Very few singers can get this close to a dry microphone, be balanced way forward of the backup band and sound as good as Peggy Lee does on this series of standards backed by a pair of small ensembles, recorded in 1953 and 1956. Neither the original nor the reissue notes explain the album’s temporal context so perhaps there’s no story there.
Before there was Norah, Diana, Patricia, or even Jacintha, there was Julie London. Just as audiophiles today seem to gravitate towards sexy, breathy singers, audiophiles in the mid-fifties found themselves inextricably connected to Ms. London, thanks in great part to the Liberty Records original ((LRP-3006), issued December, 1955.
It’s easy to understand why a cut-up rocker with one foot in metal and the other in Vaudeville like David Lee Roth would break out of Van Halen and go solo with a faithful cover of Louis Prima’s version of “Just a Gigolo”/”I’m So Lonely.”
Listening to a straightforward, blues/gospel-drenched comping session like this reminds you that jazz has lost its soul today and aims mostly for the head. There’s nothing wrong with that, but it’s good to get back to the essential, visceral nature of the genre. This set, recorded in New York at an unidentified studio or studios on three days during the summer of 1963, let’s you know why.
When this record was issued in 1976, 47 year old Betty Carter (born Lillie Mae Jones) had already sang with Dizzy, Miles, Lionel Hampton, Sonny Rollins and many others.
Not that many years ago, it seems, every sound crew in Hollywood and around the world recorded production sound using a compact, open-reel analog tape recorder made by Nagra. The first iteration of the Swiss-made machine appeared in the early 1950s. Shortly thereafter, with the addition of an inaudible recorded tone that allowed easy syncing to picture, the Nagra recorder became the industry standard, and remained so through the 1980s. To this day, Nagra's line of audio products retains the look of those early recorders.