- Shockingly good All Tube Mono Recording Chain sound from 1957 courtesy of Rudy Van Gelder, and the high-rez, tonally correct and wide-bandwidth mastering brings out even the most subtle nuances of the sound of this superb sextet
- McLean’s sax is joined on the first side by Curtis Fuller on trombone and Webster Young on Trumpet
- 4 stars: “Although not quite as intense as McLean’s later Blue Note dates, the ballad renditions show just how mature and original a soloist he was even at this early stage.”
- If you’re a fan of Jackie’s, this is a Top Title from 1957 that belongs in your collection.
- The complete list of titles from 1957 that we’ve reviewed to date can be found here.
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 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 1957
- 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.
Old and New Work Well Together
This reissue is spacious, open, transparent, rich and sweet. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording Technology, with the added benefit of mastering using the more modern cutting equipment of the ’70s and ’80s. We are of course here referring to the good modern mastering of 35+ years ago, not the generally opaque, veiled and lifeless record mastering so common today.
The combination of old and new works wonders on this title, as you will surely hear for yourself on these superb sides.
We were impressed with the fact that these pressings excel in so many areas of reproduction. What was odd about it — odd to most audiophiles but not necessarily to us — was just how rich and Tubey Magical the reissue can be on the right pressing.
This leads me to think that most of the natural, full-bodied, lively, clear, rich sound of the recording was still on the tape decades later, and that all that was needed to get that vintage sound on to a record was simply to thread up the tape on the right machine and hit play. The fact that practically nobody seems to be able to make a record nowadays that sounds remotely this good tells me that I’m wrong to think that such an approach tends to work, if our experience with hundreds of mediocre Heavy Vinyl reissues is relevant.
What We Listen For on A Long Drink of the Blues
- 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.
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful originals.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
A Long Drink Of The Blues (Take 1)
A Long Drink Of The Blues (Take 2)
I Cover The Waterfront
These Foolish Things
This LP begins with what is titled “Take 1” of “A Long Drink of the Blues.” After a false start, the musicians argue for two minutes about the tempo. “Take 2” is a much more successful 20-minute jam featuring Jackie McLean (doubling on alto and tenor), trombonist Curtis Fuller, trumpeter Webster Young, pianist Gil Coggins, bassist Paul Chambers, and drummer Louis Hayes. The second half of the LP is from a quartet session that showcases McLean on three standard ballads with pianist Mal Waldron, bassist Arthur Phipps, and drummer Art Taylor. Although not quite as intense as McLean’s later Blue Note dates, the ballad renditions show just how mature and original a soloist he was even at this early stage.