Records that Sound Best in Stereo, not Mono

Ella Fitzgerald – Rhythm Is My Business – 1962 Was a Great Year for Ella

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  • Ella’s first album to come out after Clap Hands finally makes its Hot Stamper debut, with outstanding Double Plus (A++) sound on both sides
  • What took us by surprise was how rich and sweet this original Verve was – so many of Ella’s early albums don’t have the smooth, natural vocals of this pressing
  • We absolutely love the swinging R&B organ Bill Doggett brought to these big band sessions, all backing an exceptionally well recorded First Lady of Song
  • “Ella Fitzgerald is in the spotlight throughout, mostly singing swing-era songs along with a couple of newer pieces… [her] voice was in its prime, and the charts are excellent.”

This copy is as quiet as we can find any domestic original Verve stereo pressing. The monos of this title — which naturally are five times more common — have that hard, honky sound that so many mono cuttings made from Ella’s stereo recordings suffer from.

Clap Hands is a notable exception to that rule, and of course any of her albums recorded in mono sound best in mono, when cut right and pressed right.

1962 was a great year for Ella. She released this album early in the year and followed it up with the Grammy winning Ella Swings Brightly with Nelson. Later in the same year Verve released Ella Swings Gently with Nelson, and it’s interesting to note that all three of these classic albums were recorded late in 1961. The woman could do no wrong! We would have to wait for her first release of 1963, Ella Sings Broadway, before she put out a clunker. But who’s fault is that? The music is fine, it’s the recording that’s bad (as far as we can tell; we have yet to hear one sound good). (more…)

John Coltrane’s A Love Supreme – Better Sounding than the Original Pressings?

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A distinguished member of the Better Records Jazz Hall of Fame.

The original Impulse pressings on the brown and orange label are the best, right?

Not in our experience. We think that plays into one of the biggest canards in all of record collecting, that the first pressings are always the best sounding.

For this album, having sampled a large group of pressings from every era, we found the originals to be inferior to the best reissues we played. Naturally the ones we offer here as Hot Stampers will be the best of those reissue pressings. We are not the least bit worried that this vintage Impulse LP won’t beat the pants off of any original as well as any reissue you may have heard. And of course it is guaranteed to be dramatically better sounding than any Heavy Vinyl pressing produced by anyone, anywhere, at any time. (more…)

Benny Carter – Swingin’ The ’20s – Our Shootout Winner from 2012

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STUNNING SOUND ON BOTH SIDES — we’ve never played a better copy! The immediacy and presence of this copy will BLOW YOU AWAY — it’ll put a swingin’ jazz quarter right in your living room. There’s plenty of extension on the top end anchored by some nice deep bass. The tonality is Right On The Money, and the overall sound is open and spacious with lots of room around the instruments. (more…)

The Dave Brubeck Quartet – Brubeck And Rushing

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A distinguished member of the Better Records Jazz Hall of Fame.

This Minty looking Columbia Six Eye Demo LP has SUPERB SOUND and some of the quietest Six Eye vinyl I’ve ever heard. If you’re a fan of either Dave Brubeck or Jimmy Rushing you can’t do better than this album. The sound is as close to perfection as I can imagine.

Ray Brown / Milt Jackson

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A distinguished member of the Better Records Jazz Hall of Fame.

This Minty Verve LP with the old style paste-on back cover sounds great! Big sounding ’60s jazz with lively arrangements from Oliver Nelson and Jimmy Heath. Clark Terry’s trumpet and flugelhorn contributions play a major role in the festivities. This is cool, swinging ’60’s jazz at its best! 

A lot of Verve records from this era are poorly mastered, but this one sounds just right to us.

A 4 1/2 Star Album in the All Music Guide!

Red Mitchell Quartet – Our Shootout Winner from 2010

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A distinguished member of the Better Records Jazz Hall of Fame.

TWO SUPERB SIDES on quiet vinyl. This stunning copy of this Better Records fave has some of the best upright bass sound we’ve heard; it’s welll-defined with texture and weight. It’s also unbelievable dynamic and lively. The clarity and transparency are mindblowing here. We went crazy over the huge soundfield on this copy — wall to wall, floor to ceiling, and then some.

We love the sound of Contemporary Records — it’s our favorite jazz label by a long shot. Roy DuNann always seemed to get The Real Sound out of the sessions he recorded — amazingly realistic drum sound; full-bodied, breathy horns; lots of top end extension; deep, note-like bass; weighty piano, studio ambience, three-dimensionality, and on and on.

