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Super Hot Stamper - Duke Ellington - Up In Duke's Workshop

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

Super Hot Stamper

Duke Ellington
Up In Duke's Workshop

Pablo LP
Regular price
$99.99
Regular price
Sale price
$99.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus to Mint Minus Minus

Side Two: Mint Minus Minus

  • This outstanding pressing boasts solid Double Plus (A++) sound from first note to last - fairly quiet vinyl too
  • Pablo has here compiled some of Ellington's best later music and mastered and pressed it wonderfully - you will not be disappointed with this one
  • "At first listen it is rougher, seems to be less evolved than his earlier easier-to-notice stylistic approach. If you give this a couple of plays, you will find it totally mesmerizing."
  • "Duke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years."
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On every copy we played, the first track on side two is not quite up to the standard set by some of the other pieces. The top end is a little boosted and you can hear it most clearly on the cymbals. But by track two all is well sound-wise.

This vintage Pablo pressing has the kind of Tubey Magical Midrange that modern records rarely even 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.

What the best sides of Up In Duke's Workshop 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 the day
  • 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.

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 vintage pressings 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.

What We're Listening For on Up in Duke's Workshop

  • 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, not the smear and thickness so common to these LPs.
  • Tight punchy bass -- which ties in with good transient information, also 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 instruments.
  • Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

Vinyl Condition

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 other 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 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

Blem
Goof
Dick
Love Is Just Around The Corner
Bateau

Side Two

Wanderlust
Neo-Creole
Black Butterfly
Mendoza

This is a unique ellington record

Towards the end of his life, Ellington branched off and tried some new sounds. In his early days, he played the traditional 30's style big band music. In the mid 50's, he made some exceptional records like 'Such Sweet Thunder'. and in the 70's he made a few hit or miss records. The crowning achievement from this period in my opinion is this one. "Up in Dukes Workshop".

This is NOT a traditional Ellington record. You're NOT going to hear the kind of music he was made famous from. This is NOT the A Train or Mood Indigo.

What this is, is a special smokey / sort of background music / but a vicious kind of background music. It has a Phil Spector Wall of Sound quality to it. At first listen it is rougher, seems to be less evolved than his earlier easier-to-notice stylistic approach.

If you give this a couple of plays, you will find it totally mesmerizing. When I was a youngster I played this at a 5 star restaurant in New Orleans night after night as background music. The bustling nightlife of that city in all of its swanky best completely matched this music to a T.

Clifford