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 two seriously good Double Plus (A++) sides, this Black Print 360 Stereo pressing will be very hard to beat - exceptionally quiet vinyl too
- Huge amounts of three-dimensional space and ambience, and Tubey Magic by the boatload - here's a 30th Street recording from 1961 that demonstrates just how good Columbia's engineers were back then
- 4 1/2 stars: "... a very successful and surprisingly uncrowded encounter... Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing."
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This is a wonderful example of the kind of record that makes record collecting FUN.
If Large Group Jazz Music is your thing, you should get a big kick out of this one. If you like the sound of relaxed, tube-mastered jazz -- and what red blooded audiophile doesn't -- you can't do much better than the Ellington recordings on Columbia from this era. The warmth and immediacy of the sound here are guaranteed to blow practically any record of this kind you might own right out of the water.
Both sides of this very special original stereo pressing are huge, rich, tubey and clear. As soon as the band got going we knew that this was absolutely the right sound for this music. There was almost nothing that could beat it, in any area of reproduction.
What the best sides of this wonderful collaboration between two jazz giants 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 back in 1961
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments of this large group of players 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 above
Production and Engineering
Teo Macero was the producer, Fred Plaut or Ray Moore were probably the engineers for these sessions -- we cannot find the credits to know one way or the other -- in Columbia's glorious sounding 30th Street Studio. It's yet another remarkable disc from the Golden Age of Vacuum Tube Recording.
You can read more about it by clicking on the 30th Street Studios tab above.
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.
Duke Ellington, Count Basie – piano Cat Anderson, Willie Cook, Eddie Mullens, Ray Nance, Sonny Cohn, Lennie Johnson, Thad Jones, Snooky Young - trumpet Lou Blackburn, Lawrence Brown, Henry Coker, Quentin Jackson, Benny Powell - trombone Juan Tizol - valve trombone Jimmy Hamilton - clarinet, tenor saxophone Johnny Hodges - alto saxophone Russell Procope, Marshal Royal - alto saxophone, clarinet Frank Wess - alto saxophone, tenor saxophone, flute Paul Gonsalves, Frank Foster, Budd Johnson - tenor saxophone Harry Carney, Charlie Fowlkes - baritone saxophone Freddie Green - guitar Aaron Bell, Eddie Jones - bass Sam Woodyard, Sonny Payne - drums
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.
Take The "A" Train
Until I Met You
Segue In C
B D B
Jumpin' At The Woodside
At first glance this collaboration should not have worked. The Duke Ellington and Count Basie Orchestras had already been competitors for 25 years but the leaders' mutual admiration (Ellington was one of Basie's main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing.