Tony Bennett – I Left My Heart In San Francisco (Ultra Analog, Half-speed Mastering)
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Tony Bennett — vocals [click here to see more vinyl featuring Tony Bennett]
Ralph Sharon — piano
Candido Camero, Sabu Martinez, and Billy Exiner — percussion (A5)
The Count Basie Orchestra (A6)
Arranged by Marty Manning (A1-3, B1-2), The Count Basie Orchestra (A6), Cy Coleman (B4, B6), Ralph Burns (A4, B3), Frank De Vol (B5)
Written by Douglass Cross (A1), George Cory (A1), Charles Strouse (A2), Lee Adams (A2), Sammy Fain (A3), Paul Francis Webster (A3), Charlie Chaplin (A4), Geoffrey Parsons (A4), John Turner (A4), Cole Porter (A5), Vernon Duke (A6), Ted Fetter (A6), John Latouche (A6), George Morgan (B1), Harold Rome (B2), Cy Coleman (B3-4, B6), Carolyn Leigh (B3-4, B6), Harry Carroll (B5), Joseph McCarthy (B5)
1 LP, standard sleeve
Limited numbered edition
Original analog Master tape : YES
Half-speed Mastering
Gain 2™ Ultra Analog
Heavy Press : 180g High Definition vinyl
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : RTI
Label : MOFI
Original Label : Columbia
Recorded October 1957-January 1962 at CBS Studio 30th Street Studio, New York
Produced by Ernie Altschuler
Mastered and lacquer cut by Krieg Wunderlich at Mobile Fidelity Sound Lab
Originally released in June 1962
Reissued in 2011
Tracks:
Side A:
- I Left My Heart In San Francisco
- Once Upon A Time
- Tender Is The Night
- Smile
- Love For Sale
- Taking A Chance On Love
Side B:
- Candy Kisses
- Have I Told You Lately?
- Rules Of The Road
- Marry Young
- I'm Always Chasing Rainbows
- The Best Is Yet To Come
Awards:
1962 Grammy Awards: Record of the Year and Best Solo Male Vocal Performance for the song “I Left My Heart In San Francisco”
Reviews :
“Along with his producer, Ernest Altschuler, and his arranger/pianist, Ralph Sharon, Tony Bennett had been searching for a repertoire and a musical approach beyond his long-gone pop work with Mitch Miller of the early '50s and his artistically pleasing but commercially dicey jazz work of the mid- to late '50s. It seemed to be a combination of Broadway songs and other contemporary material, carefully selected and arranged to show off Bennett's now-burnished vocals, which, as he approached the end of his thirties, were starting to be located in a more comfortable range closer to a baritone than a tenor. With this album, they found the key, not only by happening across a signature song in the title track, but also in the approach to songs like "Once Upon a Time," a gem from the flop musical All American, and Cy Coleman and Carolyn Leigh's "The Best Is Yet to Come," which Bennett helped make a standard. (Frank Sinatra didn't do it until two years later.) From here on until the world changed again toward the late '60s, Bennett would not have to feel that he had to compromise his art for popularity, making up-tempo singles in an attempt to meet the marketplace while longing to do ballads and swing material instead. I Left My Heart In San Francisco, a gold-selling Top Ten hit that stayed in the charts almost three years, demonstrated that he could have it all.” AllMusic Review by William Ruhlmann
Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.
Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.
Ratings :
AllMusic : 5 / 5 , Discogs : 4,48 / 5