Etta Jones
Don't Go To Strangers

This vintage Prestige recording 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 Don't Go To Strangers 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 1960
• 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. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

Learning the Record

For our shootout, we had at our disposal a variety of pressings that had the potential for Hot Stamper sound. We cleaned them carefully, then unplugged everything in the house we could, warmed up the system, Talisman'd it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next hour or so playing copy after copy on side one, after which we repeated the process for side two.

If you have five or more copies of a record and play them over and over against each other, the process itself teaches you what's right and what's wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that the other pressings do not do as well, using a few carefully chosen passages of music, it quickly becomes obvious how well a given copy can reproduce those passages. You'll hear what's better and worse -- right and wrong would be another way of putting it -- about the sound.

This approach is simplicity itself. First, you go deep into the sound. There you find a critically important passage in the music, one which most copies struggle -- or fail -- to reproduce as well as the best. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.

It may be a lot of work but it sure ain't rocket science, and we've never pretended otherwise. Just the opposite: from day one we've explained step by step precisely how to go about finding the Hot Stampers in your own collection. Not the good sounding pressings you happen to own -- those may or may not have Hot Stampers -- but the records you actually cleaned, shot out, and declared victorious.

What We're Listening For On Don't Go To Strangers

• 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 note-like 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.

Old and New Work Well Together

This reissue is spacious, open, transparent, rich and sweet. It's yet another remarkable disc from the Golden Age of Vacuum Tube Recording Technology, with the added benefit of mastering using the more modern cutting equipment of the 70s and 80s. We are of course here referring to the good modern mastering of 40+ years ago, not the generally opaque, veiled and lifeless mastering of the records produced today.

The combination of old and new works wonders on this title as you will surely hear for yourself on both of these superb sides.

We were impressed with the fact that these pressings excel in so many areas of reproduction. What was odd about it -- odd to most audiophiles but not necessarily to us -- was just how rich and Tubey Magical the reissue can be on the right pressing.

This leads me to think that most of the natural, full-bodied, lively, clear, rich sound of the recording was still on the tape decades later, and that all that was needed to get that vintage sound on to a record was simply to thread up the tape on the right machine and hit "play." The fact that practically nobody seems to be able to make a record nowadays that sounds remotely this good tells me that I'm wrong to think that such an approach tends to work, if our experience with hundreds of mediocre Heavy Vinyl reissues is relevant.

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.

Side One

• Yes Sir That's My Baby
• Don't Go To Strangers
• I Love Paris
• Fine And Mellow
• Where Or When

Side Two

• If I Had You
• On The Street Where You Live
• Something To Remember You By
• Bye Bye Blackbird
• All The Way

AMG 4 1/2 Star Review

Don't Go to Strangers was Etta Jones' first album for the independent jazz label Prestige when it was released in 1960 (having been recorded in a single session on June 21 of that year), and although Jones had been releasing records since 1944, including a dozen sides for RCA in 1946 and an album for King Records in 1957, she was treated as an overnight sensation when the title tune from the album went gold, hitting the Top 40 on the pop charts and reaching number five on the R&B charts.

An elegant ballad on an album that had several of them, including the masterful "If I Had You" and a marvelous reading of "All the Way," a song usually identified with Frank Sinatra, "Don't Go to Strangers" featured Jones' airy, bluesy phrasing and uncanny sense of spacing, and was very much a jazz performance, making its success on the pop charts all the more amazing. Listen to Jones' restructuring of the melody to the opening track, the old chestnut "Yes Sir, That's My Baby," to hear a gifted jazz singer sliding and shifting the tone center of a song like a veteran horn player, all the while leaving the melody still recognizable, but refreshing it until it stands revealed anew.

Apparently there were no additional tracks cut at the session, since bonus material has never surfaced on any of the album's subsequent reissues, although that's hardly a problem, because as is, Don't Go to Strangers is a perfect gem of a recording.