Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of Fingers.
The best copies have the highs that are missing from so many of the CTI originals. When you play them against most copies there is an extension to the top end that you won’t hear elsewhere. Since this album is heavy on percussion, that difference is critical. The HARMONICS of the percussion are critically important to the music. When they go missing it’s as if the music seems to slow down, a strange effect but a fairly common one with rhythmically dense arrangements such as these.
With an extended top end the sound is SWEET, not HARSH. Believe us when we tell you, the last thing you want is a harsh sounding pressing of a Rudy Van Gelder recording. (Not unless you have a dull, dull, deadly dull stereo. Those “Old School” stereos are practically the only way one can tolerate some of his early recordings.)
With so many high frequency transients and such complex arrangements, this is a record that must be mastered (and pressed) with great skill or the result is going to be trouble. RVG, who both recorded and mastered the album, has a penchant for over-cutting records and being heavy handed when it comes to his favorite studio tricks, often to the detriment of instrumental fidelity. When his approach works, the resulting recordings are wonderful. When he gets too carried away with his “sound”, look out.
This is without a doubt the BEST ALBUM the man ever made. On top of that, this copy really has the kind of sound we look for, with an open, fully extended top end that gives all the elements of this complex music room to breathe.
We Love Fingers
Fingers is one of our all time favorite records, a Desert Island disc to be sure. I’ve been playing this album for more than thirty years and it just keeps getting better and better. Truthfully it’s the only Airto record I like. I can’t stand Dafos, and most of the other Airto titles leave me cold. I think a lot of the credit for the brilliance of this album has to go to the Fattoruso brothers, who play keyboards, drums, and take part in the large vocal groupings that sing along with Airto.
At times this record really sounds like what it is: a bunch of guys in a big room beating the hell out of their drums and singing at the the top of their lungs. You gotta give RVG credit for capturing so much of that energy on tape and transferring that energy onto a slab of vinyl. (Of course this assumes that the record in question actually does have the energy of the best copies. It’s also hard to know who or what is to blame when it doesn’t, since even the good stampers sound mediocre most of the time. Bad vinyl, worn out stampers, poor pressing cycle, it could be practically anything.)
Stampers and Promos
There are a couple of stampers we like for both sides, but knowing the numbers is not particularly helpful since there are not all that many stampers to choose from, and the good stampers can sound just plain awful on some copies. Side one is either A1, A2, or A3 and side two is B1, B2, or B3. I have never seen any other stamper numbers for a domestic pressing and I have seen scores of copies of this album over the last twenty plus years. (Quad doesn’t count; those pressings rarely if ever sound good in stereo.)
Some that we’ve put on the site are White Label Promos. I have a number of them and practically every stamper is represented for both sides, so the promo designation has almost no bearing on the quality of the sound. Which is not saying much because it almost never does.
One of the five-star gems [although they actually give it 4 1/2!] that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder’s famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as “Wind Chant,” “Tombo in 7/4” and “Romance of Death,” the results are consistently enriching. Fingers is an album to savor.