JazzTimes gets the lowdown on who did what to whom on the legendary Jazz Samba album. Click here to read all about it.
We’ve been searching for years trying to find just what kind of Lush Life pressing — what era, what label, what stampers, mono or stereo, import or domestic — had the potential for good sound.
No, scratch that. We should have said excellent sound. Exceptional sound. We’ve played plenty of copies that sounded pretty good, even very good, but exceptional? That pressing had eluded us — until a few months ago.
Yes, it was only a few months ago, early in 2016 in fact, that we chanced upon the right kind of pressing — the right era, the right label, the right stampers, the right sound. Not just the right sound though. Better sound than we ever thought this album could have.
Previously we had written:
“There are great sounding originals, but they are few and far between…”
We no longer believe that to be true. In fact we believe the opposite of that statement to be true. The original we had on hand — noisy but with reasonably good sound, or so we thought — was an absolute joke next to our best Hot Stamper pressings. Half the size, half the clarity and presence, half the life and energy, half the immediacy, half the studio space. It was simply not remotely competitive with the copies we now know (or at least believe, all knowledge being provisional) to have the best sound.
Are there better originals than the ones we’ve played? No doubt. If you want to spend your day searching for them, more power to you. And if you do find one that impresses you, we are happy to send you one of our Hot Copies to play against it. We are confident that the outcome would be clearly favorable to our pressing. Ten seconds of side one should be enough to convince you that our record is in an entirely different league, a league we had no idea even existed until just this year.
By the way, the mono original we played was by far the worst sound I have ever heard for the album. By far.
The DCC heavy vinyl pressing is a nice record; I remember liking it back in the day. I’m guessing it’s a bit better than the ’80s OJC, which is typically a bit thin and hard like most OJC pressings, but neither one of them can hold a candle to the record we are offering.
One thing that makes this album a very different experience is that side one was recorded as a trio. Hearing Coltrane is such a stark setting lets you really appreciate all the emotion, detail, and texture of his playing. And a copy like this makes that even more possible! The band fills out to five pieces on side two, but the music is every bit as good.
This Blue Note LP is without a doubt ONE OF THE BEST SOUNDING JAZZ RECORDS WE’VE EVER HEARD! We were auditioning a bunch of jazz records today (4/25/07), and when the needle hit the grooves on this one we were ABSOLUTELY BLOWN AWAY!
I can’t think of one jazz record we’ve ever played here at Better Records with this kind of WHOMP! Everything here is so rich and full — nothing like a typical Blue Note album.
Rhino 45 RPM 2 Disc Set Debunked
Sonic Grade: F
The sound of the 45 RPM 2 disc version cut by Bernie Grundman does not exactly tickle our fancy. It sounds thick and dull, much like the Deja Vu Bernie remastered years ago for Classic Records.
As is the case with so many of the Heavy Vinyl reissues released these days, the studio ambience you hear on these pressings is a pitiful fraction of the ambience the real pressings are capable of revealing, the ones mass-produced by Atlantic, original and reissue alike.
Rhino bills their releases as being pressed on “180 gram High Performance Vinyl.” However, if they are using “performance” to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins.
Check out our Heavy Vinyl Scorecard to read all about the latest winners and losers.