We’re big fans of Ry here at Better Records, and it’s always a lot of fun to hear the eccentric instruments and arrangements he and his cohorts cook up. Of course, it’s even more fun when you get a great sounding pressing like this one!
Far Beyond Your Average Rock or Jazz Record
The instrumentation here goes far beyond your average rock or jazz record. Rounding up a panoply of relatively exotic instruments for an album doesn’t make it especially noteworthy. Thankfully Cooder’s up to more than that. Using an ensemble of seriously talented musicians, as well as studio engineers who really understand how to capture these instruments, with Jazz Cooder succeeds in giving the audiophile public a full course spread of new and unusual sounds, all the while staying true to these popular songs from days long gone.
Case in point: check out the mandobanjo on Face To Face That I Shall Meet Him, handled superbly by the one and only David Lindley, a man who has played practically every stringed instrument ever invented. That’s a sound you don’t hear every day.
Tuba — Ya Gotta Love It!
On the same track the listener is treated to a wonderful sounding tuba (one of the toughest instruments to record by the way) handling a sizable portion of the rhythmic chores. It’s punchy, huge, and powerful, yet it manages to add uniquely subtle shadings to the mix, never for a moment calling attention to itself. These instrumental choices are not evidence of Ry Cooder showing off his legendary musical knowledge. This is the authentic Ry Cooder, here using his musical knowledge to bring these songs back to life for an audience that barely knew they existed in the first place.
Transparency Is Key
The best copies realistically convey the live-in-the-studio quality of the music. This is a tight ensemble working at the top of their game, no surprise there; Ry surrounds himself with nothing but the best.
But the better copies have such amazingly transparent sound you can’t help feeling as though you really are in the presence of live human beings You really get the sense of actual fingers plucking those guitar strings. You hear mouths blowing air through horns and woodwinds.
These are sounds that most recordings pretend to capture, and like hypnotist’s subjects, we go along for the ride. This recording has the potential to actually bring forth that living, breathing musician sound, no imagination required.
The Typical Copy
The typical pressing of this record doesn’t even hint at how magical this album can sound. If your copy isn’t exceptionally full-bodied, rich, and sweet, you can bet that it will sound edgy and irritating with the kind of repeated listenings required to fully appreciate and enjoy this music.
THE TAS LIST
There’s a reason this record is on the TAS list, but you’d never know it by playing the average Columbia pressing. Most copies of this record just sound like an old record. You would never even know how magical this recording is by playing a copy that, for all intents and purposes, appears to be the pressing Harry Pearson is recommending on his Super Disc list.
The catalog number is the same, the sound is not. Unless you have at least a dozen copies of this record you have very little chance of finding even one exceptional side.
This has always been the problem with the TAS list. The pressing variations on a record like this are HUGE and DRAMATIC. There is a world of difference between this copy and what the typical audiophile owns based on HP’s list. I’ve been complaining for years that the catalog number that Harry supplies has very little benefit to the typical audiophile record lover.
Without at least the right stampers, the amount of work required to find a copy that deserves a Super Disc ranking is daunting, requiring the kind of time and effort that few audiophiles could ever devote to such a difficult and frustrating project.