Cal Tjader & Stan Getz: Sextet (UltraHD CD review)

Cal Tjader, Stan Getz, Vince Guaraldi, Eddie Duran, Scott Lafaro, Billy Higgins. FIM LIM UHD 061 LE.

When you’ve got a good thing, there’s nothing for it but to make it better. That appears to be the philosophy of Winston Ma, president and owner of FIM (First Impression Music), who supervises the CD remastering of classic older recordings to today’s most-exacting audiophile standards. And what more classic a jazz album is there than Sextet, the celebrated 1958 recording with the all-star cast. To put it mildly, it’s never sounded better for home playback.

The players involved are Cal Tjader, vibes; Stan Getz, tenor sax; Vince Guaraldi, piano; Eddie Duran, guitar; Scott Lafaro, bass; and Billy Higgins, drums. Of course, not all of them were at the time as well known as they are today; but, still, it was a remarkable feat for Fantasy Records to gather them together for a one-time recording shot. No one figured just how memorable or how historic the occasion would be.

The session begins with “For All We Know,” which features Tjader on vibes and Getz eventually coming in on sax, the others providing accompaniment. It’s a good opening number to showcase the primary stars, and it’s wonderfully breezy and beautifully played. “My Buddy” follows, with even more from the bassist and pianist, again with Tjader taking the lead on vibes. The players had never performed before as a group, yet their contributions are so seamless, you’d think they had been working together for years.

And so it goes. This is jazz for people who say they don’t care much for jazz. I mean, how could one resist so affecting a number as their rendition of “I’ve Grown Accustomed to Her Face” from the then-new stage musical My Fair Lady? It’s all quite easy to grow accustomed to when every member of the ensemble is so thoroughly professional and skilled his position.

While much of the music is laid-back and genial, there is a particular track that finds the group at its rollicking best: a fast dance called “Ginza Samba.” They swing in the best sense, backing each other with supportive figures in a remarkably able fashion. Likewise, after starting the album in relatively lyric form, the fellows do the final three numbers up tempo. Pick your mood.

For fun, see if you can make out the words whispered in the background. Interestingly, too, there were no rehearsals before the recording date, no alternates, and second takes. Although the album lasts only forty-two minutes and forty-seven seconds, you can’t help but have a great time with it.

Fantasy Records made the album at Marines Memorial Auditorium, San Francisco, California, in February of 1958. FIM (First Impression Music) and their subsidiary LIM (Lasting Impression Music) brought the music to the present audiophile UltraHD CD in 2013, using the latest advances in 32-bit technology for the transfer. Moreover, as it seems that every time producer Winston Ma releases a new series of discs, he’s added some new and innovative engineering, this time we get something called Pure Reflection, or as Ma calls it, putting the two words together, PureFlection. It’s an improved disc reproduction process that makes replication even more precise, and which Ma goes on to explain in several pages of detail in the disc’s accompanying notes. Let it suffice that the technology seems to work, and we get what Ma claims is a pure reflection of the original. The disc sounds darned good, so I don’t doubt him.

The modestly close miking used in the original recording produces a wide stereo spread, and certainly the high-definition UltraHD and PureFlection systems produce pure, clean sound, no matter that the master tape is over half a century old. It was obviously good to begin with, and it sounds good now.  The disc opens with Tjader on vibes, which ring out clearly and dynamically. When he’s joined by Getz on sax, we hear how really lifelike the instruments sound. Percussion, including piano, likewise display excellent transient response, and both ends of the frequency spectrum appear well extended. Just as important, there is a fair amount of depth to the group, with air and space around the instruments. A good thing just keeps getting better.

FIM/LIM have packaged the disc in a glossy, foldout, hardbound book-like case, with notes fastened to the inside and the disc itself inserted into static-proof liner, further enclosed by a thin cardboard sleeve. The liner and sleeve make sense for taking the best possible care of the disc, although it can be something of a pain trying to get the liner back into the sleeve properly if you’re as clumsy and nearsighted as I am. It’s a small price to pay for dust and scratch protection.

And speaking of price, don’t forget that these audiophile products aren’t cheap. Don’t say I didn’t warn you in advance against sticker shock.

To listen to a brief excerpt from this album, click here:

JJP

Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl Nehring, Editor and Contributor

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa