Loading...
  [ LOGIN/REGISTER ]   [ MY ACCOUNT ] Items in the shopping cart: 0    Current total: $0.00
   
Left space
 
<br>Duke Ellington - Ellington Indigos <p>Our Shootout Winner from 2018</p>




Duke Ellington - Ellington Indigos

Our Shootout Winner from 2018


A distinguished member of the Better Records Jazz Hall of Fame.

This 6-Eye Stereo pressing blew us away with its superbly well recorded romantic big band jazz, of which Ellington was a master. Both sides of this pressing are huge, rich, tubey and clear. This is absolutely the right sound for this music. A near-perfect demonstration of just how good 1958 All Tube Analog sound can be - no modern record can hold a candle to a pressing as good as this one. If you like your jazz ballads performed with deep feeling, by a road-tested group of virtuoso players, this record is for you.

More Duke Ellington


Sku # : ellinindig_2018
Manufacturer : Columbia Records
Qty
:


We also suggest

Click to Detail

A Frequently Asked Question

What Exactly Are Hot Stampers?


Click to Detail

Large Group Jazz


Product Detail


If you like the sound of relaxed, tube-mastered jazz, you can't do much better than Ellington Indigos. Many of the other Six Eye copies we played suffered from blubbery bass and transient smearing, but the clarity and bass definition here are surprisingly good. The warmth and immediacy of the sound here may just blow your mind.

What to Listen For (WTLF)

We played a handful of later pressings that didn't really do it for us. They offer improved clarity, but can't deliver the tubey goodness that you'll hear on the best early pressings. We won't be bothering with them anymore. It's tubes or nothing on this album.

The key for vintage super-tubey recordings is balancing clarity with richness. The easiest way to test for those two qualities on this album is to find a track with clear, lively, loud trumpets that also includes rich trombones and other low brass. On side one that track is Where or When. If your copy has clear, lively trumpets and rich, full-bodied, Tubey Magical low brass, it is definitely doing something right.

Amazing Tubey Magic

An album like this is all about its 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 1958 All Tube Analog sound can be, this killer copy may be just the record for you.

This copy is 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 couldn't care less.

More of What to Listen For

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 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. (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.

Depanorama.net Review

Stunningly beautiful. The band plays perfectly. All the solos are fantastic. This album of romantic ballads is easily in the top 1% in my record collection of several thousand items. Picking highlights is an exercise in futility as every second of this album is wonderful. But don't miss Duke's piano with the full band on "Solitude" and in a trio setting on "All The Things You Are." Ozzie Bailey's vocal on "Autumn Leaves" is serene and lovely, but when coupled with the violin of Ray Nance, the beauty becomes more than we mere mortals deserve.

Right right-line
  | NEW TO THE SITE? | ¬†CONTACT US ¬† |