- This superb collaboration finally makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound from first note to last
- Huge space, size and clarity, with Tubey Magical richness befitting the 1970 recording dates of these sessions
- Dave Sanders’ engineering is brilliant as usual – if you go to the blog you can see some of his finest recordings, with this soon to join the group
- 4 1/2 stars: “This combination works. . . Elements of pop music, rock, country, and the jazz avant-garde are used in the mixture of styles and the results are quite logical.”
This vintage Atlantic 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 Gary Burton and Keith Jarrett 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 1971
- 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 Gary Burton and Keith Jarrett
- 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.
- Keith Jarrett – piano, electric piano, soprano saxophone
- Gary Burton – vibraphone
- Sam Brown – guitar
- Steve Swallow – bass
- Bill Goodwin – drums
Grow Your Own
Moonchild / In Your Quiet Place
Como En Vietnam
The Raven Speaks
AMG 4 1/2 Star Review
This combination works. Vibraphonist Gary Burton and pianist Keith Jarrett (along with guitarist Sam Brown, bassist Steve Swallow, and drummer Bill Goodwin) play four Jarrett originals plus Steve Swallow’s “Como en Vietnam.” Elements of pop music, rock, country, and the jazz avant-garde are used in the mixture of styles and the results are quite logical.