A distinguished member of the Better Records Jazz Hall of Fame.
This is a nice Early Riverside pressing with excellent sound! It’s also a title Mobile Fidelity ruined, and having just played this record, I can see hear how they did it.
First of all, the guitar and the drums are tonally right on the money. Mobile Fidelity of course brightened up both and the results are a phony sounding guitar and a phony sounding drum kit, with tizzy cymbals. (The Wes Montgomery MoFi title has many of the same faults, but it’s not quite as bad as this one.)
The other reason the Mobile Fidelity is such a joke is that this recording inherently has a lot of ill-defined bass. Since Half-Speed mastering causes a loss of bass definition, their pressing is even WORSE in this respect.
Mobile Fidelity rarely understood what an acoustic guitar was supposed to sound like. They blew it on all the Cat Stevens masterpieces, brightening up the guitar which emphasized the “picking” at the expense of the resonating guitar body and vibrating string harmonics.
What makes Byrd At The Gate a good record is the natural acoustic guitar tone. Once you screw that up, what’s left?
An audiophile record. For audiophiles who like phony sounding guitars. Riverside cut this record, and they knew how to cut it right.