More of the Music of Oscar Peterson

• Night Train debuts on the site with solid Double Plus (A++) grades on both sides of this Stereo Verve reissue pressing
• It’s yet another example of a record that sounds better on the right reissue rather than the original, and of course, the only folks who can possibly know such a thing are those who do shootouts
• Rich, solid bass; you-are-there immediacy; energy and drive; instruments that are positively jumping out of the speakers – add it all up and you can see that this copy had the sound we were looking for
• Val Valentin engineered, one of the greats in our world – he’s responsible for an awful lot of our favorite audiophile-quality recordings
• 4 1/2 stars: “…a definitive look at the 1960s Oscar Peterson trio.” 

This vintage Verve stereo 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 Night Train 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 1963
• 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.

Standard Operating Procedures

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 Night Train

• 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.

Side One

Night Train
C Jam Blues
Georgia On My Mind
Bags’ Groove
Moten Swing
Easy Does It

Side Two

Honey Dripper
Things Ain’t What They Used To Be
I Got It Bad And That Ain’t Good
Band Call
Hymn To Freedom

About the Album

Night Train is an album by the Oscar Peterson Trio, released in 1963 by Verve Records. The album includes jazz, blues and R&B standards, as well as “Hymn to Freedom,” one of Peterson’s best known original compositions.

Background

Album producer Norman Granz had sold the record label Verve, but remained Peterson’s manager, and so supervised the Night Train recording session. The brief duration of many of the tracks has been attributed to a desire to have them played on commercial radio, which was reluctant to play any tracks longer than a few minutes.

The album was dedicated to Peterson’s father, who worked as a sleeping-car attendant for Canadian Pacific Railways.

Music and recording

A Jazz.com review notes that the title track, “Night Train,” is evidence of Peterson’s ability to balance musical innovation with popular appeal, as demonstrated throughout the album: “By using the basic elements of crescendo and diminuendo, and arranged sections to set off the parts, Peterson turns what could have been a throwaway into a minor masterpiece.”

Night Train’s only original Oscar Peterson composition, “Hymn to Freedom,” was written on the spot in the studio to close the album, following Norman Granz’s suggestion that the band include a song with a “definitive early-blues feel.” Peterson named the new song “Hymn to Freedom” in honor of Martin Luther King, Jr., and after Harriette Hamilton wrote accompanying lyrics a year later, it became an unofficial anthem of the Civil Rights Movement. “Hymn to Freedom” is featured prominently in the 2023 documentary Oscar Peterson: Black + White as part of Peterson’s enduring legacy.

Ed Thigpen’s rivet cymbal, recorded at very close range, is prominent on all issues of the album.

Reception

Writing for AllMusic, critic John Bush wrote the release “includes stately covers of blues and R&B standards.” The Penguin Guide to Jazz included it in its core collection, calling it “one of the best-constructed long-players of the period” and saying that Peterson’s playing is “tight and uncharacteristically emotional.”

In 2019, the album was named as the jury winner of the Polaris Heritage Prize.

-Wikipedia