This is without a doubt the BEST ALBUM the man ever made. On top of that, this copy really has the kind of sound we look for, with an open, fully extended top end that gives all the elements of this complex music room to breathe.
We Love Fingers
Fingers is one of our all time favorite records, a Desert Island disc to be sure. I’ve been playing this album for more than thirty years and it just keeps getting better and better. Truthfully it’s the only Airto record I like. I can’t stand Dafos, and most of the other Airto titles leave me cold. I think a lot of the credit for the brilliance of this album has to go to the Fattoruso brothers, who play keyboards, drums, and take part in the large vocal groupings that sing along with Airto.
At times this record really sounds like what it is: a bunch of guys in a big room beating the hell out of their drums and singing at the the top of their lungs. You gotta give RVG credit for capturing so much of that energy on tape and transferring that energy onto a slab of vinyl. (Of course this assumes that the record in question actually does have the energy of the best copies. It’s also hard to know who or what is to blame when it doesn’t, since even the good stampers sound mediocre most of the time. Bad vinyl, worn out stampers, poor pressing cycle, it could be practically anything.)(more…)
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.
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.(more…)
This is one of our favorite orchestra-backed jazz records here at Better Records. A few others off the top of my head would be Wes Montgomery’s California Dreaming (1966, and also Sebesky-arranged), Grover Washington’s All the King’s Horses (1973) and Deodato’s Prelude (also 1973, with brilliant arrangements by the man himself).
On a killer copy like this the sound is out of this world. Rich and full, open and transparent, this one defeated all comers in our shootout, taking the Top Prize for sound and earning all Three Pluses.(more…)
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!
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…)