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Nearly White Hot Stamper - June Christy - Recalls Those Kenton Days

The copy we are selling is similar to the one pictured above.

Nearly White Hot Stamper

June Christy
Recalls Those Kenton Days

Capitol Records
Regular price
$199.99
Regular price
Sale price
$199.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus (often quieter than this grade)

Side Two: Mint Minus Minus

  • June's superb 1959 release returns with nearly Triple Plus (A++ to A+++) sound throughout - just shy of our Shootout Winner - quiet vinyl for this title too
  • The sound is present, lively and tonally correct, with Christy's vocals reproduced with the Tubey Magical richness and breathiness that only the best vintage vinyl pressings offer
  • We guarantee there is dramatically more space, richness, vocal presence, and performance energy on this copy than others you've heard, and that's especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
  • 4 stars: "... this ten-song solo collection is comprised of updated Christy-Kenton favorites... a must for serious June Christy fans."
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These Nearly White Hot Stamper pressings have top quality sound that's often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers ("relative" being relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don't agree, please feel free to return the record for a full refund, no questions asked.

This vintage Capitol Stereo pressing has the kind of Tubey Magical Midrange that modern records rarely begin to reproduce. Folks, that sound is gone and it sure isn't showing any sign of coming back.

Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.).

Hot Stamper sound is rarely about the details of a given recording. In the case of this album, more than anything else a Hot Stamper must succeed at recreating a solid, palpable, real June Christy singing live in your listening room. The better copies have an uncanny way of doing just that.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but less than one out of 100 new records do, if our experience with the hundreds we've played over the years can serve as a guide.

What the best sides of June Christy Recalls Those Kenton Days have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1959
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange -- with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional space of the studio

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We're Listening For on June Christy Recalls Those Kenton Days

  • Energy for starters. What could be more important than the life of the music?
  • The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information -- fast, clear, sharp attacks for the piano, horns and drums, not the smear and thickness common to most LPs.
  • Tight, note-like bass with clear fingering -- which ties in with good transient information, as well as the issue of frequency extension further down.
  • Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
  • Then: presence and immediacy. The vocals aren't "back there" somewhere, way behind the speakers. They're front and center where any recording engineer worth his salt would have put them.
  • Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

Vinyl Condition

Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic that is a key part of the appeal of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.


Side One

Just A-Sittin´ And A-Rockin´
A Hundred Years From To-Day
The Lonesome Road
She´s Funny That Way
It´s A Pity To Say Goodnight

Side Two

Willow Weep For Me
Easy Street
Across The Alley From The Alamo
Come Rain Or Come Shine
How High The Moon

AMG 4 Star Review

During a near-decade-long run, June Christy's soaring and bright vocals proved to be ideal for the Stan Kenton band's modern and idiosyncratic jazz charts. Thanks to Pete Rugolo and Bob Cooper's increasingly tailor-made arrangements, Christy soon became the star attraction of the group and eventually cashed in on her own with a string of fine solo LPs.

Released after her classic Something Cool and The Misty Miss Christy albums, this ten-song solo collection is comprised of updated Christy-Kenton favorites like "Just A-Sittin' and A-Rockin," "Across the Alley from the Alamo," and "The Lonesome Road." Nearly matching his stellar work on many earlier Christy albums, Rugolo handles the charts and conducts a large group of Kenton veterans like Cooper, drummer Shelly Manne, and trombonists Milt Bernhardt and Frank Rosolino. Other jazz luminaries such as guitarist Jim Hall, bassist Red Callender, trumpeter Russ Freeman, and saxophonist Paul Horn round out the band.

June Christy Recalls Those Kenton Days might not rate with Something Cool or The Misty Miss Christy as a first-disc choice, but it is still a must for serious June Christy fans.