Genre – Jazz – Guitar

Lee Ritenour – Friendship on JVC Direct Disc

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A distinguished member of the Better Records Jazz Hall of Fame.

This is one of my all time favorite audiophile discs because this is real music worth listening to! The song Woody Creek is wonderful and reason enough to own this excellent album. The guitar of Lee Ritenour and the saxophone of Ernie Watts double up during a substantial portion of this song and the effect is just amazing. 

Special kudos should go to Ernie Watts on sax, who blows some mean lines. But everybody is good on this album, especially the leader, Lee Ritenour. I saw these guys live and they put on a great show. By the way, looking in the dead wax I see this record was cut by none other than Stan Ricker of Mobile Fidelity fame himself!

The Poll Winners Straight Ahead – Their Best Album? We Think So

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A distinguished member of the Better Records Jazz Hall of Fame.

This is a Minty looking Contemporary Records LP with SUPERB MUSIC AND SOUND! We pulled together enough copies to do a small shootout, and this copy was the champion for BOTH SIDES! The sound is very clean and clear, yet tubey magical. 

You almost never hear cymbals sound this good on an RVG Blue Note, that’s for sure. The bass definition on this record is amazing — you can really hear Ray Brown pulling and bending the strings of the instrument. He’s tearing it up.

Musically, this is my favorite Poll Winners record! These guys got back together for this album and wanted to prove to the world that they still had their youthful excuberance!

They play with more spunk here than on any other album I’ve ever heard. And you have to love those ’70s leisure suits they’re wearing on the cover. I remember my commentary when this record was around mentioned that Roy DuNann, the famous recording engineer, had lost none of this skill in the intervening years either. This is a very dynamic recording, one of his best.

Ray Brown / Barney Kessel

Laurindo Almeida Virtuoso Guitar Is — Or Can Be — An Awesome Direct to Disc

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A distinguished member of the Better Records Jazz Hall of Fame.

Virtuoso Guitar is yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.

This White Hot Crystal Clear 45 RPM Direct-to-Disc fulfills the promise of both the direct to disc recording medium AND the 45 RPM cutting speed so much in vogue these days. We had a big pile of these pressings to play through. When we came upon this one halfway through our shootout, it was so big, so clear, so dynamic, so energetic, so extended on the top and bottom, we almost could not believe what we were hearing especially compared to the others copies we played.   (more…)

Lee Ritenour – Rit – Reviewed in 2010

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A distinguished member of the Better Records Jazz Hall of Fame.

This very nice Nautilus Half-Speed Mastered LP has SURPRISINGLY GOOD SOUND and plays pretty quiet, mostly Mint Minus. We played this against the 180g Discovery reissue that Doug Sax remastered and it SMOKED it. What a piece of muddy trash that Discovery pressing is. 

Members of both Toto and Chicago play on this album, so fans of either should get a kick out of this music. 

AMG Review

Lee Ritenour has long been the perfect studio musician, one who can melt into the background without making any impact. While he possesses impressive technique, Ritenour has mostly played instrumental pop throughout his career, sometimes with a Brazilian flavor. His few jazz efforts have found him essentially imitating Wes Montgomery, but despite that he has been consistently popular since the mid-’70s. After touring with Sergio Mendes’ Brasil ’77 in 1973, Ritenour became a very busy studio guitarist in Los Angeles, taking time off for occasional tours with his groups and in the mid-’90s with Bob James in Fourplay. He also recorded many albums as a leader.

Kenny Burrell – Midnight Blue – One Customer’s Take on the 45

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A good customer had this to say about a recent shootout:

“By the way side 2 of Midnight Blue bested every other copy I played including the 45 RPM Blue Note [Analogue Productions] reissue. The 45 RPM is very good. You know that technically it is right, but at the same time it’s missing something. When I listened to the [Hot] stamper copy you dug up for me I found it a little noisy at first and wasn’t sure if I could live with it. However after returning to the 45 RPM there was no enjoyment, so I dropped the needle on the stamper one more time, and then I heard it…”

I know what you mean about these modern reissues “missing something”. No matter how well mastered they may be, they’re almost always missing whatever it is that makes the analog record such a special listening experience. I hear that “analog” sound practically nowhere else outside of the live event. 

Thanks for your letter. 
TP

Our Classic Review

Pretty flat and lifeless. You would never understand why audiophiles rave about this recording by listening to the Classic Records pressing.

We played it up against our best, and as expected it was nothing to write home about. Since Rudy has remastered and ruined practically all the Blue Note CDs by now, you will have your work cut out for you if you want to find a good sounding version of Midnight Blue. This sure ain’t one.

