The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- With a nearly Triple Plus (A++ to A+++) side one and a seriously good Double Plus (A++) side two, this copy will be very hard to beat - exceptionally quiet vinyl too
- If you like the kind of music Grover Washington was making around the time of Mister Magic, this is the album for you
- This kind of funky Soul Jazz is not for everyone but Chet is such a great player he makes it work
- "...one of Baker's most important latter-day albums." -- Allmusic
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This vintage A&M pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
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 maybe one out of a hundred new records do, and those are some pretty long odds.
Top players as you can see from the list below.
Bass – Ron Carter
Drums – Tony Williams
Flute – Hubert Laws (tracks: A2)
Flute [Bass], Piccolo Flute – Hubert Laws (tracks: B2)
Guitar – John Scofield (tracks: A1, A2, B2)
Percussion – Ralph MacDonald (tracks: A1, B1)
Saxophone [Alto] – Paul Desmond (tracks: B1)
Saxophone [Tenor] – Michael Brecker (tracks: A1, A2, B2)
Arranged By, Conductor – Don Sebesky
What outstanding sides such as these 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 1977
- 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 studio space
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.
Mint Minus Minus and maybe a bit better 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 of these wonderful originals.
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.
Love For Sale
Un Poco Loco
You Can't Go Home Again
[Users give it Four Stars]
Verve/A&M's reissue of Chet Baker's 1977 album You Can't Go Home Again features the trumpeter/vocalist supported by an all-star band that includes guitarist John Scofield, tenor saxophonist Michael Brecker, and alto saxophonist Paul Desmond in his final recording session. Former Miles Davis sidemen Tony Williams and Ron Carter also add an organic touch to the proceedings and a warm contrast to the electric pianos and Moogs that flow through Don Sebesky's arrangements.
Alternate takes of the title track and others including "I'm Getting Sentimental Over You/You've Changed," "The Best Thing for You," and "If You Could See Me Now" make this double-disc set a more complete look at one of Baker's most important latter-day albums.
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