This White Hot Stamper Nautilus Direct-to-Disc recording is an AMAZING Demo Disc, and what’s more, it’s actually REAL JAZZ — a remarkably unusual combination in the Audiophile World, in my experience anyway. This copy takes the sound of this recording — and the music along with it — to another level. YOU WON’T BELIEVE how good this record sounds (more…)
Stunning sound throughout with both sides of this very well recorded Desmond album from 1970 earning Shootout Winning Triple Plus (A+++) grades
This pressing was noticeably richer, smoother and more natural than the competition – it’s also a big step up over many of the other CTI pressings of the man’s albums we’ve played
Desmond’s sax is wonderfully present and breathy, and a copy with top grades like these is surely the best way to hear Don Sebesky’s wonderful strings with all their satiny sheen intact
“Desmond finds something beautiful, wistful, and/or sly to say in each of these ten tunes, backed by Herbie Hancock’s Rhodes electric piano and a set of ravishing, occasionally overstated (as in “America”) orchestrations by Don Sebesky.” (more…)
With two seriously good Double Plus (A++) sides, this was one of the better copies we played in our recent shootout
The 1962 sound is wonderfully Tubey Magical, full-bodied and solid, the bass note-like and clear
The brilliant Ray Hall was able to engineer this Demo Disc quality recording using nothing but tubes back in 1962, and it’s glorious to hear that sound in 2019 on modern hi-rez equipment
4 1/2 stars: “The interplay between Rollins and Jim Hall [on guitar] is consistently impressive, making this a near-classic and a very successful comeback.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good an 1962 All Tube Analog recording can be, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, 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.
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There is of course a CD of this album, but those of us who possess a working turntable and a good collection of vintage vinyl could care less.
The reproduction of the sax is just right — played good and loud it’s almost as if you’re hearing the real instrument and not just a recording. That’s why we call it a Hot Stamper – it has that sound!(more…)
You’ll find excellent Double Plus (A++) grades, or close to them, on this 1979 Art Pepper classic
One of the few copies of Landscape to hit the site in a very long time – exceptionally quiet vinyl too
George Cables, Art’s longtime collaborator on piano, is nothing less than amazing on this record – this is the best I’ve ever heard him play
4 1/2 Stars: “Altoist Art Pepper was in inspired form during this Tokyo concert. This particular LP features Pepper on memorable versions of “True Blues,” “Sometime” (during which Pepper switches to clarinet), “Landscape” and “Over the Rainbow.” Pepper’s intensity and go-for-broke style are exhilarating throughout.”
Recorded in Japan in 1979, this is a really interesting album for Art Pepper. If you know much about his body of work, you know there are a lot of stinkers in the Art Pepper catalog from this era. Acoustic Sounds released a few of them on 180 gram as a matter of fact, with their notoriously bad sound (notorious around these parts anyway). What a waste of good vinyl.(more…)
EXCELLENT SOUND ON SIDE ONE of this Highly Recommended Blue Note classic! This ’70s pressing has sound that’s sure to beat the pants off most other copies out there. Just listen to the sound of the percussion; on the earlier pressings it tends to be smeary, but that’s certainly not the case here! The overall sound is open and transparent with incredible presence. Turn up the volume and you’ll have a smokin’ jazz quintet tearing it up right there in your living room! I don’t think Henderson made a better album than this one, and I doubt it’ll be easy tol find another copy that sounds this good! (more…)
We love the Tubey Magical breathy/reedy style of Coleman Hawkins and Ben Webster. It seems that only the best early vinyl pressings manage to reproduce it properly. The CDs we’ve played over the years have had a tough time finding the richness in the sound; they end up being at least somewhat dry and hard, and that is simply not the right sound for this music.(more…)
I dropped the needle on a copy of this record a year or so ago and heard amazing you-are-there live jazz club sound, and, more importantly, a hot session from one of our favorite saxophone players of all time, the man who contributed mightily to the likes of Kind of Blue, Somethin’ Else, Know What I Mean? and many more. For an Alto player Cannonball is just about as good as it gets.
Fast forward one year and we now have in our possession enough copies to do a proper shootout – originals and reissues on a variety of labels.
This copy was of course one of the best we heard. It’s big, rich and natural. It actually does manage to sound like a live club, even though it’s live in the studio, playing to an audience. (The AMG review has more on that.)
For mainstream jazz it’s hard to think of any album on our site that would be more enjoyable.(more…)
This Contemporary Yellow Label Mono LP has DEMO DISC QUALITY SOUND! If you like the sound of Contemporary Records, you won’t find a better example than this! Midrange magic doesn’t get anymore magical. I don’t care who remasters this record, I don’t think they can do it as well as it was done in 1958.
I haven’t heard the new 45 RPM version, but I seriously doubt that it sounds like this.
For this album, having sampled a large group of pressings from every era, we found the originals to be inferior to the best reissues we played. Naturally the ones we offer here as Hot Stampers will be the best of those reissue pressings. We are not the least bit worried that this vintage Impulse LP won’t beat the pants off of any original as well as any reissue you may have heard. And of course it is guaranteed to be dramatically better sounding than any Heavy Vinyl pressing produced by anyone, anywhere, at any time.(more…)
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 Mangione’s Children of Sanchez. 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 by the best copies of Grover Washington’s Winelight from a recent shootout. Both of these albums really set the standard for recording this kind of music. (more…)