Genre – Jazz – Trumpet

Harry Edison & Eddie “Lockjaw” Davis – Simply Sweets – A Sleeper from Pablo

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  • This outstanding copy of Simply Sweets boasts solid Double Plus (A++) sound on both sides and relatively quiet vinyl too 
  • The sound of this superb jazz quintet is big, lively, open and clear with Tubey Magical richness
  • The legendary engineer Val Valentin put this one on tape, brilliantly – he’s the man behind some of our All Time Pablo favorites
  • “Trumpeter Harry ‘Sweets’ Edison and tenor saxophonist Eddie “Lockjaw” Davis always made a potent pair. They both possessed immediately identifiable sounds, were veterans of Count Basie’s Orchestra and never had any difficulty swinging.” — Allmusic

Both sides of this outstanding pressing are big, rich, tubey and clear. Few other copies in our shootout held this kind of sound.

Titles such as this one are the reason we put so much time and money into hunting down and auditioning every Pablo jazz record we can get our hands on — because some of them sound like this one. Who else was recording jazz this good in the late ’70s and well into the ’80s?

And don’t say Concord. There are maybe five great sounding records on that label. Pablo has ten or twenty times that many, and that’s a conservative estimate. We owe a tremendous debt of gratitude to Norman Granz for starting the Pablo label and keeping the quality as high as he did. (more…)

Chet Baker Plays The Best Of Lerner And Loewe

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Plays The Best Of Lerner And Loewe

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  • With a Triple Plus (A+++) side one and an excellent Double Plus (A++) side two, this copy is one of the BEST we have ever heard
  • Big, rich, smooth, open, natural, with plenty of tight bass – what’s not to like? This copy is killin’ it
  • Some of the best jazz guys of the day back up Chet on this one: Zoot Sims, Pepper Adams, Bill Evans, Herbie Mann and more
  • “…the timelessness of the melodies, coupled with the assembled backing aggregate, make Chet Baker Plays the Best of Lerner and Loewe (1959) a memorable concept album.”

This is a wonderful Chet Baker record that doesn’t seem to be getting the respect it deserves in the wider jazz world. You may just like it every bit as much as the Chet album, and that is one helluva record to compare any album to, in our estimation about as good as it gets in most respects.   (more…)

Miles Davis In Person – Friday Night and the Sound of Tubes

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Allow me to transcribe my notes:

Both Sides

The right sound — big, rich, tubey and real. Transparent. Rich, smooth, balanced. Horn gets huge and loud the right way. Piano is full. Solid bass.

No need to pick nits.

The Dog that Didn’t Bark in the Night

Normally our notes for the sound of the records we are shooting out against each other fall into two categories: what the record is doing right and what the record is doing wrong. You’ll note that in this case there was nothing wrong about the sound to write about. (more…)

Contemporary Tube Versus Transistor Tradeoffs

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In some ways yes, in some ways no, and we are happy to lay it all out for you based on the critical listening we undertook recently. Here’s how we weighed the tradeoffs in the sound of the originals versus that of the reissues, with VTA advice to follow. 

This superb sounding ORIGINAL Black Label Contemporary pressing of Benny Carter’s swingin’ jazz quartet is the very definition of a top jazz stereo recording from the late ’50s mastered through an all tube chain.

There’s good extension on the top end for an early pressing, with TONS of what you would most expect: Tubey Magic and Richness. If that’s what you’re looking for, this copy has got it!

We prefer the later pressings in most ways, but this record does something that no later pressing we have ever played can do — get Benny’s trumpet to sound uncannily REAL. If you want to demonstrate to your skeptical audiophile friends what no CD (or modern remastered record) can begin to do, play side two of this copy for them. They may be in for quite a shock. (more…)

Sky Diving with Freddie Hubbard

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  • Off the charts “Triple Triple” (A+++) sound for this classic Freddie Hubbard CTI album – both sides won our shootout, earning our top grade of Triple Plus
  • This is the kind of spacious, low-distortion, dynamic and energetic sound Rudy Van Gelder was getting in the early ’70s
  • Hubbard got together a great group of Funky Jazz players to support him here, with Don Sebesky doing his usual inventive arrangements
  • 4 Stars: “Freddie Hubbard’s fourth CTI recording certainly has a diverse repertoire. The charts for the brass and woodwinds are colorful; there is a fine supporting cast that includes guitarist George Benson, Keith Jarrett on keyboards, and flutist Hubert Laws; and Hubbard takes several outstanding trumpet solos.”

Rudy was getting one hell of a lively trumpet sound on tape during this period in his career. If you have a good pressing of one of his early ’70s jazz recordings the sound can be positively EXPLOSIVE, with what feels like all the size and power of live music.