Of course we would be more than happy to get you an amazing sounding copy — it’s what we do — but the price will be five to ten times (or more) what the Classic costs. In our opinion it’s money well spent, as you will see in our review below.

Since the Classic conveys very little of what the musicians were up to whilst recording the album, our advice is to cross it off your list of records of interest. It’s thirty bucks down the drain.

Wes Montgomery – California Dreaming – Cisco Reviewed

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Sonic Grade: C

Another Heavy Vinyl pressing from Cisco / Impex reviewed. 

Beware any and all imitations, even this one, which I admit I used to like somewhat. They barely BEGIN to convey the qualities of the real master tape the way the best pressings do. Our Hot Stampers exhibit huge amounts of ambience and spaciousnesss, with far more energy and the kind of “see into the studio” quality that only the real thing ever seems to have.

Note especially how so much musical information is coming from the far sides of the soundfield on the best copies. The Cisco reissue makes a mockery of that wall to wall sound, sucking it into the middle and flattening it into a single plane. (more…)

Kenny Burrell with Gil Evans – Digging Creed Taylor

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  • A superb sounding original stereo pressing with solid Double Plus (A++) sound from first note to last
  • Gil Evans wrote the superb orchestral arrangements and Rudy Van Gelder captured them on lovely analog tape – what’s not to like? 
  • We’ve really been digging these Creed Taylor productions for years now – it may not be serious jazz, but it’s no less interesting and captivating for it
  • “His landmark 1965 collaboration with Gil Evans, Guitar Forms rivals anything the arranger did with Miles Davis. Indeed, the track “Lotus Land” has a bolero form very reminiscent of Sketches of Spain. Throughout, Burrell takes thoughtful, concise, and utterly musical solos, and even switches to acoustic classical guitar on “Prelude #2” and “Loie.””

For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1965 All Tube Analog sound can be, this killer copy will do the trick. (more…)

Bola Sete – Tour De Force – Analogue Productions Reviewed

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Sonic Grade: F

Hall of Shame Pressing and another Analogue Productions LP debunked.

Acoustic Sounds had Stan Ricker remaster this record a number of years ago, and of course they (he) ruined it. A twinkly top end and flabby bass were just two of the major shortcomings of their version. Nothing surprising there, as Stan Ricker is famous for his “smile” curve, boosting both ends of the audio spectrum whether they need boosting or not.

When you add too much top end to a guitar record and ruin the sound of the guitar, what exactly are you left with?

Please note that not a single title from the Analog Revival series is any good, to the best of my knowledge, and all should be avoided. The same is true for all the 180 gram jazz titles on Analogue Productions mastered by Doug Sax, as you may have read elsewhere on the site. Those records received rave reviews in the audiophile press when they came out, but you won’t find too many audiophile reviewers sticking up for them now, as they are, without exception, murky, compressed disasters of the worst kind. I guess these reviewers eventually acquired equipment accurate enough to notice how bad those pressings are, which I guess goes to show there is hope for practically anyone!

This pressing, which I believe is mastered by George Horn, is tonally correct from top to bottom. As the old saying goes, it wasn’t broke so don’t try to fix it. Afficionados of the guitar or Latin music will find this record very satisfying in all respects. A top recommendation from Better Records.

 

 

Barney Kessel – Some Like It Hot

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  • This superb pressing of Kessel’s brilliant 1959 larger group outing has a shootout-winning Triple Plus (A+++) side one and an outstanding Double Plus (A++) side two
  • With Tubey Magic, richness, sweetness, and dead on tonality from top to bottom, this is a textbook example of Contemporary’s sound at its best
  • An All Star West Coast lineup came together for this one: Art Pepper (on sax and claritnet!), Shelly Manne, Joe Gordon and others
  • 4 1/2 stars: “Such tunes as “I Wanna Be Loved by You,” “Runnin’ Wild,” “Down Among the Sheltering Palms,” and “By the Beautiful Sea” are given fairly modern arrangements…”

This copy is spacious, sweet and positively dripping with ambience. The liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it. (more…)

Kenny Burrell Midnight Blue on Classic Records

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Sonic Grade: D

Pretty flat and lifeless. You would never understand why audiophiles rave about this recording by listening to the Classic Records pressing.

We played it up against our best, and as expected it was nothing to write home about. Since Rudy has remastered and ruined practically all the Blue Note CDs by now, you will have your work cut out for you if you want to find a good sounding version of Midnight Blue. This sure ain’t one.

Of course we would be more than happy to get you an amazing sounding copy — it’s what we do — but the price will be five to ten times (or more) what the Classic costs. In our opinion it’s money well spent, as you will see in our review below.

Since the Classic conveys very little of what the musicians were up to whilst recording the album, our advice is to cross it off your list of records of interest. It’s thirty bucks down the drain. (more…)