Hot Stamper Pressings of the Music of Sonny Rollins Available Now
The album is a compilation of three major sessions from 1956, all with both Sonny Rollins and Max Roach. Allmusic describes it this way:
“Saxophone Colossus, the album that really made the jazz public fully aware of the majestic talents of Sonny Rollins, is combined here with seven other great performances from the same highly creative period in the long career of this major artist.”
In 2010 we thought this two-fer had very good sound for the music it contained. Here is what we had to say all those years ago:
This Prestige Two-Fer Double LP has FOUR GREAT SIDES with each rating an A+ or better. The standout sides here are two and four, both rating an A++. Both sides are EXCELLENT and very lively with lots of energy and presence. Side one rates an A+ and has a wonderfully extended top end and side three rates an A+ – A++ with clean and clear sound and huge breathy horns.
Well, it turns out that in 2010 we had a lot to learn.
We were about to do a shootout for Saxophone Colossus about five [make that ten or more] years ago, and we decided to pull out some of the two-fer pressings we had sitting in the backroom to see how they would hold up against the early pressings we liked, which you can read about here.
It did not go well. The album sounded like a cheap reissue, which of course it is, but many cheap reissues sound great, so we never hold the price of the record against it when deciding whether or not it is worth cleaning and auditioning.
There are scores of budget jazz reissues from the 70s and 80s that sound great, some of them two-fer pressings.
Just not this one. It’s passable at best, and a very far cry from what the best pressings can sound like.
More on Saxophone Colossus
Our last White Hot Stamper Gold Label Mono pressing went for big bucks, 900 of them in fact.
Of course, a clean original goes for many times that, which is one reason you have never seen such a record on our site.
How much would we have to charge for a Hot Stamper pressing of an album we paid many thousands of dollars for? Far more than our customers would be willing to pay us, that’s for sure.
You Say You Don’t Have Nine Hundred Bucks for This Album?
Try the DCC pressing from 1995.
The DCC Heavy Vinyl pressing is probably a nice record. I haven’t played it in many years, but I remember liking it back in the day.
It’s dramatically better than the 80s OJC, which, like many OJC pressings, is thin, hard, tizzy up top and devoid of Tubey Magic.
I would be surprised if the DCC Gold CD isn’t even better than their vinyl pressing.
They usually are.
Steve Hoffmann brilliantly mastered many classic albums for DCC. I like DCC’s CDs much better than their records.
Their records did not have to fight their way through Kevin Gray’s opaque, airless, low-resolution cutting system, a subject we discussed in some depth here.
Side One
Moritat
Blue Seven
Strode Rode
Side Two
St. Thomas
You Don’t Know What Love Is
Kids Know
Side Three
The House I Live In
I’ve Grown Accustomed To Her Face
Star Eyes
Side Four
I Feel a Song Comin’ On
Pent-up House
Kiss and Run
Further Reading