- This outstanding pressing of Ray Charles and Milt Jackson’s 1958 collaboration boasts solid Double Plus (A++) grades or close to them on both sides – exceptionally quiet too
- Wonderful sound from start to finish — full-bodied and warm with wonderfully sweet vocals
- Kenny Burrell lends his innovative guitar stylings to this soulful jazz collaboration
- 4 1/2 stars: “With Oscar Pettiford, Connie Kay, and Kenny Burrell in the various lineups, this is bluesy jazz in a laid-back manner; it surprised many hardcore R&B fans when these albums were originally issued.”
This wonderful pressing has superb sound throughout! It’s EXTREMELY rare to find a stereo copy of this title in anything but beat condition.
This Atlantic pressing has the kind of Tubey Magical Midrange that modern records rarely even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the guys, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What the best sides of Soul Meeting 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 1958
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- 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 qualities we discuss 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.
Copies with rich lower mids 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 ambience and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to pressings from every era 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.
What We’re Listening For on Soul Meeting
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks for the guitars, horns and vocals, not the smear and thickness common to most LPs.
- Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
- Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt — Tom Dowd in this case — would have put them.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Hallelujah I Love Her So
Love On My Mind
Bags Of Blues
AMG 4 1/2 Star Review
NOTE: This review is for the later 2 CD reissue that also includes Soul Brothers.
This brings together all of the extant takes recorded for two albums that Milt Jackson made with Ray Charles for Atlantic in 1957 and 1958. With Oscar Pettiford, Connie Kay, and Kenny Burrell in the various lineups, this is bluesy jazz in a laid-back manner; it surprised many hardcore R&B fans when these albums were originally issued. Jackson moves from vibes to piano, and even guitar (on “Bag’s Guitar Blues”), while Ray jumps between piano and alto sax on these sessions. A rare glimpse of Charles’ jazz soul coming up for air.