Time: 34:11
Size: 78.3 MB
Styles: Vocal
Year: 1959/2010
Art: Front
[2:02] 1. Jump For Joy
[2:24] 2. Back In Your Own Back Yard
[1:57] 3. When My Sugar Walks Down The Street
[2:06] 4. I Hear Music
[2:49] 5. Just In Time
[2:56] 6. Old Devil Moon
[2:41] 7. What A Little Moonlight Can Do
[2:31] 8. Four Or Five Times
[2:29] 9. Music! Music! Music!
[2:44] 10. Cheek To Cheek
[2:34] 11. The Glory Of Love
[2:09] 12. Ain't We Got Fun
[2:13] 13. Listen To The Rockin' Bird
[2:29] 14. Baby, Baby Wait For Me
With the introduction of stereo fidelity in 1958, most albums by artists and singers were released in two formats: mono and stereo. In some cases artists recorded the same material twice. In other cases gear was in place to record both formats at once. Stereo recordings involved the special placement of musical instruments in the studio and a more dynamic recording process, enabling the left-hand side of the orchestra to predominate through the left speaker and the right-hand side in the right speaker. The result was a radically vivid and exciting sound, since stereo records and a stereo phonograph produced a much more panoramic listening experience. One artist who recorded at the dawn of stereo technology was Peggy Lee.
Her first mono/stereo effort for Capitol was Jump for Joy, with arrangements by Nelson Riddle. For years, the only CD version of the album available was the mono version released by Capitol EMI U.K. as part of its mid-1990s two-fer series. But the mono release suffered terribly from narrow fidelity, shallow depth and pinched dimension. Now DRG/EMI has issued a remastered stereo version for the first time on CD, and the mixed and mastered result by Alan Silverman is positively stunning. But not necessarily for the reasons you'd expect.
I love Lee, but I never thought Jump for Joy was her best outing from the period. In all likelihood, the new stereo technology may have compelled producer Lee Gillette to urge Lee to lay back after delivering her lyrics to allow the Riddle orchestra to come up fast in stereo behind her. So Lee rarely lingers on notes, and the result in most cases sounds a bit too relaxed, as though Lee were singing from a sofa while filing her nails. Or pulling back from the microphone. (The rare exception is Ain't We Got Fun.) By comparison, Things Are Swingin', her next Capitol release recorded six months later in 1958 with Jack Marshall arrangements, featured a much more engaged and lingering Lee. ~Marc Myers
Her first mono/stereo effort for Capitol was Jump for Joy, with arrangements by Nelson Riddle. For years, the only CD version of the album available was the mono version released by Capitol EMI U.K. as part of its mid-1990s two-fer series. But the mono release suffered terribly from narrow fidelity, shallow depth and pinched dimension. Now DRG/EMI has issued a remastered stereo version for the first time on CD, and the mixed and mastered result by Alan Silverman is positively stunning. But not necessarily for the reasons you'd expect.
I love Lee, but I never thought Jump for Joy was her best outing from the period. In all likelihood, the new stereo technology may have compelled producer Lee Gillette to urge Lee to lay back after delivering her lyrics to allow the Riddle orchestra to come up fast in stereo behind her. So Lee rarely lingers on notes, and the result in most cases sounds a bit too relaxed, as though Lee were singing from a sofa while filing her nails. Or pulling back from the microphone. (The rare exception is Ain't We Got Fun.) By comparison, Things Are Swingin', her next Capitol release recorded six months later in 1958 with Jack Marshall arrangements, featured a much more engaged and lingering Lee. ~Marc Myers
Jump For Joy
