- Workin’ Out makes its Hot Stamper debut here with outstanding Double Plus (A++) sound from start to finish
- This superb recording is huge and lively with startling dynamics and in-the-room-presence
- Credit goes to Rudy Van Gelder once again for the huge space that the superbly well-recorded group occupies
- 4 stars: “This 1964 date was one of pianist Bobby Timmons’ most advanced recordings of the decade… filled with subtle surprises.”
This vintage Prestige 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 band, 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 Workin’ Out have to offer is not hard to hear:
- Transparency and resolution, critical to hearing into the three-dimensional space of the studio
- 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 1965
- 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
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 and nice extension up top 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 air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings 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 Workin’ Out
- 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, 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.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Bobby Timmons – piano
Johnny Lytle – vibes
Keter Betts, Sam Jones – bass
William “Peppy” Hinnant, Ray Lucas – drums
This Is All I Ask
AMG 4 Star Review
This 1964 date was one of pianist Bobby Timmons’ most advanced recordings of the decade. For an example of how the popular pianist had continued to evolve after his early funk hits, listen to his often-bitonal solo on “Bags’ Groove” from 1964. The session features Timmons in a quartet with vibraphonist Johnny Lytle, bassist Keter Betts, and drummer William “Peppy” Hinnant, and is filled with subtle surprises. A highly recommended date, Workin’ Out falls somewhere between hard bop and the early avant-garde.