- Adderley’s fourth studio album makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound on side one mated to an outstanding Double Plus (A++) side two
- We guarantee there is dramatically more richness, presence and performance energy on this Hot Stamper pressing than on anything you’ve ever heard
- Big Group energy and enthusiasm is key to the better pressings like this one – here you will find the most natural sounding ambience of any of the copies in our shootout
- This one has most everything going for it, with bass, dynamics, clarity, top end extension and more – it’s a real Demo Disc, make no mistake about it
This vintage Trip pressing has the kind of Tubey Magical Midrange that modern records can barely 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 Amazing Sides Such as These 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 1956
- 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
- Transparency and resolution, critical to hearing into the three-dimensional studio space
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.
What We’re Listening For on In The Land of Hi-Fi
- 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 so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also 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 instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
- Cannonball Adderley – alto saxophone
- Jerome Richardson – tenor saxophone, flute
- Danny Bank – baritone saxophone
- Nat Adderley – cornet
- Ernie Royal – trumpet
- Bobby Byrne, Jimmy Cleveland – trombone
- Junior Mance – piano
- Keter Betts – bass
- Charles “Specs” Wright – drums
- Ernie Wilkins – conductor, arranger
Dog My Cats
I’m Glad There Is You
Blues For Bohemia
Between The Devil & The Deep Blue Sea
Casa De Marcel
Little Girl Blue
Broadway At Basin Street
I Don’t Care