I have a very long history with this album, going back decades. My friend Robert Pincus first turned me on to the CD, which, happily for all concerned, was mastered beautifully. We used it to test and tweak all the stereos in my friends' systems.

Playing the original stereo record, which I assumed must never have been reissued due to its rarity (I have since learned otherwise), all I could hear on my 90s all tube system was blurred mids, lack of transient attack, sloppy bass, lack of space and transparency, and other shortcomings too numerous to mention that I simply attributed at the time to vintage jazz vinyl.

Well, things have certainly changed. I have virtually none of the equipment I had back then, and I hear none of the problems with this copy that I heard back then on pressing I owned. This is clearly a different LP (I sold off the old one years ago) but I have to think that much of the change in the sound was a change in cleaning, equipment, tweaks and room treatments, all the stuff we prattle on about endlessly on the site.

In other words, if you have a highly-resolving modern system and a good room, you should be knocked out by the sound of this record. I sure was.

What The Best Sides Of Bells Are Ringing Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange -- with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Tambourine and Piano

The piano sounds lifelike right from the start, a beautiful instrument in a natural space, tonally correct from top to bottom. I can't think of any recording off the top of my head that gets a better piano sound than this one.

Listen to the tambourine on the third track on side one. Shelly Manne messes about with lots of percussion instruments on this album and all of them are recorded to perfection.

Not to leave Red Mitchell out, check out the bass; it's deep and note-like throughout the album.

Players and Personnel

• Bass –
• Composed By – Jule Styne
• Drums –
• Piano –
• Producer, Liner Notes –
• Recorded By – ,

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful originals.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.