- This wonderful Prestige jazz classic boasts solid Double Plus (A++) sound or BETTER on both sides – exceptionally quiet vinyl too
- One of the best sounding Ammons records we know of – it’s huge, rich and Tubey Magical, with a solid bottom end and bluesy jazz energy like no other
- Clean and clear and open are nice qualities to have, but rich and full are harder to come by on this record – this pressing has it all
- “Some ballad performances in his oeuvre are a testament to an exceptional sense of intonation and melodic symmetry, powerful lyrical expressiveness, and mastery both of the blues and the bebop vernacular that can now be described as, in its own way, ‘classical.'”
For us audiophiles, both the sound and the music here are wonderful. If you’re looking to demonstrate just how good a 1958 All Tube Analog recording by Rudy Van Gelder on Prestige can sound, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There is, of course, a CD of this album, but those of us who possess a working turntable and a good collection of vintage vinyl could care less.
This vintage copy 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 Blue Gene 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 1958
- 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. 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 Blue Gene
- 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.
- Then: presence and immediacy. The saxophone isn’t “back there” somewhere, lost in the mix. It’s front and center where any recording engineer worth his salt — the one and only Rudy Van Gelder in this case — would put it.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
More Of What We’re Listening For
The best copies are rich and tubey; many pressings were thin and modern sounding, and for that they would lose a lot of points. We want this record to sound like something RVG recorded in 1958, and the best copies give you that sound, without the surface noise and groove damage the originals doubtless suffer from.
Some copies have much more space; some are more present, putting the musicians right in the room with you; some are more transparent, resolving the musical information much better than others, letting you “see” everyone in the studio clearly. Some have more rhythmic drive than others. On some the musicians seem more involved and energetic than they do on the average pressing.
The copies that do all these things better than other copies are the ones that win our shootouts.
This is clearly one of the better copies we have ever played. We think you will enjoy it immensely. And watch for more Gene Ammons records coming to the site soon. With RVG at the board his recordings are often superb.
- Gene Ammons – tenor saxophone
- Idrees Sulieman – trumpet
- Pepper Adams – baritone saxophone
- Mal Waldron – piano
- Doug Watkins – bass
- Art Taylor – drums
- Ray Barretto – congas
Blue Greens ‘N Beans
The final of his series of jam sessions for Prestige features an excellent septet (the leader on tenor, trumpeter Idrees Sulieman, baritonist Pepper Adams, pianist Mal Waldron, bassist Doug Watkins, drummer Art Taylor and Ray Barretto on congas) stretching out on three original blues and the ballad “Hip Tip”; all four pieces were written by Waldron. Few surprises occur but everyone plays up to their usual high level. … enjoyable, straightahead…
Ammons and Von Freeman were the founders of the Chicago school of tenor saxophone. Ammons’s style of playing showed influences from Lester Young as well as Ben Webster. These artists had helped develop the sound of the tenor saxophone to higher levels of expressiveness. Ammons, together with Dexter Gordon and Sonny Stitt, helped integrate their developments with the emerging “vernacular” of the bebop movement, and the chromaticism and rhythmic variety of Charlie Parker is evident in his playing.
While adept at the technical aspects of bebop, in particular its love of harmonic substitutions, Ammons more than Young, Webster or Parker, stayed in touch with the commercial blues and R&B of his day.
The soul jazz movement of the mid-1960s, often using the combination of tenor saxophone and Hammond B3 electric organ, counts him as a founder. With a thicker, warmer tone than Stitt or Gordon, Ammons could at will exploit a vast range of textures on the instrument, vocalizing it in ways that look forward to later artists like Stanley Turrentine, Houston Person, and even Archie Shepp. Ammons showed little interest, however, in the modal jazz of John Coltrane, Joe Henderson or Wayne Shorter that was emerging at the same time.
Some ballad performances in his oeuvre are testament to an exceptional sense of intonation and melodic symmetry, powerful lyrical expressiveness, and mastery both of the blues and the bebop vernacular that can now be described as, in its own way, “classical.”