Paul Chambers Quartet – Bass On Top
Tracklist
A1 | Yesterdays | |
A2 | You'd Be So Nice To Come Home To | |
A3 | Chasin' The Bird | |
B1 | Dear Old Stockholm | |
B2 | The Theme | |
B3 | Confessin' |
Companies, etc.
- Record Company – Capitol Records, LLC
- Record Company – Blue Note Records
- Licensed From – Capitol Records, LLC
- Copyright © – UMG Recordings, Inc.
- Copyright © – Mosaic Images LLC
- Recorded At – Van Gelder Studio, Hackensack, New Jersey
- Mastered At – Cohearent Audio
- Lacquer Cut At – Cohearent Audio
- Pressed By – Record Technology Incorporated – 35714
Credits
- Bass – Paul Chambers (3)
- Design [Cover Design], Cover [Cover Design] – Harold Feinstein
- Drums – Art Taylor
- Engineer [Recording Engineer] – Rudy Van Gelder
- Guitar – Kenny Burrell
- Lacquer Cut By – KPG*
- Mastered By [LP Mastering By] – Kevin Gray
- Photography By [Photography] – Francis Wolff
- Piano – Hank Jones
- Producer [Original Session] – Alfred Lion
- Sleeve Notes – Robert Levin (2)
- Supervised By [LP Supervision By] – Joe Harley
Notes
Recorded on July 14, 1957.
Originally released by Blue Note Records in 1957. © 2020 UMG Recordings, Inc.
Mastered from the original analog tapes.
[LP Supervisor Note: There are several instances of mic overload on Art Taylor’s “crash” cymbal. This is present on the original stereo master tape.]
Originally released by Blue Note Records in 1957. © 2020 UMG Recordings, Inc.
Mastered from the original analog tapes.
[LP Supervisor Note: There are several instances of mic overload on Art Taylor’s “crash” cymbal. This is present on the original stereo master tape.]
Barcode and Other Identifiers
- Barcode (Text): 6 02507 18488 9
- Barcode (Scanned, UPC-A): 602507184889
- Matrix / Runout (Label side A): B0032259-01 A
- Matrix / Runout (Label side B): B0032259-01 B
- Matrix / Runout (Runout side A, etched): B0032259-01-A KPG@CA 35714.1(3)...
- Matrix / Runout (Runout side B, etched): B0032259-01-B KPG@CA 35714.2(3)...
Other Versions (5 of 63)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
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Recently Edited
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Bass On Top (LP, Album, Mono) | Blue Note | BLP 1569, 1569 | US | 1957 | ||
New Submission
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Bass On Top (LP, Album, Mono, NY/DG/P) | Blue Note | BLP 1569 | US | 1964 | ||
Recently Edited
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Bass On Top (LP, Album, Stereo) | Blue Note | BST 81569 | US | 1966 | ||
New Submission
|
Bass On Top (LP, Album, Repress, Mono, New York Address) | Blue Note | BLP 1569 | US | 1966 | ||
Bass On Top (LP, Album, Stereo, Keel Pressing) | Blue Note | BST 81569, BLP 1569, BLP-1569/BST-91569 | US | 1966 |
Recommendations
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2021 WorldwideLP, Album, Reissue, Stereo
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Reviews
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My copy has a lot pops throught. Does anyone know if this is common issue on the TP release of this album?
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Flat record. Reasonably quiet vinyl, but I hear little ticks and clicks throughout; an essentially quiet record like this will brutally spotlight any surface noise on a record. I guess there is controversy about how this sounds. It is not a great-sounding record; I think anyone would acknowledge that. One cannot really speak of soundstage because you hear some instruments coming out of the left speaker and others out of the right speaker without a realistic sense of space. On the back cover there is a warning that there is distortion on the cymbals and you will definitely hear that as a sibilant noise. For me, it is not particularly disturbing, but it's there. I do not hear distortion on Chamber's bass; the bass is clear and distinct and musical. Burrell's guitar sounds occasionally glassy but mostly good. I am unusual in that I am not a fan of Burrell's playing, so I am probably not a reliable source for critiques of his records. The piano sound is the type of old-sounding plinking you get on many Blue Notes, poor piano sound.
It's a good record, not great. Bass and guitar is an unusual combo and I guess that's my favorite aspect of this album. If you want to hear a really amazing bass record, try "This One's for Blanton", the reissue from Analogue Productions. -
Unfortunately it looks like I got a bad pressing. A lot of weird hissing artifacts, particularly with the crash (and not the overload mentioned in the notes). The start of Dear Old Stockholm has a crazy amount of hissing for the first 15 seconds or so. Distortion even on the bass at times too throughout. Very odd clicking right in the center in a lot of tracks too. Very frustrating!
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Musically it’s just amazing! Sonically, it’s good but not the best sounding tone poet. I was comparing this to another cello based jazz album, blow up pressed by Impex and that is god tier. This is allright
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FINALLY!!!!!!! after a wait and a long journey from Ohio, US, its areived and now I have a copy! Its sounds fabulous, deep, rich and soooo engaging! Very happy boy now going into the weekend!
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Edited one year agoFantastic. Out of the 20 or so Tone Poets I own this one gets the most play. Great sound all around. A beautiful release I’m grateful for.
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I love this album, a total shift in style from so many of the other Tone Poet releases. This album is cerebral, the sort of music you should listen to while sitting in a window box at a coffee shop on a rainy afternoon. Outstanding chemistry among these four musicians. Lovely pressing and gatefold album cover too. Well worth it.
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Edited one year agoPicked up today at my local record store!!!! As perfect as I had imagined. Yes and high five!!!!
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Picked up the repress. Excellent! Some of the first recordings in stereo at Hackensack. Awesome reissue. Thanks BN
Release
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