Sonic Issues

Smear. It’s by far the most common problem with the copies we played. When the transient bite of the trumpet is correctly reproduced, maintaining its full-bodied tone and harmonic structures, you know you have a very special copy of Sky Dive (or Straight Life or First Light or Red Clay, etc.). When the sound is blurry, thick, veiled, dull or slow, you have what might be considered something more like the average copy.

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.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful originals.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.

TRACK LISTING

Side One

Povo 
In a Mist

Side Two

The Godfather 
Sky Dive

AMG Review

Freddie Hubbard’s fourth CTI recording (and the second one with Don Sebesky arrangements) certainly has a diverse repertoire. In addition to his originals “Povo” and “Sky Dive” (both of which are superior jam tunes), the trumpeter stretches out on the theme from The Godfather and Bix Beiderbecke’s “In a Mist.” The charts for the brass and woodwinds are colorful; there is a fine supporting cast that includes guitarist George Benson, Keith Jarrett on keyboards, and flutist Hubert Laws; and Hubbard takes several outstanding trumpet solos.

Don Sebesky

Don Sebesky is best known as house arranger for many of producer Creed Taylor’s Verve, A&M, and CTI productions; the man whose orchestral backgrounds helped make artists like Wes Montgomery, Paul Desmond, Freddie Hubbard, and George Benson acceptable to audiences outside of jazz.

He has taken critical heat for this, but Sebesky’s arrangements have usually been among the classiest in his field, reflecting a solid knowledge of the orchestra, drawing variously from big band jazz, rock, ethnic music, classical music of all eras, and even the avant-garde for ideas. He once cited Bartok as his favorite composer, but one also hears lots of Stravinsky in his work.

In 1960, he gave up the trombone to concentrate upon arranging and conducting, eventually receiving the breakthrough assignment of Montgomery’s Bumpin’ album (1965). Some of the most attractive examples of his work for jazz headliners include Bumpin’, Benson’s The Shape of Things to Come, Desmond’s From the Hot Afternoon, and Hubbard’s First Light.

AMG

Freddie Hubbard

All Music Guide Bio

One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early ’70s was immediately distinctive and the pacesetter in jazz.

Born and raised in Indianapolis, Hubbard played early on with Wes and Monk Montgomery. He moved to New York in 1958, roomed with Eric Dolphy (with whom he recorded in 1960), and was in the groups of Philly Joe Jones (1958-1959), Sonny Rollins, Slide Hampton, and J.J. Johnson, before touring Europe with Quincy Jones (1960-1961). He recorded with John Coltrane, participated in Ornette Coleman’s Free Jazz (1960), was on Oliver Nelson’s classic Blues and the Abstract Truth album (highlighted by “Stolen Moments”), and started recording as a leader for Blue Note that same year.

Hubbard gained fame playing with Art Blakey’s Jazz Messengers (1961-1964) next to Wayne Shorter and Curtis Fuller. He recorded Ascension with Coltrane (1965), Out to Lunch (1964) with Eric Dolphy, and Maiden Voyage with Herbie Hancock, and, after a period with Max Roach (1965-1966), he led his own quintet, which at the time usually featured altoist James Spaulding. A blazing trumpeter with a beautiful tone on flügelhorn, Hubbard fared well in freer settings but was always essentially a hard bop stylist.

In 1970, Freddie Hubbard recorded two of his finest albums (Red Clay and Straight Life) for CTI. The follow-up, First Light (1971), was actually his most popular date, featuring Don Sebesky arrangements. But after the glory of the CTI years (during which producer Creed Taylor did an expert job of balancing the artistic with the accessible), Hubbard made the mistake of signing with Columbia and recording one dud after another; Windjammer (1976) and Splash (a slightly later effort for Fantasy) are low points.

However, in 1977, he toured with Herbie Hancock’s acoustic V.S.O.P. Quintet and, in the 1980s, on recordings for Pablo, Blue Note, and Atlantic, he showed that he could reach his former heights (even if much of the jazz world had given up on him).

Miles Davis – Workin’ And Steamin’ – Right On the Money Tonality

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To the Jazz Fans of the World, we here present one of the BEST sounding jazz recordings we have ever had the PRIVILEGE to place on a turntable. I cannot ever recall hearing a better sounding Rudy Van Gelder recording, and I have a theory as to why this tape is as good as it is: it’s MONO. It also sounds like it’s recorded completely LIVE in the studio, direct to one track you might say. As good a recording as Kind of Blue is, I think the best parts of this album are more immediate and more real than anything on KOB.

See all of our Miles Davis albums in stock

Better than the Originals?

