Mono=Best

These records sound better in mono.

Chet Baker and Art Pepper / Playboys

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  • An outstanding Boplicity reissue that boasts dynamic and lively West Coast Jazz sound from start to finish – it earned Double Plus (A++) grades and plays on exceptionally quiet vinyl to boot
  • Both of these sides have close to the best condition grade we give out, Mint Minus – there may not be another record on the site with vinyl that quiet!
  • The label may say stereo, but the sound on both of these sides is pure, glorious 1958 Tube-recorded MONO
  • Bigger and more present and energetic than most of the other copies we played, the horns sound fuller and have more space to play into – it’s the Tubey Magical classic 50s jazz sound, the only sound that ever works for this kind of music in our experience
  • This album was reissued with a different title in 1961 as Picture of Heath — we’ve played both the original and the Pure Pleasure Heavy Vinyl reissue from 2006
  • 4 stars: “These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.”

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Sonny Rollins / Tenor Madness on the Prestige Trident Blue Label

The Music of Sonny Rollins Available Now

  • With INCREDIBLE Shootout Winning Triple Plus (A+++) sound or close to it on both sides, this Prestige not-very-stereo pressing could not be beat
  • Like many other Prestige “stereo” reissues, if there is any left-right information, you would never know it without checking for it with 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.

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Chris Connor – He Loves Me, He Loves Me Not

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More Pop and Jazz Vocal Recordings

  • He Loves Me, He Loves Me Not is back on the site with seriously good Double Plus (A++) or BETTER sound throughout this original Atlantic Mono pressing
  • This copy is bigger, richer, more Tubey Magical, and with more extension on both ends of the spectrum than most of what we played
  • The vocal naturalness and immediacy of this pressing will put Chris in the room with you – more than anything else, it lets her performance come to life
  • Marks in the vinyl are sometimes the nature of the beast with these early pressings – there simply is no way around them if the superior sound of vintage analog is important to you

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John Coltrane – More Lasting Than Bronze

More of the Music of John Coltrane

  • This superb Prestige Two-Fer offers seriously good sound on all FOUR sides
  • Compiled from two nearly complete Classic Coltrane releases, Lush Life and Coltrane, this collection boasts masterful sound – thanks RVG!
  • Full-bodied, energetic, and tonally correct from top to bottom – these pressings are guaranteed to bring Coltrane’s music to life
  • Regarding the song Lush Life: “Rarely does a single performance uncover the essence of an artist with such aptness. The well-crafted melody is treated above all with dignity, which may be part of the reason it remains flawless.”
  • If you’re a Coltrane fan, these recordings from 1957 surely belong in your collection
  • Another brilliant sounding Two-Fer, proving once again that the right budget reissues can sound dramatically better than anything being pressed these days on vinyl at any price

The jackets for these Two-Fers tend to have some ringwear. We will of course put these two discs in the nicest cover we have available.

This is the kind of recording that makes people revere Rudy Van Gelder. And since he mastered these pressings, we have to give him even more credit for doing the transfer exceptionally well. I am on record as saying that some of his own transfers are problematical. Not this one. Since this has two of Coltrane’s greatest albums together, I can’t recommend this record any more highly.

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Miles Davis – Jazz Track (Reissue Pressing)

More Miles Davis

  • This copy of Davis’ superb 1959 release boasts outstanding Double Plus (A++) sound from start to finish
  • Yes, there is no question that the early Six Eye pressings will always win our shootouts — they can be amazing
  • Nevertheless, we were fairly shocked that this budget jazz reissue from 1973 did as well as it did, with the best copy earning a very respectable two pluses
  • More evidence that high quality remastering was being done regularly throughout the ’70s and ’80s 
  • Davis partners here with jazz greats, including John Coltrane, Bill Evans, Cannonball Adderley and others
  • “… it should become clear why ‘Jazz Track’ is a vital Miles album as well as a testimony to the importance of the movies to jazz–as a medium for improvised soundtracks and, more importantly, as a source of theme music potentially as rich as the music of Broadway…”
  • “It’s doubtful that “On Green Dolphin Street” and “Stella by Starlight” would have caught on without Bill [Evans’] artistry (which is not to take anything away from Red [Garland], whose ballads simply lacked the intricate, delicately shaded beauty of Bill’s pensive voicings on the slow ballads).”

