A distinguished member of the Better Records Orchestral Music Hall of Fame.
This is a SUPERB sounding Sonic Arts Direct-to-Disc LP with Super Hot Stamper sound on both sides. I gave this one rave reviews twenty years ago (when we could still find them) and I’m happy to see that the sound has held up just fine in the intervening decades. Recorded in a dry acoustic, immediacy and clarity are the sonic strengths of this side one. This is one of the most natural Direct-Disc I’ve heard in a long time. One could easily use it as Demo Disc, depending on your taste and system.
There is wonderful chamber music throughout this LP. It comes as no surprise that it was nominated for two Grammys.
A++, with a very slight edge to the top of the strings being all that holds it back from a Triple Plus grade. The sound is accurate and real for the room that it was recorded in.
A++, this side I liked a bit better, it’s a bit smoother and more relaxed; it sounds as though the mics are not quite as close to the performers on this side.(more…)
This is a Minty looking Crystal Clear Direct-to-Disc LP with Very Little Sign of Play. It’s an EXTREMELY rare title, one of the rarest and best Crystal Clear Direct Discs, with very good sound as I recall.
“… several outstanding performances by Taj and his International Rhythm Band. Indeed, ‘Little Brown Dog’ catches Taj in one of his transcendental live moments when he gets so down in the groove you never want him to stop.” – AMG Review
Off the charts “Triple Triple” (A+++) sound for this classic Yamamoto Philips Direct to Disc album – both sides earned our top grade of Triple Plus – exceptionally quiet vinyl too
The piano is dynamic and solid – imagine a Three Blind Mice piano date recorded Direct-to-Disc – that’s the sound of this album
This is one of the few audiophile records worthy of the name. It’s also five times as rare as Blues to East and the music is better
There are two Stevie Wonder songs given a wonderful piano trio arrangement here that are just out of this world
This group plays with tremendous vigor. They really swing and are tight as a drum. On this album there’s almost none of that “introspective noodling jazz” that the Japanese are infamous for. I love Midnight Sugar as much as the next guy, but too much of that kind of music is wearying.
Yamamoto’s Trio wants to show that it can play good old-fashioned straight ahead American lively piano jazz with the best of them. And they can. You will also be hard pressed to find better sound for a small ensemble like this. Since Rudy Van Gelder was not particularly adept at recording the piano, many of the great pianists cannot be heard properly on Prestige, Blue Note and other original label recordings.
Philips is one of the better direct disc labels from back in the day (although that isn’t saying much because most of them were mediocre at best). It was garnering rave reviews from TAS a couple of decades ago. Does anybody remember? Probably not, but I do. I flipped out when I saw this record in my local shop. They charged top dollar but I paid it, knowing what a rare and special record it is.(more…)
A while back one of our good customers wrote to tell us how much he liked his Century Direct to Disc recording of the Glenn Miller big band, one of the few really amazing sounding direct discs that contains music actually worth listening to. Which brought me to the subject of Hot Stampers.
Hot Stamper pressings are almost always going to be studio multi-track recordings, not live Direct to Discs. They will invariably suffer many compromises compared to the purist approach of an audiophile label trying to eliminate sources of distortion in the pursuit of the highest fidelity.
But when they do that, they almost always FAIL. How many Direct Discs sound like that Glenn Miller? A dozen at most. The vast majority are just plain AWFUL. I know, I’ve played practically every one ever made. For more than a decade that was my job.
Thankfully that is no longer the case, although we do have a handful of direct discs that we still shootout, such as The Three, Glenn Miller, Straight from the Heart and the odd Sheffield.(more…)
This is a SUPER RARE IMMACULATE RCA Japanese Import Direct-to-Disc LP with Virtually No Sign Of Play (VNSOP). If you’re a fan of clarinet-led swing jazz, you’ll have a hard time finding a better record than this. The music is absolutely wonderful. Not only that, but it has DEMO DISC sound as well.
