- The best copy we have ever heard – Triple Plus (A+++) on side two and nearly as good on side one (A++ to A+++)
- This is the kind of classic All Tube, Live in the Studio Columbia Sound from 1962 that makes a mockery of most jazz recordings
- What a swingin’ group – there is simply not a false step or false note to be found anywhere on either side of this wonderful recording
- Hawkins teamed up with the personable trumpeter Clark Terry for this upbeat set of of solid swing. Terry in particular is in exuberant form on “Feedin’ the Bean” and a delightful version of “Don’t Worry About Me,” but Hawkins’s playing (particularly on the trumpeter’s ballad “Michelle”) is also in fine form.”
This Minty Original “360 Sound” Columbia Stereo LP from 1962 has DEMO DISC QUALITY SOUND! No other copy we played was in a class with this bad boy — it does it ALL. For those of you who appreciate the sound that Columbia’s engineers were able to achieve in the ’50s and ’60s, this LP is a Must-Own
Columbia’s best recordings — those that were recorded at the 30th Street Studios and those that were not, such as this one — just doesn’t get any better than this. Tubey magic, richness, sweetness, dead-on timbres from top to bottom — this is a textbook example of early ’60s Columbia sound at its best. It’s audiophile heaven.
This original pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it doesn’t look like it is coming back any time soon. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the control room hearing the master tape being played back, or, better yet, the direct feed from the mics in the studio, this is the record for you. It’s what Golden Age Jazz Recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but less than one out of 100 new records do, if our experience with the hundreds we’ve played can serve as a guide.
Talk About Timbre
Man, when you play a Hot Stamper copy of an amazing recording such as this, the timbre of the instruments is so spot-on it makes all the hard work and money you’ve put into your stereo more than pay off. To paraphrase The Hollies, you get paid back with interest. If you hear anything funny in the mids and highs of this record, don’t blame the record. This is the kind of record that shows up audiophile BS equipment for what it is: Audiophile BS. If you are checking for richness, Tubey Magic and freedom from artificiality, I can’t think of a better test disc. It has loads of the first two and none of the last.
The Classic Records Heavy Vinyl Pressing
We’re not the least bit embarrassed to admit we used to like their version very much, and happily recommended it in our catalog back in the day.
Like many Classic Records, the master tapes are so good that even with their mediocre mastering — and pressing: RTI’s vinyl accounts for at least some of the lost sound quality, so airless and tired — the record still sounds great, at least until you get hold of the real thing and hear what you are missing.
What do you get with Hot Stampers compared to the Classic Heavy Vinyl reissue? Dramatically more warmth, sweetness, delicacy, transparency, space, energy, size, naturalness (no boost on the top end or the bottom, a common failing of anything on Classic); in other words, the kind of difference you almost ALWAYS get comparing the best vintage pressings with their modern remastered counterparts, in our experience anyway.
The Classic is a nice record, a Hot Stamper is a MAGICAL one.