Record collecting “rules “ have a way of being true just often enough to make us think maybe we should follow them. The “superiority of Japanese pressings “ rule being one of those that is less often true than some others, but does net the occasional gem, even when the rule itself doesn’t really make a lot of sense.
Think about it. How many original tapes have Japanese record companies ACTUALLY been able to get their hands on? It’s hard to imagine it would be that many. Therefore isn’t the idea that a Japanese pressing will necessarily sound good undermined by the the low likelihood that they’ve cut their lacquer from an original tape?
In any case, whoever cut this 80’s Japanese reissue of the 1958 Verve release did such a lovely, understated job with what sounds clearly to have been an original tape. The mastering choices here fit the low key vibe of this 1955 studio session like a glove. Billie Holiday is supported beautifully by a crew of studio musicians that include Clarinetist Tony Scott, bassist Leonard Gaskin and guitarist Billy Bauer among others. It’s not a flashy performance, but a solid one.
This record is what we audiophiles look for in a mono recording. Billie’s voice is sweet and clear up front, and each player behind her is easy to pick out and appreciate. The songs and arrangements strike a straightforward, mostly upbeat tone and Holiday is given plenty of room to put her signature, sorrowful stamp on each of them.
It’s not one of the rare and expensive records I see so often on the seemingly endless number of the jazz oriented Instagram posts these days, but this is definitely one worth seeking out. Pressed on “High Quality, High Density Virgin Vinyl” this pressing offers a rare combination of great sound, great performances AND dead quiet Japanese vinyl!