- 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 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…)
- Dolphy’s superb 1961 live release returns to the site with Shootout Winning Triple Plus (A+++) sound or close to it on all FOUR sides
- Rich, smooth, sweet, and wonderfully natural, this is the sound we love here at Better Records
- I’ve known about Dolphy’s legendary Copenhagen Concert for close to thirty years. When an audiophile hears a bass clarinet reproduced the way it is on this record, he is very unlikely to forget it
- Dolphy stretches out on the flute and the bass clarinet as well as his alto sax here
- “Eric Dolphy’s tour of Europe is one of the best documented periods of his much-too-short career… a must for Dolphy collectors.”
Rarely have I heard a string bass sound better than it does here. The flute is equally gorgeous. They could record a live jazz concert this well in 1961? Apparently.
The sound of the bass clarinet is so real it will take your breath away. No pop or rock record has this kind of fidelity, ever. The resolution is amazing, you can hear the keys clacking away as he plays. (more…)
- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish
- Big, rich and full-bodied sound was not that easy to find on the album, but this copy managed to pull it off
- Full of classic material by the likes of Monk and Cole Porter, finally finishing with a very emotional rendition of Stardust
- “…Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations.”
- With a seriously good Double Plus (A++) side one and a side two that’s close to it, this early Black Label stereo pressing has plenty of analog magic in its grooves
- ALIVE with musical energy, there’s also plenty of space for the players to occupy, a quality vital to this big group’s big sound
- “The surging, compelling, thoroughly earthy sound of this orchestra, led by CANNONBALL ADDERLEY and including as impressive a roster of jazz stars as has ever been assembled, has already been responsible for a major breakthrough on the musical front… Quickly and enthusiastically accepted by a wide public, it leaped almost overnight into the bestseller category.
Vintage original covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you. (more…)
- This outstanding copy of Gilberto’s 1971 collaboration with Turrentine boasts solid Double Plus (A++) sound from start to finish
- It’s rich, warm and natural with wonderful transparency, loads of ambience and – this is key – plenty of Tubey Magic
- Rudy Van Gelder did an outstanding job as usual engineering these 1971 sessions – his live-in-the-studio approach is tough to beat
- “The real treasures of this album though are the outstanding arrangements by Eumir Deodato, who once again proves he is the master of this type of music. Nearly every track is full of interesting, complex, yet beautiful instrumentation. He blends mellow low strings with lots of Fender Rhodes electric piano, plenty of electric and acoustic guitar, and a wide variety of Brazilian percussion instruments.”
This vintage CTI pressing has the kind of Tubey Magical Midrange that modern records rarely 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 the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound. (more…)
- Adderley’s fourth studio album makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound on side one mated to an outstanding Double Plus (A++) side two
- We guarantee there is dramatically more richness, presence and performance energy on this Hot Stamper pressing than on anything you’ve ever heard
- Big Group energy and enthusiasm is key to the better pressings like this one – here you will find the most natural sounding ambience of any of the copies in our shootout
- This one has most everything going for it, with bass, dynamics, clarity, top end extension and more – it’s a real Demo Disc, make no mistake about it
This album is fairly common on the OJC pressing from 1988, but we found the sound of the OJC pressings we played seriously wanting. They have the kind of bad reissue sound that that plays right into the prejudices of most record collectors and audiophiles for whom nothing but an original will do. They were dramatically smaller, flatter, more recessed and more lifeless than even the worst of the ’70s LPs we played.
The lesson? Not all reissues are created equal. Some OJC pressings are great — including even some of the new ones — some are awful, and the only way to judge them fairly is to judge them individually, which requires actually playing a large sample.
Since virtually no record collectors or audiophiles like doing that, they make faulty judgments – OJC’s are cheap reissues sourced from digital tapes, run for the hills! – based on their biases and inadequate sample sizes.
You can find those who subscribe to this approach on every audiophile forum there is. The methods they have adopted do not produce good results, but as long as they stick to them they will never have to worry about discovering that inconvenient truth.
This is one of the all time great Contemporary recordings. DCC was going to do this on CD at one time; I loaned Steve Hoffman an OJC LP back in the ’90s which he promptly fell in love with. Unfortunately DCC went out of business, and ANALOGUE PRODUCTIONS, the people doing the new jazz reissue series on 45 RPM heavy vinyl, wouldn’t recognize a great title like this if it bit them in the ass.
And if they did it their version wouldn’t sound good anyway — none of their stuff ever does, which is why you can find all of their reissues in our Hall of Shame.