Straight Life is a great album for anyone who wants to hear some well recorded, seriously adventurous jazz. We freely admit that side one is fairly “out there,” but side two balances it out with much more accessible, melodic material. A wonderfully sensitive and emotional version of Here’s That Rainy Day closes out the side with George Benson proving to be an especially sympathetic accompanist on guitar.
By the way, if you don’t have a hot copy of Red Clay, get one. It’s some of the best funky jazz ever recorded. No collection should be without it.(more…)
This wonderful Prestige jazz classic boasts outstanding Double Plus (A++) sound from first note to last – exceptionally quiet vinyl too
One of the best sounding Ammons records we know of – it’s huge, rich and Tubey Magical, with a solid bottom end and energy to beat them all
Clean and clear and open are nice qualities to have, but rich and full are harder to come by on this record – this pressing has it all
“Some ballad performances in his oeuvre are a testament to an exceptional sense of intonation and melodic symmetry, powerful lyrical expressiveness, and mastery both of the blues and the bebop vernacular that can now be described as, in its own way, ‘classical.'”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good a 1958 All Tube Analog Prestige recording by Rudy Van Gelder can sound, 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.(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…)
Killer Triple Plus (A+++) sound on side one and Double Plus (A++) on side two – who knew this was such a well recorded album?
So much like live music — uncompressed, present, full of energy, with the instruments clearly located and surrounded by the natural space of the studio
An RVG recording (and mastering) from 1975 that is a KNOCKOUT on a copy like this
“Its shimmering, soulful grooves refute the argument that smooth jazz is little more than mere ambience, combining expert playing and intricate songwriting to create music that is both compelling and comforting.” Allmusic 4 Stars
Can you believe that Feels So Good topped both the soul and jazz albums charts and peaked at number ten on the pop album charts in the 1975?! Quite an achievement for our man Grover here. He had earlier made an album with Bob James handling the arrangements for the very large group of musicians on hand, as well as playing playing keyboards, and that album has been a personal favorite of mine for more than forty years, All the King’s Men.(more…)