An outstanding copy of Chicago VI, with solid Double Plus (A++) sound from first note to last – fairly quiet vinyl too
The sound of the brass on any Chicago album is key and these sides have the horns sounding clear and really jumping out of the speakers
VI was propelled to the top of the charts for five full weeks by two of the band’s best tracks: “Just You ‘n’ Me” “Feelin’ Stronger Every Day”
4 stars: “Chicago VI is an undeniably strong effort – supported at the time by its chart-topping status…”
The background vocals on these sides are breathy and clear, a far cry from the typically smeary, dark voices we heard on most of the pressings we played, all originals in this case.
More often than not the brass lacks bite and presence, but these sides had the Chicago horns leaping out of the speakers. What is a Chicago record without great horns? Without that big bold sound you may have something, but it sure ain’t Chicago.
The sound of the brass on any Chicago album is key — it has to have just the right amount of transient bite yet still be full-bodied and never blary. In addition, on the best of the best pressings you can really hear the air moving through the horns.(more…)
Fancy Free makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound from top to bottom
The overall sound here is Tubey Magical, lively and clear, with three-dimensionality that will fill your listening room from wall to wall
Credit must go to Rudy Van Gelder once again for capturing the jazz energy and performance space of this superbly sympathetic ensemble
“1969’s Fancy Free marked the beginning of Donald Byrd’s move away from hard bop, staking out fusion-flavored territory… the rare Donald Byrd album that holds appeal for rare-groove fanatics and traditionalists alike.”
If you’re ready to take a mindblowing jazz fusion trip with sonics to match, you should definitely check this one out.(more…)
Jimmy’s superb live release from 1956 makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound or close to it from top to bottom
A killer early mono pressing, with a strong bottom end, lovely richness and warmth, real space and separation between the instruments, and wonderful immediacy throughout
There is a mark that makes 25 pops, which would be a deal killer if this record were not so rare and so good – it’s literally the first copy we’ve ever found that could be played on an audiophile turntable
Credit goes to Rudy Van Gelder once again for the huge space this superbly well-recorded trio occupies
“It’s all Jimmy Smith in full flight, bubbling over with cascading notes and breathless detours, and if his studio work is generally more structured and considered (but only a little more so), this set shows him in what was his natural habitat, astounding an audience in a small club.”
This outstanding pressing boasts solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
It’s airy, open, and spacious with superb clarity and an extended top end – the beautiful reading of Autumn Leaves on side two has demo disc quality sound
Included are three tracks left off some of Pepper’s best albums on Contemporary – Meets the Rhythm Section, Intensity and Gettin’ Together
4 1/2 stars: “Despite his very erratic lifestyle, altoist Art Pepper never made a bad record. The first four titles team together Pepper with tenor-saxophonist Warne Marsh for generally intriguing explorations of four standards… this album finds Art Pepper in top form.”
Mobile Fidelity, maker of some of the worst sounding records in the history of the medium, is the KING on this title.
Klemmer says pure emotion is what inspired the album’s creation. Whatever he tapped into to find the source of that inspiration he really hit pay dirt with Touch. It’s the heaviest smooth jazz ever recorded. Musically and sonically, this is the pinnacle of Klemmer’s smooth jazz body of work. I know of none better. (If you want to hear him play more straight-ahead jazz try Straight from the Heart on Nautilus.)
High Frequency Testing
MoFi was famous for demonstrating on an actual scope that the standard domestic ABC pressing had nothing above about 8 or 10 thousand cycles up top, which is why they all sound insufferably dull and dead. Some MoFi copies have no real top end either, which is the reason to we do these shootouts — to find the copies that are actually mastered and pressed right, not just the ones that should have been.
There’s plenty of information above 15K I would guess on this record — all those delicate percussion instruments ring so sweetly, the highs have to be extending way up there. (This album would probably make a good test to see how well your tweeters work, as well as for turntable setup. The right tracking weight and VTA are crucial to getting all the harmonics of a record like this right.)(more…)
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…)
Carnavalito is a track that really comes ALIVE when you Crank Up the Volume. I played it FULL BLAST on two different occasions for audiophile friends of mine just to show them what happens when a Big Speaker Stereo meets a Large Scale Recording with absolutely AMAZING audiophile quality sound — BIG and BOLD, wall to wall and then some!
It’s my favorite track not only for the album as a whole but for the band’s entire recorded output. It just doesn’t get any better than this if you have the system for it.
Hearing the megawatt energy in the section when the soprano saxophonist jumps in, right into an ongoing orgy of wild percussion, who then proceeds to blow his brains out — now that is a thrill beyond belief. Played REALLY LOUD it’s about the closest to The Real Thing, the Live Event, that you will ever hear in your living room. (Unless you have a very large living room and lots of latin jazz musician friends.)
Even a year ago there was no way I could get that music to play that LOUD, that CLEANLY, and that tonally CORRECT, from the deepest bass to the highest highs, with the wild swings in dynamics that the recording captures so well. The Audio Revolution Is Alive and Well and making progress all the time. It’s never too late to join in the fun.
The first copy to hit the site in NINE years and with KILLER sound to boot; both sides earned Shootout Winning Triple Plus (A+++) grades
Both of these sides are incredibly full-bodied, natural and present with tight punchy bass and lots of space around all of the players
I love the music of Antonio Carlos Jobim and this is one of his best albums; it belongs in any serious Latin Jazz record collection.
“When Creed Taylor left Verve/MGM for his own label under the auspices of A&M, he quickly signed Antonio Carlos Jobim and they picked up right where they left off with this stunningly seductive record, possibly Jobim’s best.” – All Music
A KILLER sounding copy with Shootout Winning Triple Plus (A+++) Live Jazz sound from start to finish
This original stereo pressing is the first copy to make it to the site in years – boy are these hard to find in this kind of clean condition with top quality sonics
Rich, tubey and musical, the sound is wonderful for these live performances of two very different groups, one featuring Getz, the other Jobim
4 1/2 Stars: “Getz/Gilberto #2 holds its own with an appealing selection of fine jazz and bossa nova cuts.”
This original Verve Stereo pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in a real jazz club, this is the record for you. It’s what Vintage Records are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.(more…)
Superb nearly Triple Plus (A++ to A+++) sound from start to finish, the “big band” sound here is really jumping out of the speakers
Huge space, size and clarity, with Tubey Magical richness befitting the 1960 recording dates of these sessions
“My idea is not so much that we are a big band with a small-band feel, but that we have a big-band feel in the way that a big band ought to be.” — Gerry Mulligan.
“Mulligan stages a thrilling musical spectacle in which fierce rivalry, song-like harmony and refined counterpoint play the main roles.”
If you’ve never heard a good All Tube Recording of the baritone sax, buy this record — it will blow your mind!
Huge amounts of ambience fill out the space the extends from wall to wall (and all the way to the back wall of the studio), leaving plenty of room around each of the players.
Full-bodied sound, open and spacious, bursting with life and energy — these are the hallmarks of our Truly Hot Stampers. If your stereo is cookin’ these days, this record will surely be an unqualified Sonic Treat.
We guarantee that no heavy vinyl pressing, of this or any other album, has the kind of analog sound found here. (Or your money back.)
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…)