The nine minute plus long Green Dolphin Street that opens side two is nothing short of amazing, some of the coolest jazz you will ever hear, on any record, at any price. With Stella by Starlight and Fran Dance on the same side, that gives you about 20 minutes of great sounding jazz by Miles’ classic Kind of Blue lineup. (more…)

June Christy – Gone For The Day

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More Pop and Jazz Vocal Recordings

  • Amazing sound on this original Capitol Turquoise Mono pressing, with solid Double Plus (A++) grades or close to them from first note to last
  • Rich, smooth, sweet, full of ambience, dead on correct tonality, and wonderfully breathy vocals, not to mention boatloads of Capitol Tubey Magic – everything that we listen for in a great record is here (particularly on side two)
  • Take this one home and play it against whatever audiophile pressings you own – it’s guaranteed to beat any and all versions you have in your collection, or your money back
  • “One of June Christy’s two 1957 Capitol LPs, Gone for the Day boasts Pete Rugolo arrangements and a 12-piece group of mostly West Coast all-stars…includ[ing] trumpeter Don Fagerquist, trombonist Frank Rosolino, altoist Bud Shank, and Bob Cooper on tenor.”
  • If you’re a fan of June’s, this Top Title from 1957 belongs in your collection
  • The complete list of titles from 1957 that we’ve reviewed to date can be found here.

The shootout winner for this title may have been the best sounding June Christy record we’ve ever played.

Musically this album is right up there with the best female vocal records we know of, the creme de la creme, albums on the level of Julie Is Her Name, Clap Hands and Something Cool. It really doesn’t get much better than this.

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The Who – My Generation

More of The Who

More Debut Recordings of Interest

  • A My Generation like you’ve never heard, with outstanding Double Plus (A++) sound throughout this vintage Mono import pressing
  • Both of these sides were bigger and richer, and with more rock energy, than most of what we played
  • If you want to hear this music EXPLODE out of the speakers and come to life the way The Who wanted you to, this record will do the trick
  • The right stampers make all the difference on this title – the average copy of this later pressing is hardly worth the vinyl it’s pressed on (we know, we’ve learned about them the hard way)
  • “An explosive debut, and the hardest mod pop recorded by anyone. [T]he Who never surpassed the pure energy level of this record”

We recently finished a shootout for this record and this copy was a solid step up over most of what we played. Some tracks do sound better than others, but that’s par for the course with this kind of material. On the best songs, it had all the top-end, bass and presence that was missing from other copies. I’ve rarely heard these songs sound better than they do here.

This vintage-but-far-from-original UK Mono pressing has the kind of Tubey Magical Midrange that modern records can barely 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 the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

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Hampton Hawes – Vol 2: The Trio

More Hampton Hawes

More Contemporary Label Jazz Recordings

This Triple Plus (+++) pressing from ’55/’56 mono tapes is EVERYTHING that’s good about mono. The size, the weight, the solidity, the clarity, the energy, the rhythmic drive – it’s all here and more.

This killer pressing has the best sound and the best music we have ever heard on any Hampton Hawes album.

There is nothing to fault in the sound of side one of this pressing, and side two was nearly as good – what a record!

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.

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.

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 transfer that vintage sound correctly onto vinyl disc was simply to thread up the tape on a high quality machine and hit play.

The fact that nobody seems to be able to make an especially good sounding record these days — certainly not as good sounding as this one — tells me that in fact I’m wrong to think that such an approach would work. Somebody should have been able to figure out how to do it by now. In our experience that is simply not the case today, and has not been for many years, if not decades.

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Julie London – About The Blues

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More Pop and Jazz Vocal Recordings

  • Boasting two outstanding Double Plus (A++) or BETTER sides, this original Liberty Turquoise label MONO pressing was giving us the sound we were looking for on Julie London’s wonderful 1957 release
  • Julie’s lilting vocals are clear, breathy, Tubey Magical, and sweet, like nothing you’ve ever heard (unless you have one of our other Hot Stamper Julie London records)
  • Rich, smooth, sweet, full of ambience, dead-on correct tonality – everything that we listen for in a great record is here
  • Marks and problems in the vinyl are sometimes the nature of the beast with these early pressings – there simply is no way around them if the superior sound of vintage analog is important to you
  • 4 stars: “About the Blues … may just be her best orchestral session. Since downbeat torch songs were London’s specialty, the album features an excellent selection of nocturnal but classy blues songs that play to her subtle strengths…”

Liberty and Ted Keep

Why does this 1957 recording sound so good?

Well, Liberty was a label that tended to produce very good sounding records. We’ve played scores of them, and we’ve done many shootouts for the ones that had music that could justify our high prices the time and effort required to find the best sounding copies.

But the most obvious reason this record has such good sound is that Ted Keep recorded it.

You don’t have to, but if you want this kind of sound quality, it pays to go back to the All Tube Recording and Mastering Chains of the late ’50s and early ’60s. That is where you are most likely to find it.

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Max Roach – Conversations (aka Deeds, Not words)

More Jazz

  • Roach’s wonderful 1958 release makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound or close to it on both sides
  • You’d be hard-pressed to find a copy that’s this well balanced, yet big and lively, with such wonderful clarity in the mids and highs
  • Unusually quiet for a record of its vintage – it’s hard to picture us finding another copy with top quality sound and surfaces remotely this clean
  • 4 1/2 stars: “This Max Roach Riverside date is notable for featuring the great young trumpeter Booker Little and for utilizing Ray Draper’s tuba as a melody instrument… This is fine music from a group that was trying to stretch themselves beyond hard bop.”

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