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Heath, Ted - Shall We Dance - Super Hot Stamper

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

Super Hot Stamper

Ted Heath
Shall We Dance

Regular price
$279.99
Regular price
Sale price
$279.99
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 (often quieter than this grade)

  • This original London pressing boasts outstanding Double Plus (A++) grades from first note to last - fairly quiet vinyl too
  • Both of these sides are huge, rich, weighty and dynamic like few records you have ever heard - it sets the Gold Standard for Tubey Magical Big Band sound
  • It's simply bigger, more transparent, less distorted, more three-dimensional and more REAL than much of what we played
  • Credit Kingsway Hall, Kenneth Wilkinson, and the Decca "Tree" microphone setup as the three elements most responsible for the magic in these grooves

More Ted Heath / More Big Band Jazz Recordings

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Vintage covers for this album are hard to find in exceptionally clean shape. Most of the will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG


Years ago we wrote in another listing, "We had a copy of Heath’s Shall We Dance not long ago that had some of the biggest, richest, most powerful sound I have ever heard. Watch for Hot Stampers coming to the site soon." Well, now they’re here, and this copy fulfills the promise of the album better than most others we played in our recent Shootout.

DEMO DISC SOUND barely begins to do this one justice. This is Audiophile Quality Big Band sound to beat them all. The American big bands rarely got the kind of sound that the Decca engineers were able to achieve on records like this. For one thing they didn’t have Kingsway Hall, Kenneth Wilkinson or the Decca “Tree” microphone setup.

Unlike some of the American big band leaders who were well past their prime by the advent of the two-channel era, Heath is able to play with all the energy and verve required for this style of music. He really does “swing in high stereo” on these big band dance tunes.

This vintage London 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.

What The Best Sides Of Shall We Dance 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 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.

Tubey Magic

This copy of Shall We Dance has a lot in common with the other Decca and Living Stereo titles we’ve listed over the years, albums by the likes of Henry Mancini, Esquivel, Dick Schory, Edmundo Ros, Prez Prado and a handful of others. Talk about making your speakers disappear, these records will do it!

An album like this is all about Tubey Magical Stereoscopic presentation. For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1959 All Tube Analog sound can be, this outstanding copy may be just the record for you.

This copy 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. Someday there may well be a CD of this album, but those of us in possession of a working turntable could care less.

What You Want On Shall We Dance

Sound that is smooth, dynamic, open and clear. The kind of richness and weight that allows the music to get bigger and even more energetic without ever getting harsh or strained. The sound can really be jumpin’ on this copy and never hurt your ears.

The brass should never be "blary" the way it can be on so many Big Band or Dance Band records from the ’50s and ’60s. (Basie’s Roulette records tend to have a bad case of blary brass as a rule.)

Add in sharp transients and correct tonality and timbres and you have yourself one helluva White Hot Stamper pressing.

What To Listen For (WTLF)

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 late ’50s. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich. (Full sound is especially critical to the the horns; any blare, leanness or squawk ruins much of the fun, certainly at the loud levels the record should be playing at.)

Which brings up a point that needs making. The tonality of this record is correct when it is playing loud. The trumpets do not get harsh at loud volumes the way they will on, say, a Chicago record. The timbre of the instruments is correct when loud, which means that it was mixed loud to sound correct when loud.

The frequency extremes (on the best copies) are not boosted in any way. When you play this record quietly, the bottom and top will disappear (due to the way the ear handles quieter sounds as described by the Fletcher-Munson curve).

Most records (like most audiophile stereos) are designed to sound correct at moderate levels. Not this album. It wants you to turn it up. Then, and only then, will everything sound completely right from top to bottom.

A Big Band Giant

Ted Heath was a giant in the world of Big Band and everybody who was anybody knew it.

Count Basie:

You’ve got a band... Ted Heath... He scares me to death... When they sent those first Heath records over to the States they really knocked everybody out... For me I think Ted is the best precision band and so very entertaining...I mean so far as I’m concerned I think Ted is the most.

Stan Kenton:

Your music has become such an institution it seems that we have always had it... I do know that without you, big band music and jazz would not be as it is today... Your taste and integrity in guiding your arrangers, composers and musicians has always been of the highest order... You’ve done more than your share in exposing the best grade of music to those hungry for it all over the world...

Woody Herman:

I saw the band and was incredibly impressed...one of the cleanest and swingiest of the big bands of the era... Always rated at the top of the list... You would hear more Ted Heath records than ours, Basie or Ellington...

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 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.

A Must Own Jazz Record

Fingers is as good as it gets for Airto on LP. It's a Masterpiece that belongs in any serious Jazz Collection.

Others that belong in that category can be found here.

Side One

  • Dancing In The Dark
  • I Could Have Danced All Night
  • Dancing With My Shadow
  • The Love Dance
  • Shall We Dance
  • Let's Face The Music And Dance

Side Two

  • Dancing Time
  • Ten Cents A Dance
  • Dancing With Tears In My Eyes
  • Dance Ballerina Dance
  • All You Want To Do Is Dance
  • I Won't Dance