Here the duo’s voices are rich, clear and present – they’re breathier and yet more natural, a combination that works wonders on this copy and is the main reason it won our shootout
Man, this is one tough nut to crack– gritty vocals, thin vocals, recessed vocals, smeary vocals — this music is all about the vocals and the vocals leave a lot to be desired on most of the copies we’ve played over the years
4 1/2 stars: “… much of the album is lush and catchy, featuring ballads and midtempo numbers that are nearly as engaging as the duo’s breakthrough single, ‘Sara Smile.'”
A wonderful album of chamber music with outstanding Double Plus (A++) sound throughout – exceptionally quiet vinyl too
Another one of those “sleeper” records we chance upon from time to time – it’s the very opposite of those echo-drenched recordings that some audiophiles like, with mics twenty feet away from the performers so that they are awash in “ambience.” Please.
If you’re looking for brilliantly performed quartet music recorded on an All Tube chain by the best engineers Decca had to offer (Gordon Parry in this case), hard to imagine you could do much better than this very disc
This Atlantic pressing has insanely good Shootout Winning Triple Plus (A+++) sound from start to finish
“Capping off a string of early-’70s hits with this album’s title track, Roberta Flack would soon take a sabbatical from the spotlight in 1975. And while she would return to the stage and studio, Flack never quite hit the heights of this and the handful of other MOR soul releases from the first half of the decade… Feel Like Making Love will still please the singer’s dedicated fans.”
Amazing sound from start to finish on this Shootout Winning TRIPLE TRIPLE (A+++) copy
One of our favorite CTI albums, and surely one of the best sounding, especially on this pressing
Credit goes to Rudy Van Gelder once again for the huge space that the superbly well-recorded orchestra occupies
AMG raves “This is Burrell at his level best as a player to be sure, but also as a composer and as a bandleader. Magnificent.”
God Bless The Child is one of our favorite orchestra-backed jazz records here at Better Records. A few others at the top of my list would be Wes Montgomery’s California Dreaming (1966, and also Sebesky-arranged), Grover Washington’s All the King’s Horses (1973) and Deodato’s Prelude (also 1973, with brilliant arrangements by the man himself).
What’s especially notable is how well-recorded the strings are. They have just the right amount of texture and immediacy without being forced or shrill. They’re also very well integrated into the mix. I wouldn’t have expected RVG to pull it off so well — I’ve heard other CTI records where the orchestration was abominable — but here it works as well as on any album I know of.
The bass is deep and defined; the tonality of the guitar and its overall harmonic richness are beautifully rendered. The piano has the weight and heft of the real thing.
This kind of warm, rich, Tubey Magical analog sound is gone forever. You have to go back to 1971 to find it.(more…)
Both sides are big, rich, transparent, spacious and dynamic – no Heavy Vinyl pressing can do what this record is doing
Yet another wonderful example of what the much-lauded Decca recording engineers were able to capture on analog tape all those years ago
These spectacular works are played with feeling – we know of no better performance or better sound
Yet another wonderful example of what the much-lauded Decca recording engineers were able to capture on analog tape all those years ago. The 1959 master has been transferred brilliantly using “modern” cutting equipment (from the early-’70s, not the low-rez junk they’re forced to make do with these days), giving you, the listener, sound that only the best of both worlds can offer.
The brass is HUGE and POWERFUL. Not many recordings capture the brass this well. (Ansermet on London comes to mind of course but many of his performances leave much to be desired. Here Mackerras is on top of his game with performances that are definitive.)
The opening track on side two, Wedding Day at Troldhaugen, is one of my favorite pieces of orchestral music. Mackerras and the London Proms make it magical.
You can be pretty sure of two things when you hear a record of this quality: one, the original won’t sound as good, having been cut on cruder equipment.
And two, no modern recutting of the tapes (by the likes of Speakers Corner for example, but you can substitute any company you fancy) could begin to capture this kind of naturalistic orchestral sound.(more…)
Both sides of this long out of print OJC title boast lively, big and clear Double Plus (A++) sound quality
With three saxophones and a trombone, this is a fresh combination that really brings out the best in all the players during this Prestige jam session, a format for which they are justly famous
I raved about this album when it was in print many years ago – it’s solidly swinging jazz that belongs in your collection
Allmusic 4 Stars: “Waldron’s three originals (highlighted by “Cool-Lypso”) allow plenty of room for swinging, and Quinichette (who also performs “On the Sunny Side of the Street”) sounds comfortable interacting with the younger musicians. An enjoyable and underrated release.”
As I wrote years ago, back in the days when we regularly sent out catalog mailings:
When we discover a record like this, a record with no reputation either in the jazz world or the audiophile world, we try to bring it to people’s attention, usually with some success. Some of my customers called me up to tell me what a great record this is.
Based on what I’m hearing my feeling is that most of the lively, natural, full-bodied, sound of the album is on the master tape, and that all that was needed to get that vintage sound correctly on to disc was simply to thread up that tape on a reasonably good machine and hit play.
The fact that nobody seems to be able to make an especially good sounding record — certainly not as good sounding as this one — these days tells me that in fact I’m wrong to think that such an approach would work. Somebody should have been able to figure out how to do it by now. In our experience that is simply not the case today, and has not been for many years.
George Horn was doing brilliant work for Fantasy all through the ’80s. This album is proof that his sound is the right sound for this music.(more…)
These sides are doing everything right — rich, full-bodied and Tubey Magical with a big punchy bottom end
“Santana, which was renowned for its concert work dating back to Woodstock, did not release a live album in the U.S. until this one… Moonflower went Top Ten and sold a million copies, the first new Santana album to do that since 1972 and the last until Supernatural in 1999.” – All Music