Top Engineers – Fred Plaut

Dave Brubeck – Time Out

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  • An exceptional pressing – Nearly Triple Plus (A++ to A+++) on side one, an excellent Double Plus (A++) side two, big and open, with note-like bass and huge amounts of studio space
  • Original Six Eye stereo LPs in playable condition are getting tough to find nowadays – even this one has issues
  • 5 stars on Allmusic, an audiophile favorite and a great example of what’s phenomenally good about 1959 All Tube Analog recordings
  • “Dave Brubeck’s defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time.”

Spacious and transparent, this copy has the big three-dimensional soundstage that makes this record such a joy to listen to. The piano has weight and heft, the drums are big and dynamic, and everything is relaxed and sweet — in short, this copy is doing pretty much everything we want a top quality Time Out to do.  (more…)

Dave Brubeck Quartet Time Further Out – What to Listen For

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The best copies such as this one demonstrate the big-as-life Fred Plaut Columbia Sound at its best (better than even Time Out in our opinion). These vintage recordings are full-bodied, spacious, three-dimensional, rich, sweet and warm in the best tradition of an All Tube Analog recording. If you want to hear big drums in a big room these Brubeck recordings will show you that sound better than practically any record we know of. The Engineering tab below has much more on that subject. 

The one standout track on this album for audiophiles is surely Unsquare Dance, what with its uncannily real sounding handclaps in 7/4. The copies that did the best job of reproducing that “flesh on flesh” sound of actual human hands clapping scored very well in our shootout.

More to Listen For

For starters listen for a fat snare and rich piano on the first track of side one. When you hear that, assuming you do, you should know you are in for a treat. Our best copies captured those two sounds brilliantly.

On the second track the clarity of the brushed snare is key to how resolving and transparent any copy is. The rich, smooth sound of Desmond’s sax balanced against the clarity of the brushes will help you make sure that the overall sound is tonally correct from top to bottom. (more…)

Dave Brubeck Quartet – Time Further Out

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  • With two seriously good Double Plus (A++) sides, this 360 label stereo copy was one of the better pressings we played in our recent shootout – it’s on quiet vinyl too
  • These early sides are incredibly tubey – rich, full-bodied and warm – yet clear, lively and dynamic
  • This copy demonstrates the big-as-life Fred Plaut Columbia Sound at its best – better even than Time Out(!)
  • “Brubeck treats the fifth, sixth, seventh, eighth, and ninth tunes in corresponding meters, to particular effect on the 7/4 hoedown of “Unsquare Dance,” the 8/8 barrelhouse changes of “Bru’s Boogie Woogie” and the engaging dissonances of his 9/8 mood piece “Blue Shadows in the Street.””

Time Further Out is consistently more varied and, dare we say, more musically interesting than Time Out.

If you want to hear big drums in a big room these Brubeck recordings will show you that sound better than practically any record we know of. These vintage recordings are full-bodied, spacious, three-dimensional, rich, sweet and warm in the best tradition of an All Tube Analog recording. 

The Piano

If you have full-range speakers, some of the qualities you may recognize in the sound of the piano 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. (more…)

Sketches Of Spain on Six Eye in Stereo

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1960 – It Was a Very Good Year

When you get a Hot Stamper like this one the sound is truly MAGICAL. (AMG has that dead right in their review.) Tons of ambience, Tubey Magic all over the place; let’s face it, this is one of those famous Columbia recordings that shows just how good the Columbia engineers were back then. The sound is lively but never strained. Davis’s horn has breath and bite just like the real thing. What more can you ask for?

We Was Wrong in the Past About HP and Six Eye Labels

In previous commentary we had written:

Harry Pearson added this record to his TAS List of Super Discs a few years back, not exactly a tough call it seems to us. Who can’t hear that this is an amazing sounding recording?

Of course you can be quite sure that he would have been listening exclusively to the earliest pressings on the Six Eye label. Which simply means that he probably never heard a copy with the clarity, transparency and freedom from distortion that these later label pressings offer.

The Six Eyes are full of Tubey Magic, don’t get me wrong; Davis’s trumpet can be and usually is wonderful sounding. It’s everything else that tends to suffer, especially the strings, which are shrill and smeary on most copies, Six Eyes, 360s and Red Labels included.

Over the course of the last few years we’ve come to appreciate just how good the right Six Eye stereo pressing can sound.

In fact, the two copies earning the highest grades were both original stereo pressings. Other pressings did well, but none did as well as the originals. This has never been our experience with Kind of Blue by the way. The later pressings have always done the best job of communicating the music on that album. (more…)

Simon & Garfunkel’s Parsley, Sage, Rosemary & Thyme – A Demo Disc for Tubey Magical Voices and Guitars

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  • A stunning Triple Plus (A+++) side two backed with a solid Double Plus (A++) side one – a remarkably good sounding early pressing
  • This Columbia 360 is incredibly big and present, with excellent clarity, wonderfully breathy vocals and low levels of spit (the result of clean cutting)
  • A Demo Disc for Tubey Magical voices and guitars, as well as a longtime Better Records Top 100 album
  • 4 1/2 stars Allmusic: “[I]t is an achievement akin to the Beatles’ Revolver or the Beach Boys’ Pet Sounds album, and just as personal and pointed as either of those records at their respective bests.”

More superb sound from the legendary CBS 30th street studios in New York!

Turn up the volume, turn down the lights, and you’ll have one of the best — if not THE best — folk duos of All Time performing right there in your listening room for you. The sound is open, spacious, and transparent with breathy vocals and unusually low levels of spit. The strings are more dynamic than we’re used to hearing and the bottom end has a really nice weight to it. (more…)

One of Our Favorite Studios – Columbia 30th Street Studios

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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 – One of Our Favorite Engineers

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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.

Wikipedia

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Billie Holiday’s Lady In Satin – Superb Columbia 30th Street Studio Sound

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  • 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…)

Miles Davis – Quiet Nights – Our White Hot Shootout Winner


Our White Hot Shootout Winner for 2018

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  • 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.”

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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…)