Listen For (WTLF)
The better copies reproduce clearly what to our minds are the three most important elements in the recording — strings, rhythm, and vocal — and, more importantly, the are reproduced properly balanced with one another.(more…)
A Shootout Winning copy of this Miles Davis-Gil Evans classic and one of only a handful to hit the site in years
Side one earned our top grade of Triple Plus (A+++), side two was close behind at A++ to A+++
Not the quietest copy we’ve ever played – Mint Minus Minus to EX++ on both sides – but obviously one of the best sounding
Fred Plaut engineered the sessions, and on this amazing early pressing they sound rich, warm, smooth and clear
In the Saturday Review, Quiet Nights received praise for Davis’ “wonderfully songful trumpet in a Latin-American vein”, set against “piercingly lustrous curtains of tone and discreet Caribbean rhythms.”
We recently shot out a short stack of these — not an easy record to find in clean condition, in stereo, on the earlier labels, at affordable prices these days, so we didn’t have the eight to ten copies we like to have for a full shootout — and found that the music on Quiet Nights was every bit as enchanting as we remember it.
The music is very much in the style of Sketches Of Spain and the sound is comparable to that album as well. This is Davis’ final official collaboration with arranger and conductor Gil Evans. The quintet on this album includes Miles Davis on the trumpet, George Coleman on tenor sax, Victor Feldman on piano, Ron Carter on bass and Frank Butler on drums.(more…)