- This KILLER jazz pressing boasts shootout winning Triple Plus (A+++) sound from first note to last
- The sound here is Tubey Magical, lively and clear, with three-dimensionality that goes deep and fills the listening room from wall to wall
- This copy plays on relatively quiet vinyl, Mint Minus to Mint Minus Minus throughout
- “One of altoist Johnny Hodges’ many solo records in the 1960s… Tasty and swinging music.” – Allmusic
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1963-64 All Tube Analog sound can be, this killer copy will do the trick.
This pressing is super 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. There may well be a CD of this album, but those of us in possession of a working turntable and a good collection of vintage vinyl could care less.
What to Listen For (WTLF)
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
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 their full complement of harmonic information.
Tube smear is common to most pressings from the ’50s and ’60s and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
Classic Jazz – How Can You Go Wrong?
What the best sides of this Classic Jazz Album have to offer is clear for all to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl domestic pressings like this one offer the kind of Tubey Magic that was on the tapes in 1964
- Tight, note-like, rich, full-bodied double bass, with the correct amount of weight down low
- Natural tonality in the midrange — with the guitar and drums having the correct sound for this kind of recording
- Transparency and resolution, critical to hearing into the three-dimensional space of the studio
No doubt there’s more but we hope that should do for now
Playing the record is the only way to hear all of the above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Digging Creed Taylor Inc.
We’ve been really digging these Creed Taylor productions for years now. On the better albums such as this one, the players tend to sound carefree and loose — you can tell they’re enjoying the hell out of these songs. Don’t get me wrong — we still love the Blue Note and Contemporary label stuff for our more “hard core” jazz needs, but it’s a kick to hear top jazz musicians laying down these grooves and not taking themselves so seriously… especially when it sounds as good as this copy does.
Engineering by Val Valentin
Val Valentin’s list of credits runs for days. Some high points are of course Ella and Louis, and Getz/Gilberto.
Recently we played a copy of We Get Requests by the Oscar Peterson Trio that blew our mind. And we have been big fans of Mel Tormé Swings Shubert Alley for more than a decade.
Pull up his credits on Allmusic. No one I am familiar with other than Rudy Van Gelder recorded more great jazz, and in our opinion Valentin’s recordings are quite a bit more natural sounding than Rudy’s, especially with regard to the sound of the piano.
Blues O’ Mighty
Creole Love Call
Things Ain’t What They Used To Be
I Let A Song Go Out Of My Heart