The sound when summed to mono is natural, with a correct top end. This is some of the best of the early, folky Donovan from 1965.
We were less than impressed with the sound of this electronically reprocessed album in stereo, but were very pleasantly surprised when we hit the mono button on our EAR phono stage. The weird, phasey top end disappeared almost completely on side two, and Donovan’s voice and guitar sounded pretty darn right to us by the second track (the first track on side two is a mess).
If you do not have a mono switch on your phono stage or preamp, this is probably not the right record for you.(more…)
This Prestige “stereo” pressing boasts outstanding Double Plus (A++) sound on both sides – reasonably quiet vinyl too
It may say stereo on the cover, but this album is pure, glorious MONO, with sound that is full-bodied, relaxed, Tubey Magical and tonally correct
Here is the palpable jazz energy, the life of the music, that’s sure to be missing from whatever dead-as-a-doornail Heavy Vinyl pressing is being stamped out these days
“… a classic of the 20th century jazz canon and an essential point of reference in Coltrane’s own tumultuous career…. this is the album on which Coltrane first emerged as the primary innovator of the jazz world, wielding an astonishing technical virtuosity and a blinding vision of the possibilities of the tenor sax.”
Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.
This is a mono recording that has supposedly been reprocessed into stereo. Rudy Van Gelder did the mastering, and my guess is he decided to leave the sound mono and simply not tell anyone. Who can blame him? He engineered it in mono, so why fix what ain’t broke because they printed the cover and the label with the word “stereo” on them in order to generate more sales?
We’re lucky he did. The OJC reissues of this title are awful, and whatever Heavy Vinyl they’re churning out these days is probably every bit as bad. Without these excellent ’60s and ’70s reissues, all that we would have available to do our shootouts with would be the originals. At one to three thousand dollars each for clean copies, few of which could ever be found anyway, that makes for a shootout whose costs could simply never be justified.
This KILLER Prestige not-very-stereo pressing has Shootout Winning Triple Plus (A+++) sound or very close to its on both sides
Like many other Prestige “stereo” reissues, if there is any left-right information, you would never know it without checking it on a pair of headphones
In other words, this ’50s mono recording has been mastered in the ’60s to sound like it’s supposed to sound – there’s absolutely nothing artificial or modern here, which makes this a very special pressing indeed
Again and again the notes read “solid, big and rich,” and that’s the kind of sound fifty year old records give you, in spades
“Tenor Madness was the recording that, once and for all, established Newk as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why a young Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz.”
If you’re a fan of Sonny’s, this is a Top Title from 1956. The complete list of titles from 1956 that we’ve reviewed to date can be found here.
Cal Tjader’s recording debut arrives with STUNNING Shootout Winning Triple Plus (A+++) sound or close to it throughout
Compiled from two 10″ discs recorded in mono in 1956, this LP may not be true stereo, but it sounds great to us
If you have a mono switch you can hear the single channel version at will, but we actually preferred the better space and width in stereo
“Many of the most celebrated Brubeck devices can be heard on these selections: the almost violent shifts from lush lyricism to jagged block chord configurations; the curiously paradoxical intertwining of traditional song materials and advanced (for 1949, at any rate) musical ideas; the dynamic pyramids of sound that begin rather casually and grow to almost unnerving heights…”