- A superb sounding original stereo copy with solid Double Plus (A++) sound or very close to it on both sides – exceptionally quiet vinyl too!
- Bigger and richer, with lovely Tubey Magic and breathy vocals, this Tri-Color Reprise pressing lets us hear Sammy at the peak of his powers performing some of Nat’s most memorable songs
- 4 Stars: “Alongside Cole’s collaborator, Billy May, and notable jazz arranger Claus Ogerman, Davis and company turned in one of the finest and most underrated efforts.”
- Wes Montgomery’s superb posthumous release finally makes its Hot Stamper debut, with Shootout Winning Triple Plus (A+++) sound from start to finish
- The stereo sound here is Tubey Magical, lively and clear, with three-dimensionality that will fill your listening room from wall to wall
- Assembled using additional material from the live Smokin’ at the Half Note sessions, this collection served as the perfect memorial to Montgomery’s musical genius
- Grammy Award Winner for Best Jazz Instrumental Album, Individual or Group
- “… what you will hear, bathed in winds or not, is prime, mature Wes Montgomery stretching out in full, with unbelievable confidence in his ear and technique at all times…”
- Excellent Double Plus (A++) sound on both sides and one of the better copies from our most recent shootout
- If you dig Oliver’s Nelson’s swingin’ BIG BRASS as much as we do you are in for a treat with this stereo pressing
- The best sides have the kind of analog richness, warmth, and smoothness that make listening to records so involving
- Slaughter On Tenth Avenue is the monster track leading off here, and it swings the way Walk on the Wild Side does – like crazy, man!
This is some of the BEST SOUND we have ever heard for any RVG recording of Jimmy Smith with arrangements by Oliver Nelson (Claus Ogerman also took on some of the arranging duties; his work with Antonio Carlos Jobim is superb in all respects). (more…)
Some sections on our site are hard to find. Here’s one with lots of cool records in it:
A distinguished member of the Better Records Rock and Pop Hall of Fame .
The space is HUGE and the sound so rich. The vocals have dramatically less hardness and the orchestra sounds right for once. Prodigious amounts of Tubey Magic as well, which is key to the best sounding copies. The sound needs weight, warmth and tubes or you might as well be playing a CD.
If you don’t like at least some reverb on your vocals, this album is probably not for you. The standard recording approach for Male and Female Vocals in the ’50s and ’60s was to add reverb to them. Sometimes it sounds right and sometimes it’s too much. For “too much” play some of Nat King Cole’s records from the era to hear what I mean. (Try “Those Lazy-Hazy-Crazy Days of Summer” from 1963 if you want a good place to start.)
Like any processing of the sound in the studio — compression, limiting, reverb, EQ, etc. — it can be used with taste and discretion and make the recording better, or it can be overdone and ruin everything. For our part we think Astrud Gilberto’s recordings use reverb more or less tastefully. And of course there sure aren’t going to be any versions of this music coming along any time soon without the added echo. Getting the reverb to sound right is one of the things a good Hot Stamper has to do on a record like this. (more…)