A distinguished member of the Better Records Jazz Hall of Fame.
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.
WAY off the charts. Demo Disc Quality Sound of the Highest Order on the best tracks. The extension high and low sets these sides apart. The presence of the instruments and the space around them just cannot be beaten.
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.
Talk About Timbre
Man, when you play a Hot Stamper copy of an amazing recording such as this, the timbre of the instruments is so spot-on it makes all the hard work and money you’ve put into your stereo more than pay off. To paraphrase The Hollies, you get paid back with interest. If you hear anything funny in the mids and highs of this record, don’t blame the record.
This is the kind of record that shows up audiophile BS equipment for what it is: Audiophile BS. If you are checking for richness, Tubey magic and freedom from artificiality, I can’t think of a better test disc. It has loads of the first two and none of the last.
Better than the Originals?
The record combines two Miles Davis albums recorded in 1956: Cookin’ and Relaxin’. The ’70s remastering here by Rudy Van Gelder 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.
One, modern cutting equipment did not exist in 1956. As good as the best tube cutting equipment may have been, not many records from the era do not suffer from bloated bass and a lack of extension on the top end. Starting in the ’70s record mastering equipment got a whole lot better. Most of the best sounding pressings in our Top 100 for example were cut on these modern cutters. The sound is dynamic with very low distortion, with higher highs and lower lows, as well as transparency and openness far beyond anything that had come before.
Don’t get us wrong, we love that classic tube-mastered sound — warmer, smoother, and sweeter than the pressings that would come later, with wonderful breath of life. But, sometime, like all colorations it comes at a price. That’s not what’s on the tape. What’s on the tape is what you hear on this amazing reissue, on the best of the four sides anyway. (more…)