Helen Humes’ “Songs I Like To Sing!” on Acoustic Sounds Vinyl: A Soulful Treasure with a Catch

A 1961 jazz classic cut on 180‑gram vinyl and flat‑tape masters—spectacular when it’s right, a headache when it isn’t.

Vintage vibes: The 1961 sessions reimagined

Helen Humes hit the Contemporary studio in ’61 with a mix of blues grit and Basie-era polish, buoyed by Marty Paich’s sharp arrangements. Imagine Art Pepper’s alto weaving cool lines, Leroy Vinnegar’s bass walking steady, Shelly Manne’s brushes tapping like raindrops, Barney Kessel’s guitar adding texture, and André Previn’s piano lighting the way. This pressing attempts to capture all that analog magic, cut directly from quarter-inch flat tape.

Humes effortlessly shifts from torchy ballads to upbeat swingers—her blues bring a slam-door shove, and the mid-tempo jams swing hard enough to make you expect Count Basie’s horns to jump in. If your collection already digs ’50s jazz legends or quiet classical sessions, this one slots right in.

The record itself is a hefty 180-gram QRP pressing designed to resist warpage. Specs like these sound perfect for audiophiles but, trust me, the numbers don’t tell the full story.

Audiophile credentials: Flat-tape mastering and 180g pressing

This vinyl runs through the AAA analog chain—no digital shortcuts. Bernie Grundman’s lacquer cuts are a big deal in vinyl circles here. Those flat-tape masters preserve the snap of Humes’ consonants and the crackle of drums without artificial gloss. You get room ambience too, so it feels like you’re in the studio with the band.

Quality Record Pressings nails the heavyweight stamp with an embossed QRP sidemark, so the package screams collector quality. But even the thickest vinyl can’t protect against iffy quality control—warped discs and off-center labels sneak in.

Played on a clean stylus, the lows rumble true, mids carry Humes’ clear voice, and highs shimmer without harshness. With your turntable dialed in tight, the soundstage feels roomy—Pepper’s sax sits stage left while Previn’s piano leans right, with studio noises sneaking in for authenticity.

QC slip-ups: Surface scratch hell and warp city

Here’s the ugly part: quality control failures aren’t rare. Some copies arrive with surface blemishes that pop like firecrackers during quiet vocals—they don’t just hiss, they wreck key moments. Replacement discs don’t guarantee relief either. One swap brought a warped disc that blew through the first track like busted speed control.

Despite using top-tier materials, this pressing frequently misses the mark. A warped record makes pitch wobble or drags speed like molasses—fun only if your DJ gig requires glitch effects.

Bottom line: order two or three copies if you want a fair shot at a clean one. Brace yourself for returns and patience that outlast the album’s laid-back vibe.

Tone and texture: Warmth, body, and that vinyl hiss

Land a good copy and the sound is worth the hassle. Humes’ diction is crystal clear, the rhythm section grooves tightly, and Pepper’s alto jumps just right—no bite, all sparkle. The stereo space feels alive, giving each player their own booth in your listening room.

But as with all vinyl, soft pops lurk in quiet spots, and a low hiss underlies every track. It rarely kills the mood but reminds you you’re in analog territory. Clean your stylus, bust out the antistatic brush, and maybe give it a spin on a record cleaner to cut down background noise.

Pitch stays steady on a flat disc. A warp, however, throws this off until you start playing with speed adjustments. Bass thumps with weight when the disc’s in good shape; scratches or dents can muddy that punch. Keep your gear in top shape and you’ll get a warm, intimate lounge vibe perfect for late-night spins.

Packaging and extras: Stylish sleeve, questionable inner sleeve

The matte jacket is slick—a moody sepia photo of Humes mid-phrase with elegant type that won’t feel dated soon. It outshines generic reissues by a solid margin.

Inside, though, the flimsy fake-poly inner sleeve is a disappointment: it crimps easily and rubs against the jacket’s edges, risking scuffed artwork.

No bonus tracks, no photo booklet, no liner notes. If you crave essays or session stories, look elsewhere. This package trusts music alone to do the talking.

Shrink wrap is thick but tears unevenly—rip wrong and you risk nicking a corner. Collector-level packaging in appearance, but none of the practical frills collectors often expect.

Spinning advice: Who should take the leap?

This pressing isn’t for casual listeners or vinyl rookies. It demands patience and some savvy handling to navigate the hit-or-miss quality. Consider buying it if you’re:

• A vinyl collector ready to order multiple copies for a pristine one
• A jazz enthusiast who worships Helen Humes’ vocals
• An audiophile chasing authentic flat-tape analog sound no matter the hassles

Skip it if you:

• Expect out-of-the-shrink convenience and zero returns
• Can’t afford to buy several copies just to land one good disc
• Get stressed by slight warps and background surface noise

Dial in your tracking force carefully, have cleaning tools at hand, and soften your spinner’s touch. These habits maximize your chances for a decent session.

Final spin

“Songs I Like To Sing!” on Acoustic Sounds vinyl swings between pure audio bliss and maddening frustration. Nail a flawless, scratch-free, warp-free disc, and you’re rewarded with timeless vocal jazz backed by West Coast legends. But landing that gem is like walking through a minefield of surface flaws and warped copies.

If you’ve got the gear, patience, and the budget for backups, this pressing can shine in your collection. If you want hassle-free listening without chasing replacements, hold off until Craft Recordings tightens their quality control. Your money—and your sanity—will thank you.