Side One: Mint Minus Minus (w/ a mark about 1/4" into track four that plays three times at a moderate level)
Side Two: Mint Minus Minus
- A stunning sounding Six-Eye Columbia pressing with Shootout Winning Triple Plus (A+++) sound or close to it on both sides
- Here are boatloads of the kind of Tubey Magical richness that make these vintage Columbia recordings the uniquely satisfying listening experience we know them to be
- More superb sound from the legendary CBS 30th street studios in New York - the size and power of a jazz orchestra in glorious all ANALOG sound
- "Ellington and his all-star orchestra manage to transform what could be a set of tired revival swing into superior dance music and swinging jazz... a surprise success."
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If you want to know what it was like to attend an Ellington supper club concert, this record will do the trick (even though the album was recorded in the studio and the applause added later). Ellington's magic is on display for everyone to hear.
For us audiophiles both the sound and the music here are wonderful. If you're looking to demonstrate just how good 1958 All Tube Analog sound can be, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you'll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There is of course a CD of this album, but those of us who possess a working turntable and a good collection of vintage vinyl could care less.
What the best sides of this Classic Ellington Album from 1958 have to offer is clear for all 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 1958
- 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
What to Listen For (WTLF)
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren't veiled or smeary of course. So many things can go wrong on a record! We know, we've heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most pressings from the '50s and '60s and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
A Big Group of Musicians Needs This Kind of Space
One of the qualities that we don't talk about on the site nearly enough is the SIZE of the record's presentation. Some copies of the album just sound small -- they don't extend all the way to the outside edges of the speakers, and they don't seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies -- my notes for these copies often read "BIG and BOLD" -- create a huge soundfield, with the music positively jumping out of the speakers. They're not brighter, they're not more aggressive, they're not hyped-up in any way, they're just bigger and clearer.
And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that -- a copy like this one -- it's an entirely different listening experience.
What do we love about these vintage pressings? The timbre of every instrument is Hi-Fi in the best sense of the word. The unique sound of every instrument is reproduced with remarkable fidelity. That's what we at Better Records mean by "Hi-Fi," not the kind of Audiophile Phony BS Sound that passes for Hi-Fidelity these days. There's no boosted top, there's no bloated bottom, there's no sucked-out midrange.
This is Hi-Fidelity for those who recognize The Real Thing when they hear it. I'm pretty sure our customers do, and whoever picks this record up is guaranteed to get a real kick out of it.
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.
Alice Blue Gown
Who's Afraid of the Big Bad Wolf
Got a Date with an Angel
Satan Takes a Holiday
The Peanut Vendor
Lady In Red
Indian Love Call
The Donkey Serenade
Gypsy Love Song
Laugh, Clown, Laugh
One of Duke Ellington's more unusual albums of the '50s, this live session finds the orchestra performing such songs as "Got a Date with an Angel," "The Peanut Vendor," "Indian Love Call" and even "Who's Afraid of the Big Bad Wolf." Amazingly enough the music works quite well for Ellington and his all-star orchestra manage to transform what could be a set of tired revival swing into superior dance music and swinging jazz.
While certainly not the most essential Ellington record, At the Bal Masque is a surprise success.
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