The Sound of the Best Copies

Let’s face it: many reissues of this 1957 recording — this pressing is on the yellow ’70s label — have a veiled, dull quality to their sound. When they don’t, man, they can really beat the pants off even the best originals.

We get Black Label original Contemporary pressings in all the time, but few of them are mastered right and most never make it to the site. Some are pure muck. Some have bass so bloated that it’s hard to believe anyone would ever take that kind of sound seriously.

Don’t buy into that record collecting slash audiophile canard that Original Equals Better. That’s bullshit. Records don’t work that way, and anyone with two good ears, two good speakers and a decent-sized record collection should have learned that lesson a long time ago. The fact that a minority of audiophiles and record collectors actually do understand these things is a sad commentary on the state of reproduction in the home. But that’s another story for another day. (more…)

Stan Getz & Joao Gilberto – Getz-Gilberto #2

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  • 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…)

The Byrds in Mono – How Do They Sound?

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None of the mono pressings of The Byrds’ albums that we’ve played in shootouts over the course of the last ten years or so has ever impressed us much, none that I can recall anyway.

Congested and compressed, with no real top, who in his right mind could possibly tolerate that kind of sound on modern equipment?

Although, to be fair, we’ve stopped buying them, so there may actually be a good copy or two out there in used record land that we haven’t heard. In our defense, who really has the time to play records with so little potential for good sound?

How about the Sundazed mono pressings?

The best Columbia stereo copies are rich, sweet and Tubey Magical — three areas in which the Sundazed reissues are seriously lacking.

Does anyone still care? We simply cannot be bothered with these bad Heavy Vinyl pressings. If you’re looking for mediocre sound just play the CD. I’m sure it’s just as terrible.

See all of our Byrds albums in stock

 

 

Prokofiev / Peter & The Wolf / Rossi – How Does the Narrator Sound?

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate ANY version of Peter and the Wolf.

The narrator for this piece almost always sounds like he’s in a sound booth, of varying sound quality to be sure. (Bernstein’s narration is one of the worst in this respect, sounding more like Aqualung than Lennie.)  (more…)

John Coltrane – Giant Steps on Real Atlantic Vinyl

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A distinguished member of the Better Records Jazz Hall of Fame.

As you might expect, the original Blue and Green label pressings have — potentially — superb sound on Giant Steps, but somewhat surprisingly — assuming you’ve heard a White Hot original copy — the Red and Green label pressings can sound every bit as good.

The Tubey Magical richness and warmth carried over into the ’70s, at least on some copies of this title, and we’re very glad they did, as finding clean original Coltrane albums from the early ’60s is not so easy these days.

If you know anything about this music you know that Coltrane builds up a head of steam on practically every track on the album. He is blasting away here and it is a thrill to be sure. The soundfield opens up naturally, with real depth.

The clarity does not come at the expense of brightness or thinness of any kind. In fact, just the opposite is the case, the sound is so rich and tubey you will be practically bowled over by it.

The extension on both ends of the frequency spectrum is one of the qualities that often sets the better copies apart from the pack. All the top end and the deep bottom end weight and fullness that are so essential to the sound are simply not to be found on most pressings — but here they are.

Superb Engineering

The engineering duties were handled by Phil Iehle, a man who went on to record a few of Coltrane’s most iconic albums for Atlantic (My Favorite Things, Coltrane Jazz) and the venerable Tom Dowd, who also did Coltrane Jazz in 1961, Coltrane’s Sound in 1964 and many others.

Phil Iehle also helped engineer Buffalo Springfield’s Last Time Around, as well as albums by Mose Allison, Jerry Jeff Walker, Charles Mingus, the MJQ, Herbie Mann, Eddie Harris, Hank Crawford and dozens of others. Staff engineer at Atlantic? That’s my guess. But a supremely talented one nonetheless.

TRACK LISTING

Side One

Giant Steps 
Cousin Mary 
Countdown 
Spiral

Side Two

Syeeda’s Song Flute 
Naima 
Mr. P.C

AMG 5 Star Rave Review

Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane’s debut for Atlantic, he was concurrently performing and recording with Miles Davis… He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed “sheets of sound.” Coltrane’s polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre — turning it into the equivalent of easy listening.