A distinguished member of the Better Records Jazz Hall of Fame.
Both sides are open, spacious and transparent, with a lovely and quite extended top end. Just listen to the trumpet solo on ’A Night In Tunisia’; you can really hear the leading edge transients. The baritone sax played by the estimable Pepper Adams also sounds particularly nice throughout the record.
Side One – Record One
Big, open and rich, with tight bass and a huge baritone sax, we found this side Hard To Fault.
Side two of this copy badly lacked warmth, which is a deal killer for us. That “clean” Heavy Vinyl sound drives us up a wall.
Side Two – Record Two
Rich and solid like no other! Yet it’s clear and transparent. The mastering from top quality tapes is right on the money.
Notice how full Timmons’ piano sounds. From top to bottom this side is cut right.
Our Famous 2-packs
Each of our 2-pack sets combine two copies, one with Hot Stamper (or better!) sound for each side, giving you great sound for the entire album.
Many folks are surprised when they hear that an LP can sound amazing on one side and mediocre on the other, but since each side is pressed separately it happens all the time — in fact, it’s much more common for a record to rate differently on the two sides than to rate the same. That’s just the way it goes in analog, where there’s no way to know how a record sounds until you play it.
Since each of the copies in the 2-pack will have one good side and one more typical side, you’ll be able to compare them on your own to hear just what it is that Hot Stampers give you, which has the added benefit of being a great way to improve your critical listening skills. We’ll clearly mark which copy is Hot for each side, so if you don’t want to bother with the typical sides you won’t have to.
Since we typically price our 2-packs lower than the price a single copy with the same grades would fetch they are a great way to save some dough as well.
A Night in Tunisia
Just One of Those Things
The trumpeter, then just 19, teams up with baritonist Pepper Adams, pianist Bobby Timmons, bassist Paul Chambers and drummer Philly Joe Jones for a particularly strong set that is highlighted by a lengthy and fiery “Night in Tunisia,” “Lover Man” and a rapid rendition of “Just One of Those Things.” Morgan plays remarkably well for his age (already ranking just below Dizzy Gillespie and Miles Davis), making this an essential acquisition.
A leading trumpeter and composer, he recorded prolifically from 1956 until a day before his death in February 1972. Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. Morgan also knew how to play the alto saxophone.
His primary stylistic influence was Clifford Brown, who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, and remained a member for a year and a half, until the economic situation forced Dizzy to disband the unit in 1958.
He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader for the company, with more than 250 musicians.