Speakers Corner -All

Speakers Corner – All Titles

Ben Webster / Meets Oscar Peterson on Speakers Corner

Hot Stamper Jazz Recordings Featuring the Saxophone

Reviews and Commentaries for the Recordings of Ben Webster

This is a Speakers Corner 180g LP. Years ago we wrote:

“Superb music and sound! This one gets a Top recommendation. This recording captures an intimate Webster session. Ben is at his best in this sort of setting. (He’s at his worst when called upon to “battle” with a gang of loud, frantic exhibitionists.)”

I doubt we would like it as much now as we did then, but if you can get one for cheap, and can stand the typical faults of most Heavy Vinyl pressings being made these days, we say go for it.

Liner Notes

The sensitive, alert and propulsive Peterson Trio frames his stories and statements handsomely, and contributes many notable statements of its own. Pianist Peterson, inspired perhaps by Ben, is in a fine, funky frame of mind (his Kansas City heritage.)

The artists take a bunch of strong, standard songs and personalize them — to say the least. With wonderful humor, Ben can take a sophisticated show tune like This Can’t Be Love (Rodgers and Hart) or Ray Noble’s romantic The Touch of Your Lips and turn it into an earthy finger-poppin’ affair. Or he can paint a picture of profound sadness in his tender, moody When Your Lover Has Gone, or that one-time Sinatra soliloquy, In the Wee Small Hours of the Morning.

FURTHER READING

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Speakers Corner – Jazz

Here are some of our reviews and commentaries concerning the many Heavy Vinyl pressings we’ve played over the years, well over 200 at this stage of the game. Feel free to pick your poison.

Heavy Vinyl Commentaries

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An Import in 2004 Killed the Speakers Corner Reissue of Ella and Basie

More of the Music of Count Basie

More of the Music of Ella Fitzgerald

And back in 2004 that actually surprised us!

This review was written in 2004. We had never heard a clean, domestic original copy up to that time, mostly because they were always in such poor condition. Eventually we did, figured out how to clean it, and never looked back.

You might consider this a Wake Up Call. By 2007 we were awake enough to stop buying Heavy Vinyl to sell. The better our system became, the less competitive those modern remasters sounded. It was yet another Milestone Event in the history of Better Records. Please to enjoy our commentary.

This early British import (similar to the one you see above) KILLS the Speakers Corner 180 gram reissue.

I still like their version, but this is what it should have sounded like: tonally much fuller and richer.

The 180 gram copy suffers from the standard reissue MO — brighter is not necessarily better, and definitely not when you have a big band and a vocalist, as is the case here.

I’ve never heard this album sound better and I doubt that it really can sound much better than this. This copy makes me want to turn it up as loud as the stereo will go and let those wonderful Quincy Jones arrangements come to life.

UPDATE 2025

To doubt that the record can sound much better than the import we played? That was a silly thing to say. Of course it can. That’s what shootouts are for. Here is what we had to say about our last White Hot Stamper pressing of the album.

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Gypsy ’66 on Speakers Corner

More Jazz Recordings Featuring the Guitar

Reviews and Commentaries for Gabor Szabo

Sonic Grade: B?

We haven’t played a copy in years, but we think this is probably one of the better Speakers Corner jazz albums.  They cut this album on Heavy Vinyl back in 2002, and we recommended it at the time.

Our Hot Stamper pressings will of course be dramatically more transparent, open, clear and just plain REAL sounding, because these are all the areas in which heavy vinyl pressings fall short, with very few exceptions.

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With a Little Help From My Friends on Speakers Corner

More of the Music of Joe Cocker

Sonic Grade: B

One of the better Speakers Corner Rock and Pop releases. We haven’t played a copy of this record in years, but back in the day we liked it, so let’s call it a “B” with the caveat that the older the review, the more likely we are to have changed our minds. Not sure if we would still agree with what we wrote back in the ’90s when this record came out, but here it is anyway.

“Speakers corner knocks one out of the park with this wonderful reissue! Those conga drums and the back-up singers sound so much better than I remember them! If you’re going to own one Joe Cocker album make it this one. It’s a man-size serving of English Soul.”

From Elvis in Memphis – Good Sounding on Speakers Corner Heavy Vinyl?

More of the Music of Elvis Presley

Speakers Corner did this album in 2003. I liked it and recommended it at the time.

I rather doubt I would care for it these days. I have much less tolerance now than I did back then for the vague imaging, lack of ambience and overall lifeless quality their records invariably suffer from.

Of the handful of Elvis albums to ever make it to the site, this is clearly the critics’ favorite, and one listen will tell you why. This is the album that single-handedly revived Elvis’ fortunes, setting the stage for his record-breaking series of shows in Las Vegas doing pretty much the type of music he had recorded for it. The next year he would go on tour for the first time since 1957(!).

Other Pressings

As you can imagine, this album changed everything for Elvis. I first heard it the way I heard so many albums back in the late ’70s and early ’80s: on the Mobile Fidelity pressing. I was an audiophile record collector in 1981 and if MoFi was impressed enough with the sound and the music to remaster the album and offer it to their dedicated fans, of which I was clearly one, then who was I to say no to music I had never heard?

Soon enough I would learn my lesson about MoFi’s A&R department. The MoFi release of Supersax Plays Bird, a record that had virtually nothing going for it, was the last time I would ever put much stock in their opinion again. It’s audiophile collector BS, a record that might have been played once or twice and then quickly filed (numerically!) with other Mobile Fidelity records to complete the series. What will these audiophile labels do if big pharma ever comes up with a cure for obsessive/compulsive disorders, the kind that cause collectors to have to complete their collections?

As it turns out, they did a pretty good job on the Elvis album, not that I would have any way to know — back then it would not even have occurred to me to buy a standard RCA pressing and compare it to my half-speed-mastered, pressed-in-Japan, double-the-price-of-a-regular disc LP.

A decade or thereabouts later it would be obvious to me that MoFi had fooled around with the sound and that the right (heavy accent on the word “right”) real RCA pressing would be more correct and more natural (but probably not as quiet of course, but advances in cleaning technology fixed most of that and left MoFi in the dust).

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Cannonball Adderley Quintet In Chicago – Not Bad on Speakers Corner Heavy Vinyl

Hot Stamper Pressings of the Music of Cannonball Adderley Available Now

Sonic Grade: B?

A fairly good Speakers Corner jazz album (we’re assuming). Years ago we wrote the following:

“This one has excellent sound (in that left-right jazz of the fifties kind of way).”

We can’t be sure that we would still feel the same way (about the excellent sound; the hard left right is not up for debate). My guess is that this is still probably a good record if you can get one for the 30 bucks we used to charge.

Our Hot Stamper pressings will be dramatically more transparent, open, clear and just plain REAL sounding, because these are all the areas in which heavy vinyl pressings tend to fall short, in our experience, our experience coming from hundreds and hundreds of them, as you can see below.

Further Reading