With two Triple Plus (A+++) shootout winning sides, this original stereo World Pacific copy simply could not be beat
- Huge and rich, here is the kind of Tubey Magical presentation that lets this big group of musicians (four trombones!) come alive
- The engineering by none other than Bruce Botnick is brilliant in all respects, as good as his work with The Doors
- This is FUN West Coast Pop Jazz built around the superb arrangements of Bob Florence and the great songs of the Stones
- We’re so sure you’ll like this music that if for any reason you are unhappy the domestic return shipping is on us!
Another undiscovered gem, brought to you by the folks at Better Records who know a good sounding record when they hear one. And the music is interesting and fun from first song to last. With Joe Pass on guitar how could it not be – the guy’s a genius.
This copy is spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This is the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. Someday there may well be a CD of this album, but those of us in possession of a working turntable could care less.
Engineering by Bruce Botnick
Botnick is of course the man behind the superb recordings of The Doors, Love and others too numerous to mention.
He also recorded another of our favorite West Coast jazz ensemble records, Bud Shank And the Sax Section. That undiscovered gem — well known to us but heretofore undiscovered by the audiophile public as far as we can tell — has a lot in common with this album. Top players, smart arrangements, superb sound, the album is as fun as Fun West Coast Jazz gets.
What do the best Hot Stamper pressings of The Stones Jazz give you?
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks for the guitars, horns and vibes, not the smear and thickness so common to most LPs.
- Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
- Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt — Botnick of course — would have put them.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
The Players and Personnel
Joe Pass – guitar
Dennis Budimir – guitar
John Pisano – guitar
Bob Florence – piano, arranger, conductor
Ray Brown – bass
John Guerin – drums
Victor Feldman – percussion
Bill Perkins – tenor saxophone
Milt Bernhardt – trombone
Dick Hamilton – trombone
Herbie Harper – trombone
Gale Martin – trombone