After discovering Hot Stampers and the mind-blowing sound they deliver, a new customer generously sent me a few of his favorite Heavy Vinyl pressings to audition, records that he considered the best of the modern reissues that he owns. He admitted that most of what he has on Heavy Vinyl is not very good, and now that he can clearly hear what he has been missing, having played some of our best Hot Stamper jazz pressings, he is going to be putting them up on Ebay and selling them to anyone foolish enough to throw their money away on this kind of junk vinyl.
We say more power to him. That money can be used to buy records that actually are good sounding, not just supposed to be good sounding because they were custom manufactured with the utmost care and marketed at high prices to soi-disant audiophiles.
Audiophile records are a scam. They always have been and always will be.
The three of us who do the critical listening here at Better Records dropped the needle on the first disc in this set and, once the VTA was properly adjusted, gave it a chance to show us just what expert remastering from vintage mono tapes, at 45 RPM, on two slabs of luscious, thick vinyl, could do for the sound of Thad Jones’s trumpet, circa 1956.
None of us had ever heard the album on any media, vinyl or otherwise, but we know a good sounding jazz record when we hear one, and we knew pretty early on in the session that this was not a good sounding jazz record. Two minutes was all it took, but we wasted another ten making sure it was as bad as we thought.
For those of you who might have trouble reading my handwriting, my notes read:
To my ear this disc does not sound much like the wonderful vintage analog recordings we play every day. It might make a passable CD, but I have hundreds of CDs that sound better than this album, so even setting the bar that low, I would say it’s unlikely I would want to have this set in my collection.
Who can find the time to play a mediocrity such as this. And who needs the bother of flipping it over three times for less than ten minutes a side? Buy the CD. It plays all the way through and costs a whole lot less.
Boosted sloppy bass.
By far the biggest problem with the sound. The bass is really boosted. It constantly calls attention to itself. It is the kind of sloppy, droning upper-bass that cannot be found on any RVG recording, none that I have ever heard anyway, and I’ve heard them by the hundreds.
You no doubt know about the phony boosted bass on the remastered Beatles albums. It’s that sound. Irritating in the extreme, and just plain wrong.
The album’s best quality. CDs can have good space, so why shouldn’t this CD-like record have some of that quality?
Still dry horns.
Not the sound of the horns that RVG is famous for. Somebody screwed them up in the mastering.
Bad cutting equipment? Bad EQ? Both?
What else could it be?
Wears out its welcome.
Between the boosted bass and the dry horns, the sound of these remastered audiophile discs gets old fast.
Needs heavy tubes.
If you have an Old School Vintage Tube system with heavy tube colorations, you have the ideal system to get this record to sound better than it is, and better than I ever will. As I have said many times on the site, a system like the one I owned in the ’70s (Audio Research) and again in the ’90s (McIntosh) would put me out of business today.
I need to know what is on the records I play, warts and all, not the euphonic colorations my stereo equipment wants me to hear.
No real top.
Space, yes, but not much air. Practically all the Heavy Vinyl records we play have no real extension on the top end. You can adjust your VTA until you’re blue in the face, it’s just not something these discs reproduce well.
RTI pressings are serial offenders in this regard. We find them uniformly insufferable.
What to avoid:
Label: Blue Note – 1527, Music Matters Ltd. – MMBLP-1527
Series: Blue Note The Definitive 45 RPM Reissue Series –
Format: 2 × Vinyl, 12″, 45 RPM, Album, Mono, Reissue, Remastered, Limited Edition .
Lacquer Cut At – AcousTech Mastering
Pressed By – Record Technology Incorporated – 18830
Bass – Percy Heath
Cover – Reid K. Miles*
Drums – Max Roach
Liner Notes – Leonard Feather
Photography By – Francis Wolff
Piano – Barry Harris (2)
Recorded By – Rudy Van Gelder
Remastered By – Kevin Gray, Steve Hoffman
Tenor Saxophone – Billy Mitchell
Trumpet – Thad Jones
Originally released in 1956 by Blue Note Records.
Remastered at AcousTech.
Pressed on 180 gm virgin vinyl.
Double gatefold high quality archival jackets. Centrefold shows large black and white photographs of the musicians.
Limited Edition of 2500 copies.