Grant Green on Music Matters – Tizzy Cymbals and a Bright Snare Drum, That’s Your Idea of Audiophile Sound?

Hot Stamper Blue Note Albums Available Now

Hot Stamper Jazz Recordings Featuring the Guitar

Sonic Grade: F

A Hall of Shame pressing and a Heavy Vinyl Disaster if there ever was one (and oh yes, the audiophile world is drowning in them).

After discovering Hot Stampers and the mind-blowing sound they deliver, a new customer generously sent me a few of his favorite Heavy Vinyl pressings to audition, records that he considered the best of the modern reissues that he owns.

He admitted that most of what he has on Heavy Vinyl is not very good, and now that he can clearly hear what he has been missing, having heard some of our best Hot Stamper jazz pressings, he is going to be putting them up on Ebay and selling them to anyone foolish enough to throw their money away on this kind of vinyl junk.

We say more power to him.  That money can be used to buy records that actually are good sounding, not just supposed to be good sounding because they were custom manufactured with the utmost care and marketed at high prices to soi-disant audiophiles.

Audiophile records are a scam. They always have been and they always will be.

I haven’t listened to a copy of this album in a very long time, but I know a good sounding jazz record when I hear one, having critically auditioned more than a thousand over the course of the 33 years I have been in business. (To be clear, we only sold verified good sounding records starting in 2004.)

I knew pretty early on in the session that this was not a good sounding jazz record.  Five minutes was all it took, but I probably wasted another ten making sure the sound was as hopeless as it originally seemed.

For those of you who might have trouble reading my handwriting, my notes say:

Bass is sloppy and fat.

The bass is boosted and badly lacks definition. It constantly calls attention to itself. It is the kind of sloppy bass that cannot be found on any RVG recording, none that I have ever heard anyway, and I’ve heard them by the hundreds.

You no doubt know about the boosted bass on the remastered Beatles albums. It’s that sound. Irritating in the extreme, and just plain wrong.

Reserved. Playing through a curtain.

Very few Heavy Vinyl records these days do not sound veiled and reserved in the midrange.

To get a better sense of the effect, throw a medium weight blanket over your speakers. Voila! Your thin vinyl now weighs 180 grams!

No space.

Typical of Heavy Vinyl. The studio space and ambience found on the better vintage pressings, the kind we play all day long, is GONE.

RTI pressings are serial offenders in this regard.  We find them uniformly insufferable.

No transients.

Not the sound of the instruments that RVG is famous for.  No leading edges to any instrument anywhere.

Somebody screwed them up in the mastering. Bad cutting equipment? Bad EQ? Both? What else could it be?


Of course it is. Nothing sounds right and it’s all just so dead.

I would be very surprised if the CD was not dramatically better sounding in practically every way, and far more fun to listen to.

Snare is hot when played loud like a bad OJC

We’ve auditioned close to a hundred OJC titles over the years. We sell quite a few of them, but of course we only sell the ones that sound good. We are in the good sounding records business. And some of them are hard to beat.

But lots of them have a phony, boosted top end, easily heard as tizzy, sizzly, gritty, phony cymbals and too-hot snare drums.

This record has that phony sound.

We would never sell any record that sounds this bad. It is a complete and utter disgrace and an affront to vinyl loving audiophiles around the world.

If this record sounds right to you, one thing I can say without fear of contradiction: you have a lot of work to do on your stereo system.

Pass/Fail? Yes, this is one of those records. As wrong as wrong can be.

You can thank Kevin Gray and Ron Rambach for this mess, and hopefully, once you have played a sample of their work, you will know to steer clear of anything associated with these two.

It would be wise to avoid those responsible for this mess, don’t you think?

Mastered At – Cohearent Audio
Lacquer Cut At – Cohearent Audio
Made By – Record Technology Incorporated – 22795
Pressed By – Record Technology Incorporated
Manufactured By – Universal Music Enterprises
Distributed By – Music Matters Ltd.


Bass – Ben Tucker
Design [Cover] – Reid Miles
Drums – Dave Bailey
Guitar – Grant Green
Lacquer Cut By – KPG*, RR*
Liner Notes – Leonard Feather
Mastered By – Kevin Gray
Photography By [Cover Photo] – Francis Wolff
Recorded By – Rudy Van Gelder


Recorded on April 1, 1961.

Mastered and cut from the original stereo master tapes. Features a laminated gatefold sleeve with original session photos. Limited to 3500 copies.

Originally released 1961 on Blue Note Records. © 2015 Blue Note Records. Distributed by Music Matters Ltd. Manufactured by Universal Music Enterprises, a division of UMG Recordings, Inc.

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