A distinguished member of the Better Records Jazz Hall of Fame.
What’s unusual about this album — shocking really — is how MEATY the bottom end is. I don’t know of a pop jazz recording with beefier, more articulate or weightier bass. The only record I can think of in this genre of jazz with comparable bass is Grover Washington’s Winelight. We played some copies of that album recently and were just knocked out with how well recorded the bass is, just the way we were knocked out with Children of Sanchez from a month or two back. Both of them really set the standard for recording this kind of music. Needless to say we loved the sound.
Recorded at Kendun and mastered by Robert Ludwig, the audiophile sound should be no surprise.
All four sides are quite good; see if you don’t agree with us that the two Super Hot sides are slightly better than the ones with a half plus lower grade.
The horn sound is also key, not only for the flugelhorn that Chuck plays but for the trombones and French horns that fill out the arrangements. When the various horns are solid and smooth (what’s smoother than a French horn?) yet even the more subtle harmonic signatures of each instrument are clear, you have yourself a Hot Stamper.
The copies that are present, clear, open, transparent and energetic, with a solid rhythmic line driving the music, are a hundred times more enjoyable than the anemic pressings that can be found sitting in most collections practically unplayed (gee, I wonder why?).
This idea that most pressings do a poor job of communicating the music still has not seeped into the consciousness of most audiophiles, but we’re working on changing that, one Hot Stamper at a time. (more…)