- With two seriously good Double Plus (A++) sides, this was one of the better copies we played in our recent shootout
- The 1962 sound is wonderfully Tubey Magical, full-bodied and solid, the bass note-like and clear
- The brilliant Ray Hall was able to engineer this Demo Disc quality recording using nothing but tubes back in 1962, and it’s glorious to hear that sound in 2019 on modern hi-rez equipment
- 4 1/2 stars: “The interplay between Rollins and Jim Hall [on guitar] is consistently impressive, making this a near-classic and a very successful comeback.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good an 1962 All Tube Analog recording 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 is of course a CD of this album, but those of us who possess a working turntable and a good collection of vintage vinyl could care less.
The reproduction of the sax is just right — played good and loud it’s almost as if you’re hearing the real instrument and not just a recording. That’s why we call it a Hot Stamper – it has that sound!
What the best pressings have to offer is not hard 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 pressings offer the kind of Tubey Magic that was on the tapes in 1962
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments of this stellar jazz combo having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
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 qualities we describe above, and for that, you will need to take this copy of the record home and throw it on your table.
It’s beyond tough to find copies of this album on any label these days, but we had a big stack of pressings from different eras and auditioned them in a big shootout. The originals we had on hand didn’t come close to the sound we heard on the best sides of the reissues we played. The later pressings are a mixed bag, but the best sides will show you just how good they can sound.
Sonny Rollins on The Bridge
In the 50s and 60s, Lucille and I had a small apartment on Grand Street on the Lower East Side of New York. It was a nice time. I had a lot of friends there and I was welcomed by the neighborhood people. Like most of New York, the Lower East Side has undergone gentrification but back then, it was a much more ethnic place.
I started practicing in the house because I had to practice, but I felt guilty because I’m a sensitive person and I know that people need quiet in their apartments.
I was walking on Delancey Street one day, not far from where I lived on Grand Street and I just happened to look up and see these steps that I decided to check out. And there, of course, was the bridge, the Williamsburg Bridge. It was this nice big expanse going over the East River. There was nobody up there. So I started walking across the bridge and said, “Wow. This is what I have been looking for. This is a private place. I can blow my horn as loud as I want.”
Because the boats are coming under, and the subway is coming across, and cars, and I knew it was perfect, just serendipity. Then, I began getting my horn and going up there regularly. I would be up there 15 or 16 hours at a time spring, summer, fall, and winter.
Without A Song
Where Are You
God Bless The Child
You Do Something To Me
AMG 4 1/2 Star Rave Review
Tenor saxophonist Sonny Rollins’ first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms.
In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including “Without a Song” and “God Bless the Child”) plus two fiery originals (highlighted by the title cut). The interplay between Rollins and Hall is consistently impressive, making this a near-classic and a very successful comeback.