Direct-to-Disc Recording recorded live at Iruma City Auditorium, Saitama, Japan on April 21, 1978. Eiji Kitamura and His Allstars include Eiji on clarinet, Ichiro Masuda on vibraphone, Yoshitaka Akimitsu on piano, Yukio Ikezawa on bass, Hiroshi Sunaga on drums and Judy Anton provides vocals on “What a Little Moonlight Can Do.”
This album was recorded by the Direct-to-Disc recording method, to capture the natural reverberation of 1,200 seat concert hall. Various kinds of recording equipment were brought in parts to the backstage of the hall for the recording then reassembled and adjusted. Two whole days were spent adjusting all the equipment.(more…)
A KILLER copy with DEMO DISC Shootout Winning QUADRUPLE Plus (A++++) sound on the second side and Triple Plus (A+++) sound on the first
This Limited Edition Sheffield Lab Direct Disc recording has some of the best sound we have ever heard for this title
It doesn’t get any better than this, with CLARITY and that JUMP OUT OF THE SPEAKERS quality we desire from a Hot Stamper
Many copies of this album tend to sound a bit thin and somewhat bright; on this copy, the sound is rich, full, and tonally correct from top to bottom and the horns sound especially wonderful
Please note: we award the Four PlusA++++ grade so rarely that we don’t have a graphic for it in our system to use in the grading scale shown above. So the side two here shows up on the chart as A+++, but when you hear this copy you will know why we gave it a fourth plus!
What do Hot Stampers give you for this album? It’s very simple. Most copies of this album are slightly thin and slightly bright. They give the impression of being very clear and clean, but some of the louder brass passages start to get strained and blarey. This copy is rich and full. The sound is balanced from top to bottom. You can play it all the way through without fatigue.
Trumpets, trombones, tubas, tamborines, big bass, drums — everything has the true tonality and the vibrancy of the real thing. The reason this record was such a big hit in its day because the recording engineers were able to capture that sound better than anybody else around. That’s also the reason this is a Must Own record today — the sound holds up!
Just listen to that amazing brass choir on Oh Lord, I’m On My Way. It just doesn’t get any better than that. If ever there was a Demo Disc, this is one!(more…)
According to the liner notes, this Dave Grusin album has reversed absolute phase. They tell you to switch the positive and negative at the speaker for the best transient response and spatial clarity. But get this: most side ones are NOT in reversed phase.
That out of phase quality is as plain as the nose on your face when you know what to listen for. There’s an unpleasant hardness and hollowness to the midrange, a lack of depth, and an off-putting opaque quality to the sound.
With our EAR 324p Phono Stage, the click of a button reverses phase, also known as polarity. I can’t tell you how handy it is to have such a tool at your disposal. Checking the phase for Discovered Again couldn’t have been easier.
An Amazing Discovery
But get this: most side ones are NOT reversed phase. (All the side twos we played were however.) How about them apples! We could not have been more shocked. Here is the most famous out of phase audiophile recording in the history of the world, and it turns out most copies are not out of phase at all!
This KILLER Sheffield pressing has insanely good Shootout Winning Triple Plus (A+++) sound from start to finish
Both sides here fulfill the promise of the direct to disc recording technology in a way that few – very, very few – direct to disc pressings can
Big Band energy and enthusiasm unlike any other copy we played, as well as the most natural sounding ambience of any copy in our shootout
This one has everything going for it from top to bottom, with big bass, dynamics, clarity, top end extension and more – it’s a real Demo Disc, make no mistake about it
On the best pressings, the horns are so lively and high-rez, not to mention full-bodied, this could easily become a favorite big band album to demo or test with — or just to enjoy the hell out of.
Unlike most Direct to Disc recordings, this album actually contains real music worth listening to — but only when the pressing lets the energy of the musicians through, with actual fidelity to the sounds of the real instruments. Brass without bite is boring. Drummers who are too delicate in their drumming will put you to sleep.(more…)