Top Artists – Bill Evans

Bill Evans Moon Beams – Superb on the Right OJC Pressing

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  • Excellent Double Plus (A++) sound on both sides, this is one of the better copies of Bill Evans’ 1962 classic to ever hit the site
  • Full-bodied and warm, exactly the way vintage analog should sound, yet as clear and as open as any pressing you’ve heard (or your money back)
  • The first album Evans recorded after Scott LaFaro’s death and it is deeply immersive experience
  • Allmusic raves it’s “…so well paced and sequenced the record feels like a dream … Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader.”
  • Great sound for this rockin’ soul album with two live tracks. Just listen to the drums on Black-Eyed Blues — the way the percussion and bass mingle sonically with Alan White’s skins takes this listener right into the room where the magic happened.

Moon Beams is one of the best sounding Bill Evans records we’ve ever played. You can see why we chose it to be the first OJC Hot Stamper of his to hit the site back in 2015. Play It Might As Well Be Spring for the kind of sublime musical experience you only find on 20th century analog. (more…)

The Tony Bennett / Bill Evans Album – The Best Male Vocal Recording of the Era

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This album, when heard on the best Hot Stamper pressings, ranks right up at the top of the All Time Great Male Vocal Recordings from any era. Bennett’s voice sounds wonderfully rich, BREATHY, and above all REAL.

For a Popular/Jazz Vocal album produced in 1975, or, to be honest, the entire decade of the Seventies, we can think of no other that is its sonic equal.

The soundstage is open and spacious, the piano full-bodied and clear, and the vocals have the clarity and fullness missing from most pressings. It’s incredible to hear these two top-notch musicians interacting and responding to each other in this kind of huge, open and natural space.

The Acoustic

This is a studio recording in a fairly dead acoustic, worlds away from the echo-drenched sound of his Columbia releases, so for practically the first time on record you can really hear the man’s voice, not the echo chamber they used to process it. (more…)

Bill Evans – Quintessence

Some sections on our site are hard to find. Here’s one with lots of cool records in it:

Forgotten Jazz Classics

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Bill Evans – Quintessence

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

STUNNING SOUND THROUGHOUT — this is one of the best sounding Bill Evans records we’ve ever heard! Side one here earned our top A+++ grade while side two earned a very strong A++. Both sides are super rich and full-bodied with lots of energy and considerable dynamic power. There aren’t too many ’70s jazz records that sound like this!

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The music is wonderful as well, and Evans is joined by an all-star lineup of Harold Land, Kenny Burrell, Ray Brown and the great Philly Joe Jones.

We were stunned at how good this album can sound on the right pressing (one like this, natch). It has that natural, realistic feel that you get on the best Contemporary recordings. I don’t know what you could do to make this music sound any better than it does here. The sax is breathy and full, the piano is big and solid, the acoustic bass is well-defined with real weight and the guitar tone is tubey and warm. Hard to imagine that there are too many audiophiles with a substantial number of jazz records in their collection that sound as good as this (our own Hot Stampers excluded of course)!

Avoid Making this Rookie Record Collecting Mistake

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Record Shopping Day Video!

Not sure how much of this video you can stand — nothing could interest me less than a couple of audiophile / vinyl enthusiasts spouting off on what they think about some random records sitting in a local store’s bins — but one or two bits caught my eye. I thought it might possibly be of service to share them with you.

Is there any value to the comments of these two collectors? If you care about what music they like, perhaps.  Anything about what to look for on the label or jacket that might correspond to better sound?  If it’s there I sure didn’t see it, but I admit to speeding through most of it so I can’t say for sure.

The first bit I refer to above is at 18:42.  The album in question is the legendary Kind of Blue. At this point the unseen helmet-cammed audiophile picks up the record, recognizes the original cover, and proceeds to pull the record out to see what era the pressing is from.

Drat! The disappointment in this audiophile’s voice is palpable as he drops the record back in the bin with his dismissive comment that  “it’s a later pressing.”

But we here at Better Records would be falling all over ourselves to get our hands on that later pressing. Those late pressings can and often do win shootouts. We would never look down our noses at a Red Label Columbia jazz LP, and neither should you.

