Teasing the Korean

Chico Hamilton - Chic Chic Chico - Impulse! stereo with Gabor Szabo

Edit: Just found out I do indeed have this one! Due for a spin... I have various Aznavour on Reprise but I'm not sure if I have that one. I'll have to check. I love Jenkins' over-the-top string arrangements, despite criticisms. His arrangement on Sinatra's "Where are You" is perfection.

Of Flesh and Soul: Charles Aznavour Sings in English - Monument stereo

Sinatra and Jobim - Reprise mono promo The version of Irving Berlin's "Change Partners" on here is stunning.

Jimmy Giuffre - 1-2-3-4-5-6-7 Pieces - Verve (original mono with the cartoon on the label). Nice Sunday morning music.

This is a terrific and overlooked album. I don't have the original (with the great cover) but I do have a 70s reissue on Trip. Lalo Schifrin is amazing.

Richard Groove Holmes - Welcome Home - World Pacific (Liberty pressing, stereo)

The entry level Nitty Gritty is only $300. (It's a manual machine, but it cleans just as well as the more expensive automated models). It was worth every penny and I've never regretted it for a second.

I'm imagining an Ed "Big Daddy" Roth-esque model kit of this guy driving with a station wagon full of LPs.

A kindred spirit!

Vintage Vinyl. I think that's where the embittered old goat said he was headed for. I sure hope they're qualified to look through his collection!

Another interesting tidbit: In the early days of stereo, a session would often be recorded using two sets of mics, two boards, and two engineers - one for the mono and one for the stereo. As a result, there would literally be a separte mono and stereo recording, as opposed to a separate mono and stereo mix. The overall sound and presence of various instruments can vary radically between the mono and stereo recordings on these types of sessions. Many of the early stereo Capitol sessions, for example, were done like this. Speaking of Stan Kenton, "Kenton in Hi-Fi" was later released as "Kenton in Stereo," with a recording setup such as the one I described. The stereo version sounds very experimental in comparison, and has virtually no bass (the instrument, I mean). The mono is the one to have.

He decided that the manager of the record store I was in yesterday "wasn't qualified" to value his collection of "rare jazz records" and "audiophile records." So he had the nerve to ask the guy to lug them back to his station wagon and said he's going to unload them at some indy vinyl shop in St. Louis. He's in his car now, cursing and driving 55 in the fast lane. Watch out, St. Louis!

The Nitty Gritty is a great, affordable machine. If you're a vinyl junkie, you need one of these.

Audio Fidelity was also one of the first US labels to issue Brazilian recordings during th early days of Bossa Nova.

Incidentally, while stereo was around since the mid 50s (originally on reel to reel tape), it didn't "take over" until the late 60s. Mono was the dominant format for much of that time.

The answer to your question depends on the label, the genre, and the country, and the format, among other things. An album for an independent US jazz label in 1958 would typically be recorded in mono.

You realize, of course, that the reason that pieces like this sound so good is because of the aesthetics of the dials and knobs. The guts have nothing to do with it.

Lee Morgan - Charisma - BN stereo It says its a Liberty pressing but it has the blue and white label and fairly heavy vinyl reminiscent of older BN LPs. I've never had one like this...

It's one of the few GS albums I ever unloaded. But not before burning the one or two tracks I liked...

I'm gonna pop a Placidil and spin some Peggy Lee...

"Lousy" was an exaggeration. Sorry.

But a better mix one generation removed sounds better than a lousy mix that saves a generation.

The monos were folddowns, but they still sound better. Those albums were mixed with mono in mind. Much more bass and piano (generally speaking).