The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus (often quieter than this grade)
- With superb Double Plus (A++) grades from top to bottom, this early 6-Eye stereo LP is doing just about everything right
- The sound here is tubier, more transparent, more dynamic, with more of that "jumpin’ out of the speakers" quality that only The Real Thing ever has
- With explosive dynamics and rich, full-bodied, Tubey Magical sax sound, it's hard to imagine any reissue, vintage or otherwise, can hold a candle to the sound of this amazing record
- Recorded at Columbia’s famous 30th Street studios, here is a record that sounds like Kind of Blue, Ah Um and Time Out, for the simple reason that all were recorded in the same studio using the same equipment (and perhaps even the same engineers)
- 5 stars: "The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best ... every selection is memorable..."
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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
This vintage 6-Eye Stereo 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 What Is There To Say? 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.
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.
Clean and Clear Yet Rich and Sweet
This copy managed to find the perfect balance of these attributes; you want to find that rare copy that keeps what is good about a Tubey Magical analog recording from The Golden Age of ’50s Jazz but manages to avoid the pitfalls so common to them: compression, opacity and blubber. To be sure, the fault is not with the recording (I guess; again, not having heard the master tape) but with the typical pressing. Bad vinyl, bad mastering, who knows why so many copies sound so thick, dead and dull?
The Big Room
Huge amounts of ambience fill out the space the extends from wall to wall (and all the way to the back wall of the studio), leaving plenty of room around each of the players.
Full-bodied sound, open and spacious, bursting with life and energy -- these are the hallmarks of our Truly Hot Stampers.
If your stereo is cookin’ these days, this record will surely be an unqualified Sonic Treat. We guarantee that no heavy vinyl pressing, of this or any other album, has the kind of analog magic found here. Or your money back.
What We're Listening For On What Is There To Say?
- 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.
- Then: presence and immediacy. The saxophone isn't "back there" somewhere, lost in the mix. It's front and center where any recording engineer worth his salt would put it.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
CBS 30th Street Studio
CBS 30th Street Studio, also known as Columbia 30th Street Studio, and nicknamed "The Church", was an American recording studio operated by Columbia Records from 1949 to 1981 located at 207 East 30th Street, between Second and Third Avenues in Manhattan, New York City.
It was considered by some in the music industry to be the best sounding room in its time and others consider it to have been the greatest recording studio in history. A large number of recordings were made there in all genres, including Miles Davis' Kind of Blue (1959), Leonard Bernstein's West Side Story (Original Broadway Cast recording, 1957), Percy Faith's Theme from A Summer Place (1960), and Pink Floyd's The Wall (1979).
Having been a church for many years, it had been abandoned and empty for some time, and in 1949 it was transformed into a recording studio by Columbia Records.
"There was one big room, and no other place in which to record," wrote John Marks in an article in Stereophile magazine in 2002.
The recording studio had 100 foot high ceilings, a 100 foot floorspace for the recording area, and the control room was on the second floor being only 8 by 14 feet. Later, the control room was moved down to the ground floor.
"It was huge and the room sound was incredible," recalls Jim Reeves, a sound technician who had worked in it. "I was inspired," he continues "by the fact that, aside from the artistry, how clean the audio system was."
Many celebrated musical artists from all genres of music used the 30th Street Studio for some of their most famous recordings.
Bach: The Goldberg Variations, the 1955 debut album of the Canadian classical pianist Glenn Gould, was recorded in the 30th Street Studio. It was an interpretation of Johann Sebastian Bach's Goldberg Variations (BWV 988), the work launched Gould's career as a renowned international pianist, and became one of the most well-known piano recordings. On May 29, 1981, a second version of the Goldberg Variations by Glenn Gould was recorded in this studio, and would be the last production by the famous studio.
Jazz trumpeter Miles Davis recorded almost exclusively at the 30th Street Studio during his years under contract to Columbia, including his album Kind of Blue (1959). Other noteworthy jazz musicians having recorded in this place: Duke Ellington, Dizzy Gillespie, Thelonious Monk, Dave Brubeck.
In 1964, Bob Dylan and record producer Tom Wilson were experimenting with their own fusion of rock and folk music. The first unsuccessful test involved overdubbing a "Fats Domino early rock & roll thing" over Dylan's earlier, recording of "House of the Rising Sun", using non-electric instruments, according to Wilson. This took place in the Columbia 30th Street Studio in December 1964. It was quickly discarded, though Wilson would more famously use the same technique of overdubbing an electric backing track to an existing acoustic recording with Simon & Garfunkel's "The Sound of Silence."
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.
- What Is There To Say?
- Just In Time
- News From Blueport
- Festive Minor
- As Catch Can
- My Funny Valentine
- Utter Chaos
AMG 5 Star Rave Review
The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count.
Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist.