It does sound slightly better and you’re almost guaranteed to get a perfect pressing, and if not, just exchange it. This is one of my all time favorite jazz records so I’m going to start looking for a pristine ‘59 6 eye but again if you can’t find one for under $35, just get the AP. There’s something special about hearing an original pressing from 1959 that makes me like it a bit more than the AP. Sunday marks the centennial of his birth. His 1959 album Time Out was the first jazz album to sell a million copies. There were lots pressed but they pretty much all got played a lot so expect surface noise and groove damage and be pleasantly surprised if you get a good copy. Brubeck, who died in 2012, was a celebrated pianist. That’s getting pretty hard to do, not many of these left in the wild that are better than VG. In conclusion, I would go for a 6 eye stereo if you can find one for less than $35 (the cost of the AP 33). It makes you want to hear what an unplayed 6 eye would sound like. Still quite an impressive LP for being recorded over 60 years ago. Like a lot of audiophile records, you could say it almost sounds like you’re in the room with the quartet. The AP is just slightly more real sounding, less like a recording and more like a live performance. The 6 eye stereo and the AP are harder to pick between. Pick one of these up if you just want a cheap copy of this record in your collection but don’t care enough to pay more than $5-$10. This one isn’t too bad, I only paid $10 for it and it was my first jazz LP, but it does not have nearly as good of a soundstage of the 6 eye stereo and AP. The stereo mix is superior for this album IMO. It sounds like your speakers are inside of a cardboard box with a hole cut into it. My copy is in pretty terrible shape, found it without a cover, but even so, the mix is just closed up. Just did a quick comparison of the 4 pressings I own: But.why do they always choose this one (aside from quality and popularity trajectories shared by surely dozens of others in their legacy) as the "control product" (the go-to placebo in drug research, when the other test market gets the real thing)? Yes, we all know of its' quality and performance, as well as the effect it had on a music fan who was four or five generations ago. Is it some really young exec who thinks Columbia only made one jazz album.and only knows that one from a picture he once saw in Clive Davis' office? Is it some guy in Iron Mountain with some sort of a, "last-in, first-back-out" fetish? Is there some shadowy figure all the way down the hall who only comes out of his office once a Solstice, to wring his hands and bellow, "WAIT!.First, let's see what it sounds like on, 'Time Ouuut'! Bwah-hah-hah-hah-haaahhhhhh.!", and slink back into his chamber with a creak and slam of the door? I wonder what the politics inside the company are, that has placed this particular recording into the priority pipeline whenever older classics have been chosen to best represent whatever innovation, reissue series or market-re-entry is on their agenda.
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