For those of you who still cling to the idea that the originals are better, this record will set you straight.
Yes, we can all agree that Rudy Van Gelder recorded it, brilliantly as a matter of fact. Shouldn’t he be the most natural choice to transfer the tape to disc, knowing, as we must assume he does, exactly what to fix and what to leave alone in the mix?
Maybe he should be; it’s a point worth arguing.
But ideas such as this are only of value once they have been tested empirically and found to be true.
We tested this very proposition in our recent shootout, as well as in previous ones of course. It is our contention, based on the experience of hearing quite a number of copies over the years, that Rudy did not cut the original record as well as he should have. For those of you who would like to know who did, we proudly offer this copy to make the case.
Three words say it all: Hearing is believing.
And if you own any modern Heavy Vinyl reissue we would love for you to have the chance to appreciate all the musical information that you’ve been missing over the years. I remember the one from the ’90s on Impulse being nothing special, and the Speakers Corner pressing in the 2000s if memory serves was passable at best.
What to Listen For (WTLF)
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently the studio or stage will be missing much of its natural air and space, and instruments will lack the full complement of harmonic information.
In addition, when the top end is lacking, the upper midrange and high frequencies get jammed together — the highs can’t extend up and away from the upper mids. This causes a number of much-too-common problems that we hear in the upper midrange of many of the records we play: congestion, hardness, harshness and squawk. (Painstaking VTA adjustment is absolutely critical if you want your records to play with the least amount of these problems, a subject we discuss in the Commentary section of the site at length.)
Tube smear is common to most pressings from the ’50s and ’60s. The copies that tend to do the best in a shootout will have little or none, yet are full-bodied, tubey and rich.
Full-bodied sound is especially critical to the horns; any blare, leanness or squawk ruins at least some of the fun, certainly at the louder levels the record should be playing at.
The frequency extremes (on the best copies) are not boosted in any way. When you play this record quietly, the bottom and top will disappear (due to the way the ear handles quieter sounds as described by the Fletcher-Munson curve).
Most records (like most audiophile stereos) are designed to sound correct at moderate levels. Not this album. It wants you to turn it up. Then, and only then, will everything sound completely right musically and tonally from top to bottom.
Oliver Nelson – alto saxophone, tenor saxophone
Eric Dolphy – flute, alto saxophone
George Barrow – baritone saxophone
Freddie Hubbard – trumpet
Bill Evans – piano
Paul Chambers – bass
Roy Haynes – drums
Click HERE to see the records we currently have on the site that were (mostly) recorded in 1962.
Click HERE to see the records from 1962 that we’ve done Hot Stamper shootouts for (a substantially larger group as you can imagine).