More of the Music of Oscar Petterson
- With STUNNING Shootout Winning Triple Plus (A+++) sound on the second side and solid Double Plus (A++) sound on the first, this original Pablo pressing has some of the BEST sound we have ever heard for this title – exceptionally quiet vinyl too
- Surprisingly spacious and three-dimensional for a recording from 1986
- 4 1/2 stars: “The strictly instrumental set has many fine solos on appealing tunes such as ‘Stuffy,’ ‘Broadway’ and the lengthy blues ‘Slooow Drag.’ This boppish session gave Vinson a rare chance to really stretch out and he was up for the challenge.”
This original Pablo 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 Oscar Peterson + Harry Edison + Eddie “Cleanhead” Vinson 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 even as late as 1986
- 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 Oscar Peterson + Harry Edison + Eddie “Cleanhead” Vinson
- 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, full-bodied 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.
TRACK LISTING
Side One
Stuffy
This One’s For Jaws
Everything Happens To Me
Broadway
Side Two
Slooo Drag
What’s New
Satin Doll
AMG 4 1/2 Star Review
During Nov. 12-14, 1986, pianist Oscar Peterson recorded three albums worth of material for Norman Granz’s Pablo label. This particular [LP] features the great pianist with his quartet (bassist Dave Young, drummer Martin Drew and guest guitarist Joe Pass) along with trumpeter Harry “Sweets” Edison and altoist Eddie “Cleanhead” Vinson.
The strictly instrumental set has many fine solos on appealing tunes such as “Stuffy,” “Broadway” and the lengthy blues “Slooow Drag.” This boppish session gave Vinson a rare chance to really stretch out and he was up for the challenge.