Our intrepid audiophile explorer does much the same thing about 23 minutes in. It seems pretty clear to us that he has no respect for such reissues, another example of one of the most common myths in record collecting land, the myth that the  original pressing is always, or to be fair, usually better. (more…)

Waltz for Debby Vs. Sunday at the Village Vanguard

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See all of our Bill Evans albums in stock

The best sounding Bill Evans record we have ever played? Probably. it’s safe to say that at the very least it’s as good as any we’ve critically evaluated on our current system.

Waltz for Debby Vs. Sunday at the Village Vanguard

I was never all that impressed with the OJC of this album back in the ’90s when I used to sell it as an in-print record. I loved the OJC of Waltz for Debby, an album that completely smoked the awful Analogue Productions pressing mastered by Doug Sax from 1992. But Sunday? Good, not great.

Of course now my first thought is that I probably had a top quality “stamping” of Waltz for Debby and a somewhat lesser copy of Sunday, but I didn’t know much about stamper variations back then and it would not have occurred to me to buy five or ten copies of both albums and compare them.

In the ensuing years I lost track of the OJC pressing of Sunday at the Village Vanguard — hadn’t played it in more than a decade as a matter of fact, so when one came my way I was shocked to hear how good it sounded. Records sound a lot better than they used to I guess, and that’s the way it should be, Revolutions in Audio and all that.

Of course it quickly turned out that not every copy sounded like the hot one I had played, and bad stampers and bad record stamping ended up being the norm and not the exception.

George Horn and The Original Jazz Classic Series

George Horn was doing brilliant work for Fantasy all through the ’80s. This album is proof that his sound is the right sound for this music.

That was the ’80s. In the ’90s a fellow from Kansas hired a mastering engineer of great renown from the Los Angeles area to improve upon the work that George Horn had done. To my never-ending consternation, most audiophile reviewers, including a rather famous one we’ve mentioned on this site a time or two, thought Sax and the Kansan had succeeded in doing just that. I held at the time and still hold to this day quite the opposite opinion — those remastered records are not only awful sounding, but fundamentally wrong sounding.

Original Vs. Reissue

The original Riverside pressings are the best, right?

Not in our experience. We think that’s just another Record Myth.

Some of you may have discovered that the original Bill Evans records on Riverside are mostly awful sounding — I can’t recall ever hearing one sound better than mediocre — so we are not the least bit worried that this OJC won’t beat the pants off of the original, any reissue you may have, and of course any Heavy Vinyl pressing that has ever been, or ever will be, mastered.

 

A Killer Kind of Blue — We Guarantee You’ve Never Heard It Sound Like This

Kind of Blue

 

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A knockout copy of one of the most famous albums of all-time, the great Kind Of Blue! This one is absolutely SUPERB, earning our top Triple Plus (A+++) grade for both sides. You will not believe the presence, energy and transparency on this pressing. The brass sounds AMAZING. The bottom end is just right. And the piano is Right On The Money. Folks, I don’t think you could ask anything more from this music than what this White Hot Stamper gives you.

In my opinion, many of the best sounding copies are standard domestic Red Label pressings from the ’70s. I’m fully aware of how outrageous a statement that may sound. But I’ve long known of amazing sounding Kind Of Blue reissues.

Having played scores of different pressings of this record over the years, I think I know this recording about as well as anyone. The tube mastered original Six Eye Stereo copies have wonderful, lush, sweet sound. I’ve heard many of them. The 360s from the ’60s often split the difference — less tubey magical, but cleaner and more correct. The Red Labels are all over the map, ranging from smeary and dull to out of this world. And this copy, my friends, is one of the good ones.

What About The Earlier Pressings?

If you cut it with tubes it will bring out some qualities not as evident on this pressing. But there will be drawbacks as well. It’s a matter of trade-offs. There is no copy that will satisfy everyone, just as there is no speaker or amplifier that will satisfy everyone.

Now don’t get me wrong. I love tubey colorations. I say so all over this site. But there is no way that the qualities of this record exist on those early, tubey cuttings. They simply didn’t have the technology. The technology they did have is wonderful in its own way. And this record is wonderful in its own, very different, way.

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