WAITING A REPRESS - BACK IN STOCK SOON
AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Mobile Fidelity - MFSL2-401 - 180 Gram Virgin Vinyl - AAA 100% Analogue
Numbered Limited Edition - Pressed at RTI
Pure Analogue Mastered by Kreig Wunderlich from the Original Master Tape at MFSL
Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System
The Absolute Sound Super Disc List TAS Harry Pearson Super LP List
Sounds fabulous with the same great sonics of the Sinatra original - Sound 10/10 HIFI +
Buy this album and enjoy the finest swing band ever in you-are-there sound. - TheAudioBeat.
MoFi's Krieg Wunderlich did an astounding job maintaining a fine tonal balance; add to that a stupendous dynamic window - Soundart
Mastered from the Original Master Tapes! Pressed at RTI! Swinging Hard and Heavy With Orchestral Support, Live Big-Band Album Recorded During the Count's Warm-Up Sets for Sinatra in Early 1966 in Vegas
Incredible Sound: Mastered from the Original Master Tapes, Reissue Improves Upon Renowned Dynamics, Presence, Crispness, and Balances
Long Out-of-Print, Seminal Classic is Perfect Complement to Sinatra at the Sands
Count Basie and Frank Sinatra had the perfect arrangement at the Sands. Before the Chairman hit the stage in Vegas, Count Basie and his big band warmed up the already enthusiastic crowd with a brief set of their own. A dynamite entertainer, the legendary leader causes hearts to race, hips to shake, and fingers to snap with high-energy readings of his trademark swing music, taken to feverish heights by both his first-rate orchestra and the incredibly swank setting. Fortunately, the finest of Basie and Co.’s introductory performances from the historic 1966 dates have been preserved here and serve as a seminal complement to Frank's iconic Sinatra at the Sands.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity’s analog version of Live at the Sands (Before Frank) gives you a dead-center, eighth-row seat at the famed Sin City club. You’ll just need to supply your own table and cocktail. Renowned for its sonic clarity, transparency, crispness, and punch, the record is now tremendously enhanced, with improved tonality, a deeper soundstage, correct balances, and life-like presence. Each horn occupies its own space, and Basie’s transfixing piano — a focal point throughout — resonates with gorgeous detail and impeccable pacing. The collective’s energy almost demands to be measured with an SPL meter.
Captured in late January and early February 1966, Live at the Sands (Before Frank) contains most of Basie’s signature pieces delivered with an enthusiasm, style, and brassiness that exceed that gracing nearly any of the Count’s studio efforts. His band is stacked to the nines, with tenor saxophonist Eddie “Lockjaw” Davis, saxophonist/flautist Eric Dixon, and drummer “Sonny” Payne among the prized cast. The Sands dates marked the first time in years that these players, as well as trombonist Al Grey, gathered onstage together.
Encouraged by Basie, the instrumentalists engage in a series of call-and-response passages and standout solos, not the least of which is Davis’ turn on a white-hot “Jumpin’ at the Woodside” and he and Dixon’s exchanges on “This Could Be the Start of Something Big.” No slouch, Basie approaches “Makin’ Whoopee” with graceful playfulness, and oversees the assortment of up-tempo swing numbers and mellow ballads with astute melodicism. A sublime version of the Don Gibson country standard “I Can’t Stop Loving You,” arranged by Quincy Jones, can almost be considered a bonus
No, it don’t mean a thing if it ain’t got that swing - and Basie and his mates have plenty of it on this superb outing. Big-band jazz seldom enjoyed such levels of rhythmic precision, expert charts, or unfettered joy. Unbelievably, this gem has been out of print for years, with original copies both on vinyl and CD commanding steep prices. Mobile Fidelity’s reissue restores not only the sonics but the record’s place in jazz history.
• Half-Speed Production and Mastering by Mobile Fidelity Sound Lab
• Specially Plated and Pressed on 180 grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve
• Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes
• Pressed at RTI
Count Basie, piano
Eddie “Lockjaw” Davis, tenor saxophone
Eric Dixon, saxophone, flute
“Sonny” Payne, drums
Al Grey, trombone
3. I Can’t Stop Loving You
4. I Needs to Be Bee’d With
5. Flight of the Foo Birds
6. Satin Doll
7. Makin’ Whoopee!
8. Corner Pocket
9. One O’Clock Jump
10. Hello Little Girl
11. Whirly Bird
12. Blues for Ilene
13. This Could Be the Start of Something Big
14. Jumpin’ at the Woodside
GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases.
The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (*It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!)
First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first.
As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most.
RTI HQ-180 Vinyl
Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world.