• Seriously good Living Stereo sound throughout this 70s reissue pressing, with both sides earning solid Double Plus (A++) grades
• It took us close to ten years to track down enough originals as well as the right reissues — so many to choose from, and so many of them just awful sounding — to get our most recent shootout going
• Both of these sides are remarkably clean and clear with wonderful size, clarity and transparency, with real texture to the instruments and an abundance of energy
• Of all the reissues we played, this one sounded the best, which came as a (costly) surprise
• The sax sounds right, and played loud enough it’s almost as if you’re hearing the real instrument and not just a recording of one
• 4 1/2 stars: “The interplay between Rollins and [guitarist Jim] Hall is consistently impressive, making this a near-classic and a very successful comeback.”

This vintage RCA 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 The Bridge 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 1962
• 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.

Shootout Criteria

What are sonic qualities by which a record — any record — should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.

When we can get a number of these qualities to come together on the side we’re playing, we provisionally give it a ballpark Hot Stamper grade, a grade that is often revised during the shootout as we hear what the other copies are doing, both good and bad.

Once we’ve been through all the side ones, we play the best of the best against each other and arrive at a winner for that side. Other copies from earlier in the shootout will frequently have their grades raised or lowered based on how they sounded compared to the eventual shootout winner. If we’re not sure about any pressing, perhaps because we played it early on in the shootout before we had learned what to listen for, we take the time to play it again.

Repeat the process for side two and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.

It may not be rocket science, but it’s a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at are as accurate as we can make them.

The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing — or your money back.

What We’re Listening For On The Bridge

• 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.

Vinyl Condition

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 recordings.

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 Must Own Record

The Bridge is a recording that belongs in any serious Jazz Collection. Others that belong in that category can be found here.

Side One

• Without A Song
• Where Are You
• John S.

Side Two

• The Bridge
• God Bless The Child
• You Do Something To Me

AMG 4 1/2 Star Rave Review

Tenor saxophonist Sonny Rollins’ first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms.

In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including “Without a Song” and “God Bless the Child”) plus two fiery originals (highlighted by the title cut). The interplay between Rollins and Hall is consistently impressive, making this a near-classic and a very successful comeback.

Sonny Rollins on The Bridge

In the ’50s and ’60s, Lucille and I had a small apartment on Grand Street on the Lower East Side of New York. It was a nice time. I had a lot of friends there and I was welcomed by the neighborhood people. Like most of New York, the Lower East Side has undergone gentrification but back then, it was a much more ethnic place.

I started practicing in the house because I had to practice, but I felt guilty because I’m a sensitive person and I know that people need quiet in their apartments.

I was walking on Delancey Street one day, not far from where I lived on Grand Street and I just happened to look up and see these steps that I decided to check out. And there, of course, was the bridge, the Williamsburg Bridge. It was this nice big expanse going over the East River. There was nobody up there. So I started walking across the bridge and said, “Wow. This is what I have been looking for. This is a private place. I can blow my horn as loud as I want.”

Because the boats are coming under, and the subway is coming across, and cars, and I knew it was perfect, just serendipity. Then, I began getting my horn and going up there regularly. I would be up there 15 or 16 hours at a time spring, summer, fall, and winter.