The record combines two Miles Davis albums recorded in 1956: Workin’ and Steamin’. The 1974 remastering here by Brian Gardner is excellent. Since RVG probably would have mastered these tapes himself for the original pressings, I’m going to guess that this album sounds better than any original, for two reasons.
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Miles Davis – Quiet Nights – Our White Hot Shootout Winner


Our White Hot Shootout Winner for 2018

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  • A Shootout Winning copy of this Miles Davis-Gil Evans classic and one of only a handful to hit the site in years
  • Side one earned our top grade of Triple Plus (A+++), side two was close behind at A++ to A+++
  • Not the quietest copy we’ve ever played – Mint Minus Minus to EX++ on both sides – but obviously one of the best sounding
  • Fred Plaut engineered the sessions, and on this amazing early pressing they sound rich, warm, smooth and clear
  • In the Saturday Review, Quiet Nights received praise for Davis’ “wonderfully songful trumpet in a Latin-American vein”, set against “piercingly lustrous curtains of tone and discreet Caribbean rhythms.”

See all of our Miles Davis albums in stock

We recently shot out a short stack of these — not an easy record to find in clean condition, in stereo, on the earlier labels, at affordable prices these days, so we didn’t have the eight to ten copies we like to have for a full shootout — and found that the music on Quiet Nights was every bit as enchanting as we remember it.

The music is very much in the style of Sketches Of Spain and the sound is comparable to that album as well. This is Davis’ final official collaboration with arranger and conductor Gil Evans. The quintet on this album includes Miles Davis on the trumpet, George Coleman on tenor sax, Victor Feldman on piano, Ron Carter on bass and Frank Butler on drums. (more…)

Oscar Peterson + Harry Edison + Eddie Cleanhead Vinson

Some sections on our site are hard to find. Here’s one with lots of cool records in it:

Forgotten Jazz Classics

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Oscar Peterson + Harry Edison + Eddie Cleanhead Vinson

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

This is a long out of print Pablo LP with AMAZING sound and music. It’s one of those superb Allan Sides engineered recordings at Ocean Way, like Basie 88 Street. Demo disc quality sound is the result! With players like these, the music is every bit as good as any jazz record I know of. In other words, I really like this album.

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Freddie Hubbard – Red Clay

Some sections on our site are hard to find. Here’s one with lots of cool records in it:

Forgotten Jazz Classics

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Freddie Hubbard – Red Clay

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

This original CTI pressing has two wonderful sides, including an AMAZING A+++ SIDE TWO! This side two has amazingly good Demo Disc sound. RVG knocked this one out of the park, that’s for damn sure.

Hubbard was a master of funky jazz, and the song Red Clay is possibly the funkiest jazz track he ever got down on tape. At 12 minutes in length it is a transcendentally powerful experience — and the bigger your speakers and the louder you turn them up the more moving that experience is going to be!

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Side One

Side one gets going with the perennial favorite, Red Clay. The intro starts off with a stylized free-form jam, sounding like a bop-jazz band of old, then takes form and solidifies into a groove of monstrous proportions. Ron Carter’s bass playing is stellar and that fingers-on-frets sound is heard on this copy. Super clear and present, this side has zero smear and amazingly explosive transients! A touch more top and this would be right there with side two.

Like many of our funky favorites, this one was eventually sampled for a popular hip-hop song. That may not mean much to you, but it definitely means that nice copies of this album get swiped up quickly by young DJs and producers. (more…)

Avoid Making this Rookie Record Collecting Mistake

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Record Shopping Day Video!

Not sure how much of this video you can stand — nothing could interest me less than a couple of audiophile / vinyl enthusiasts spouting off on what they think about some random records sitting in a local store’s bins — but one or two bits caught my eye. I thought it might possibly be of service to share them with you.

Is there any value to the comments of these two collectors? If you care about what music they like, perhaps.  Anything about what to look for on the label or jacket that might correspond to better sound?  If it’s there I sure didn’t see it, but I admit to speeding through most of it so I can’t say for sure.

The first bit I refer to above is at 18:42.  The album in question is the legendary Kind of Blue. At this point the unseen helmet-cammed audiophile picks up the record, recognizes the original cover, and proceeds to pull the record out to see what era the pressing is from.

Drat! The disappointment in this audiophile’s voice is palpable as he drops the record back in the bin with his dismissive comment that  “it’s a later pressing.”

But we here at Better Records would be falling all over ourselves to get our hands on that later pressing. Those late pressings can and often do win shootouts. We would never look down our noses at a Red Label Columbia jazz LP, and neither should you.

Our intrepid audiophile explorer does much the same thing about 23 minutes in. It seems pretty clear to us that he has no respect for such reissues, another example of one of the most common myths in record collecting land, the myth that the  original pressing is always, or to be fair, usually better. (more…)