Jive At Five arrives on the site with killer Shootout Winning Triple Plus (A+++) sound or close to it from start to finish – exceptionally quiet vinyl too
This hard to find Prestige Swingville LP is big, spacious, swinging with energy and absolutely jumping out of the speakers
4 stars: “…[this music] is very much in the Count Basie vein. That fact is not too surprising when one considers that the quintet includes three members of Basie’s men: trumpeter Joe Newman, tenor saxophonist Frank Wess and bassist Eddie Jones. Joined by the complementary pianist Tommy Flanagan and drummer Oliver Jackson, Newman and his friends swing their way through four vintage standards and a couple of the leader’s original blues…”
Jive at Five is one of my all-time favorite jazz trumpet albums. This Shootout Winning Prestige reissue might very well turn you into a big fan as well.
I highly recommended this album back in the day. Hearing it now as a much older man, having played thousands of jazz records in the ensuing decades, and thankfully being able to hear it on much better equipment than I had back then, I realize both the music and sound (can’t forget that!) have stood the test of time very well indeed.
This is what a good jazz trumpet album should sound like, miles from the squawky, muted microphone-distorted horn sound so many audiophiles seem to revere. I’m guessing you know who I’m referring to. Miles Davis was surely a genius and a brilliant innovator, but his horn sound from the sixties on was never as relaxed, smooth and natural as it is on this wonderful Joe Newman Quintet album from 1960.
Joe was one of Basie’s long-time band members, a fiery soloist with an unerring sense of swing. This album ably demonstrates those qualities. The guy is passionate but he never gets lost in his own solos; he keeps the melodies and the swing front and center.(more…)
One of our favorite Cannonball Adderley albums here at Better Records, and the sound is killer on this copy. Both sides are Tubey Magical, rich, open, spacious and tonally correct. We’ve never heard the record sound better, and that’s coming from someone who’s been playing the album since the ’80s when it was first reissued in its current form.
These guys are playing live in the studio and you can really feel their living, breathing presence on every track — assuming you have a copy that sounds like this one.
Based on what I’m hearing my feeling is that most of the natural, full-bodied, smooth, sweet sound of the album is on the master tape, and that all that was needed to get that vintage sound correctly on to disc was simply to thread up that tape on a reasonably good machine and hit play.
Original Vs. Reissue
The original Riverside pressings are the best, right?
Excellent Double Plus (A++) sound on both sides, this is one of the better copies of Bill Evans’ 1962 classic to ever hit the site
Full-bodied and warm, exactly the way vintage analog should sound, yet as clear and as open as any pressing you’ve heard (or your money back)
The first album Evans recorded after Scott LaFaro’s death and it is deeply immersive experience
Allmusic raves it’s “…so well paced and sequenced the record feels like a dream … Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader.”
Great sound for this rockin’ soul album with two live tracks. Just listen to the drums on Black-Eyed Blues — the way the percussion and bass mingle sonically with Alan White’s skins takes this listener right into the room where the magic happened.
Moon Beams is one of the best sounding Bill Evans records we’ve ever played. You can see why we chose it to be the first OJC Hot Stamper of his to hit the site back in 2015. Play It Might As Well Be Spring for the kind of sublime musical experience you only find on 20th century analog.(more…)
With a Triple Plus (A+++) shootout winning side two and a Double Plus (A++) side one, this copy took top honors in our recent shootout
These good sides are so much bigger and more open, with more bass and energy – the saxes and trumpets are immediate and lively
Mr. Earl Hines himself showed up, a man who knows this music like nobody’s business – Leroy Vinnegar and Shelly Manne round out the quartet
“Great musicians produce great results, and most of the LP’s tracks were done in one or two takes. The result is ‘a spontaneous, swinging record of what happened’ when Carter met Hines ‘for the first time. . . .'”
We finally built up enough copies of this great album to do a shootout, our first since 2012, which ought to tell you something about the used record market these days. This copy had most of the Tubey Magic of the originals we played, with all of the amazing clarity and freedom from distortion the later pressings are capable of reproducing — the best of both worlds.
Our Yellow Label Contemporary pressing in stereo of Benny Carter’s swingin’ jazz quartet is the very definition of a top jazz recording from the late ’50s mastered through a modern, very high quality cutting chain. There’s good extension on the top end, with TONS of what you might not expect: Tubey Magic and Richness. If that’s what you’re looking for, this copy has got it!(more…)
As you may have guessed by now, remastered is a bit of a dirty word around these parts. Most remastered records we play, from The Beatles to John Coltrane to ZZ Top, sound to us like pale imitations of the real thing, whether the real thing is an original or a reissue from back in the day.
But only a fool could fail to appreciate how correct and lively the best copies of this remastered record sound, and we’re no fools here at Better Records. We judge records by one and only one criterion: how they sound. We pay no mind to labels, record thicknesses, playback speeds, mastering speeds or anything else you can read about on audiophile websites.
We’re looking for the best sound. We don’t care where it comes from.(more…)
These are just some of the recordings by Count Basie that we’ve auditioned recently and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place in your collection, and may even belong in our Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.