- An outstanding vintage Blue Note pressing, with solid Double Plus (A++) sound from start to finish – mostly quiet vinyl too
- This copy is spacious, sweet and positively dripping with ambience
- A trio date, with just organ, guitar and drums, the grouping that Smith pioneered – nobody does it better
- This album is a little more mellow than others I have heard. It’s very relaxed and enjoyable. Highly recommended
*NOTE: On side one, a mark makes 5 light ticks during track 4, Just Squeeze Me.
An album like this is all about its Tubey Magical Stereoscopic presentation. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There is of course a CD of this album, probably quite a few of them, but those of us in possession of a working turntable could not care less.
This vintage 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 trio, 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 Bucket 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 1966
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- 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.
More of What to Listen For
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 pressings from the 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.
Which brings up a point that needs making. The tonality of this record is correct when it is playing loud. The timbre of the instruments is correct when loud, which means that it was mixed loud to sound correct when loud.
The frequency extremes (on the best copies) are not boosted in any way. When you play this record quietly, the bottom and top will disappear (due to the way the ear handles quieter sounds as described by the Fletcher-Munson curve).
Most records (like most audiophile stereos) are designed to sound correct at moderate levels. Not this album. It wants you to turn it up. Then, and only then, will everything sound completely right from top to bottom.
What do the better Hot Stamper pressings like this one give you?
- 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 horns and drums, not the smear and thickness so 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 — Rudy Van Gelder 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.
Jimmy Smith – organ
Quentin Warren – guitar
Donald Bailey – drums
3 For 4
Just Squeeze Me
Come Rain Or Come Shine
John Brown’s Body