This Superb sounding Hot Stamper copy of Quiet Village has a lot in common with the other Bachelor Pad / Exotica titles we’ve listed over the years, albums by the likes of Esquivel, Dick Schory, Edmundo Ros, Arthur Lyman and others.
But c’mon, nobody really buys these records for the music (although the music is thoroughly enchanting). It’s all about the Tubey Magical Stereoscopic presentation, the wacky 3-D sound effects (of real birds and otherwise) and the heavily percussive arrangements. In all of these areas and more this record does not disappoint.
If you’re an audiophile, both the sound and the music are crazy fun. If you want to demonstrate just how good 1959 All Tube Analog sound can be, this is the record that will do it!(more…)
With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout
These guys are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one
An amazing 1958 All Tube Live-in-the-Studio Jazz recording by the legendary Roy DuNann
“Tenor saxophonist Bob Cooper’s only Contemporary album is a near-classic and one of his finest recordings … This set is an underrated gem.”
This is a superb sounding Contemporary recording from 1958. Cooper is joined by top West Coast musicians like trombonist Frank Rosolino, vibraphonist Victor Feldman, pianist Lou Levy, bassist Max Bennett, and drummer Mel Lewis. On some parts of the Jazz Theme the group grows to be ten pieces. Normally this might present a problem for a recording engineer, but Roy DuNann is up to the task! If you want to hear the sound of brass recorded properly, Roy is your man.
Both sides are Tubey Magical, rich, open, spacious and tonally correct. These guys are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one.
What do the better Hot Stampers pressings like this one give you?
Energy for starters. What could be more important than the life of the music?
The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
Then transient information — fast, clear, sharp attacks for the horns and drums, not the smear and thickness so common to most LPs.
Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt — Roy DuNann — would have put them.
Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
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.(more…)
You’ll find oustanding Double Plus (A++) sound or close to it on both sides of this Monument stereo pressing
The phenomenally talented Bill Porter recorded many of Orbison’s classic songs from the early ’60s that are found on this compilation
Only a copy this good shows you how phenominal these timeless songs can sound – rich, open, clear, solid and musical
Among monster hits, like “Crying,” “Only the Lonely,” and “Running Scared,” this album includes new releases “Love Star” and “Evergreen” as well
If you think that buying original pressings of an album like this one is the way to find the best sound, you are sorely mistaken. The originals and most reissues on the Monument label are mostly dreadful sounding.
The monos sound bad and the originals sound bad, which means that all the conventional wisdom of record collectors and audiophiles alike has failed to produce the desired result: a good sounding pressing of the album. What’s a mother to do? (more…)
Back in 2005 we compared the MFSL pressing of Help to a British Parlophone LP and were — mistakenly, as you may have already surmised — impressed by the MoFi.
Mobile Fidelity did a GREAT JOB with Help!. Help! is a famously dull sounding record. I don’t know of a single original pressing that has the top end mastered properly. Mobile Fidelity restored the highs that are missing from most copies.
The source of the error in our commentary above is in this sentence, see if you can spot it:
I don’t know of a single original pressing that has the top end mastered properly.
Did you figure it out? If you’ve spent much time on our site of course you did. (more…)
Paul Desmond’s 1963 Cool Jazz Classic arrives with Shootout Winning Triple Plus (A+++) sound on side one, mated with an outstanding Double Plus (A++) side two
The brilliant Ray Hall engineered – anyone hearing this copy will understand exactly why we love to find his fabulous ’60s recordings here at Better Records
Desmond joins forces here with Jim Hall, whose guitar stylings perfectly complement Paul’s velvety sax tone
4 1/2 stars: “Everyone wanted Desmond to come up with a sequel to the monster hit “Take Five”; and so he did, reworking the tune and playfully designating the meter as 10/8. Hence “Take Ten,” a worthy sequel… There is not a single track here that isn’t loaded with ingeniously worked out, always melodic ideas.”
For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1963 All Tube Analog sound can be, this killer copy will do the trick.
This vintage pressing is spacious, sweet and positively dripping with ambience. 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…)
The right sound — big, rich, tubey and real. Transparent. Rich, smooth, balanced. Horn gets huge and loud the right way. Piano is full. Solid bass.
No need to pick nits.
The Dog that Didn’t Bark in the Night
Normally our notes for the sound of the records we are shooting out against each other fall into two categories: what the record is doing right and what the record is doing wrong. You’ll note that in this case there was nothing wrong about the sound to write about.(more…)
We went wild recently over a marvelous copy of the Ted Heath record you see pictured. Talk about Tubey Magic, the liquidity of the sound was positively uncanny. This was 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 upon it.
This is our kind of sound. It’s also important to keep in mind that our stereo seemed to love the record. (Stereos do that.) Let’s talk about why that might be the case. (more…)
Excellent Double Plus (A++) grades, or close to it, grace both sides of this Lous Rawls masterpiece
A recent addition to our Top 100, Lou Rawls Live! is an outstanding recording that really comes to life on this original pressing
The songs are fantastic, the musicians are brilliant, the sound is amazing — Stormy Monday & Tobacco Road are highlights of the set
4 Stars: “Lou Rawls gives a riveting performance on Live!, covering standards from Basie/Rushing’s tambourine-jumpin’ ‘Goin’ to Chicago’ to T-Bone Walker’s foot-stompin’ ‘Stormy Monday,’ and whole lot in between.”
What an album! For live soul-infused vocals, we know of none better.
Lou is live, singing his heart out in a small club that exists between, behind and maybe even around your speakers. If you can reproduce the three-dimensional space of this club you are in for a real treat.(more…)
This Sonny Rollins classic boasts killer Double Plus (A++) sound on both sides
Though I’ve been playing this album for more than 25 years, for some reason this is only the third copy to ever hit the site
A triumph for Rudy Van Gelder, a Top Impulse title, and as much a showcase for Oliver Nelson (+11) as it is for Sonny Rollins
4 1/2 Stars: “Rollins attempts to capture the textures of life through his incisive and energetic playing, his coherent improvisations, and variations on musical themes.”
This album is on the TAS Superdisc list, which is probably what first alerted me to it. I know I was listening to this album 25 years ago, just from the memory of hearing it in the condo I used to live in. It sounded great back then and it sounds even better now! It may just be my personal favorite of all his work.
What makes this album so great? For starters, great players. Kenny Burrell is wonderful as always. Interestingly, I never realized that Roger Kellaway is the pianist on these sessions. I saw him live years ago with Benny Carter (who was 90 at the time) and he put on one of the most amazing performances at the piano I have ever seen. For some reason, he was never able to make it as a recording artist, but the guy is a genius at the keyboard.
Of course, any orchestration by Oliver Nelson is going to be top flight and this is no exception. Two of his records are Must Owns, in my book: Jimmy Smith’s Bashin’ and his own The Blues and the Abstract Truth. No jazz collection without them can be taken seriously.(more…)