AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Analogue Productions - AAPC 2367 - 200 Gram Virgin Vinyl

AAA 100% Analogue   LSC-2367 RCA Living Stereo 

Mastered By Ryan Smith at Sterling Sound 

Limited Edition - Pressed at QRP Quality Record Pressings

The Absolute Sound Super Disc List  - TAS Harry Pearson Super LP List

"...I'd have to say that the usual stumbling blocks have been sidestepped. Great care has been taken to do the right things, starting with the way the decision to remaster these RCAs was made."  

The Absolute Sound 40th Anniversary Best Sounding Music

"Grade A++. This is a disc that I have never been wild about (though it was always one of HP's favorites). My complaint was the cavernous hole in the stage center, which made Earl Wild's piano sound tiny, distant and swamped with reverberation. Here mastering magic has been done by Kassem and his crew. The piano track, apparently not properly mixed back in '59, has been given the prominence it should always have had. Don't worry: The "stage" ambience (usually a bit of a misnomer, given that the BPO was seldom recorded on the stage of Symphony Hall, more often in the "orchestra section" of the hall, after the first-floor seats had been removed) has not been lost: it's just no longer overcooked, making a scintillating performance that much more immediate and exciting. (Thus the extra "+.") — Jonathan Valin, The Absolute Sound,

RCA Living Stereo classical LPs - the gold standard for top quality orchestral performance and sound!

With Rhapsody in Blue, George Gershwin, a popular songwriter, established himself as a serious composer.

His American in Paris tells the story of a trip through the streets and cafes of France.

A first rate orchestra (The Boston Pops), a distinguished conductor (Arthur Fiedler), and a superb pianist (Earl Wild) combine to make this recording something to be treasured.

I'd have to say that the usual stumbling blocks have been sidestepped.

Great care has been taken to do the right things, starting with the way the decision to remaster these RCAs was made." 

"Grade A++. This is a disc that I have never been wild about (though it was always one of HP's favorites). My complaint was the cavernous hole in the stage center, which made Earl Wild's piano sound tiny, distant and swamped with reverberation.

Here mastering magic has been done  The piano track, apparently not properly mixed back in '59, has been given the prominence it should always have had. Don't worry: The "stage" ambience (usually a bit of a misnomer, given that the BPO  was seldom recorded on the stage of Symphony Hall, more often in the "orchestra section" of the hall, after the first-floor seats had been removed) has not been lost: it's just no longer overcooked, making a scintillating performance that much more immediate and exciting. (Thus the extra "+.")  Jonathan Valin, The Absolute Sound.com,

This reissue cut by Ryan K. Smith from the original 3 track beats every original I have (four) in every way. It peels back layers of murk without adding brightness or spotlighting or anything bad.Instead it's as if layers of dust and dirt have been expertly cleaned away revealing a fresh, clear window onto the live musical event. No doubt for younger readers the recording date more than 50 years ago has got to sound moldy but trust me, this sounds more "you are there" than most recordings done today. Wild's piano has never sounded as cleanly rendered or as well-focused. You'll see it as clearly as the skyscrapers. The finale has never packed such a ferocious wallop either.

I went back and played the Columbia, which was produced by John McClure and engineered by Fred Plaut better know for engineering Kind of Blue among other jazz classics and Frank Bruno at the St George Hotel, in Brooklyn, New York, sounds as if it was recorded in far smaller space, which it was. It's more closely miked, which lets you better hear the parts but at the expense of the giant whole. It's also EQ'd a bit harder in the upper midrange but overall it well-compliments the RCA release both musically and sonically.With records like this coming out, audiophiles who declare flatly that reissues never sound as good as originals skate further and further onto the thin ice. 

If you intend to own but a single classical record in your collection, make it this one.Sound 9/10 Music 9/10 Analogue Planet Michael Fremmer

Winner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed.

 Plated by Gary Salstrom

Musicians:

Earl Wild, piano
Boston Pops Orchestra
Arthur Fiedler, conductor

Selections:
Gershwin
Rhapsody In blue
An American In Paris