- This vintage Blue Note pressing boasts Nearly Triple Plus (A++ to A+++) sound on both sides – just shy of our Shootout Winner
- Freddie’s trumpet sounds Right On The Money — it’s breathy and full-bodied with clearly audible leading edge transients
- Credit must go to Rudy Van Gelder once again for the huge space this superbly well-recorded ensemble occupies
- 4 1/2 stars: “John Coltrane’s modal music was starting to influence Hubbard’s conception and his own playing was pushing the modern mainstream ahead without really entering the avant-garde.”
These Nearly White Hot Stamper pressings have top-quality sound that’s often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers (“relative” meaning relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don’t agree, please feel free to return the record for a full refund, no questions asked.
This Blue Note reissue LP is simply SUPERB! It’s open and spacious and wonderfully dynamic. I don’t think there’s anything you could do to this music to make it sound much better than this!
This copy has such transparency and such an extended top-end compared with most other copies due, to some degree, to better cutting equipment. Originals rarely have this kind of resolution, these leading-edge transients, this kind of bass definition, and on and on. Collectors pay big bucks for original copies that don’t sound nearly as good as this one.
This vintage 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 the Best Sides of Hub-Tones 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 1963
- 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.
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 Hub-Tones
- 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.
- Freddie Hubbard – trumpet
- James Spaulding – alto saxophone, flute
- Herbie Hancock – piano
- Reggie Workman – bass
- Clifford Jarvis – drums
You’re My Everything
Lament For Booker
For Spee’s Sake
AMG 4 1/2 Star Review
“Trumpeter Freddie Hubbard teams up on record with James Spaulding (who doubles on alto and flute) for the first time on this excellent set, with the assistance of pianist Herbie Hancock, bassist Reggie Workman, and drummer Clifford Jarvis. The quintet performs four of the trumpeter’s originals (including “Lament for Booker” and the title cut) plus an advanced version of the standard “You’re My Everything.” John Coltrane’s modal music was starting to influence Hubbard’s conception and his own playing was pushing the modern mainstream ahead without really entering the avant-garde.”