- Nelson’s 1965 release makes its Hot Stamper debut with stunning Shootout Winning Triple Plus (A+++) sound throughout – exceptionally quiet vinyl too
- Forget whatever dead-as-a-doornail Heavy Vinyl record they’re making these days – if you want to hear the Tubey Magic, size and energy of this wonderful album, a vintage pressing like this one is the only way to hear it
- 4 stars: “… there are some strong moments from such all-stars as trumpeter Thad Jones, altoist Phil Woods, baritonist Pepper Adams, pianist Roger Kellaway and guest tenor Ben Webster (who is on two songs). The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor.”
A distinguished member of the Better Records Jazz Hall of Fame.
This is a unique jazz album (in my experience, anyway) with very good sound. Piano with harmonica accompaniment is something I’ve never heard before, and most of the time it actually works. Both of these guys are top flight musicians, and their ability to communicate in order to create this wonderful improvisational jazz is a joy to experience.
White Hot — nothing could touch it. The sound is especially lively and clear, with highly resolving sound that lets you hear all the nuances and harmonics of every instrument.
Exceptionally open and spacious. Love that studio!
Nearly as good in every way, perhaps falling short a bit in the realm of resolution, but clearly superior to almost every other copy we played. (more…)
A classic case of Live and Learn. Many years ago we had played copies of the record and thought the sound was fine, shootout material in fact. Flash forward to 2015 or 2016. Now it sounds thin, flat and opaque. Worse, it’s actually in MONO.
A stereo recording reissued in mono for no apparent reason? What were they smoking over there at Milestone? (more…)
- Bill Evans’ 1980 release makes its Hot Stamper debut with outstanding Double Plus (A++) sound from first note to last
- Rich, smooth, sweet, and wonderfully natural, this is the sound we love here at Better Records
- 4 stars: ” For his final Fantasy album, Evans, bassist Eddie Gómez, and drummer Eliot Zigmund perform memorable renditions of such songs as Herbie Hancock’s “Dolphin Dance”… Fine post-bop music from an influential piano giant.
- An outstanding copy of this live album, with solid Double Plus (A++) sound from first note to last – reasonably quiet vinyl for this kind of quiet piano music
- These sides are doing pretty much everything right – as befits a live concert, there’s an overall unprocessed quality to the sound and good space around all three players
- 4 1/2 stars: “With bassist Marc Johnson and drummer Joe La Barbera, Evans had one of the strongest trios of his career… The close communication between the players is reminiscent of Evans’ 1961 unit with Scott LaFaro and Paul Motian.”
- Evan’s Classic Live album from the Montreux Jazz Festival returns to the site with outstanding Double Plus (A++) sound or BETTER from first note to last
- A killer Verve stereo pressing, with lovely richness and warmth, real space and wonderful immediacy throughout
- Recorded live in 1968, this superb release pairs Evans’ unique piano improvisations with bandmates Eddie Gomez and Jack DeJohnette
- 4 stars: “Evans, famous for a soft-spoken pianistic touch, seems driven to new vistas on this album. He experiments more with harmonic dissonance and striking rhythmical contrasts, making this his most extroverted playing since his freshman release, New Jazz Conceptions.”
A distinguished member of the Better Records Jazz Hall of Fame.
STUNNING SOUND ON SIDE ONE! It is insanely difficult to find great sounding Bill Evans records, which is why you almost never see any of his albums up on our side. This copy has a side one that is nothing short of Demo Quality. It’s one of the better sounding sides of Piano Trio music we’ll find this year (along of course with the killer copies of The Three that hit the site). The best music on this album is found on the first side, so this is a very special pressing to say the least.
Side one is KILLER. Everything you could ask for from this music is here. You get real weight to the piano, tons of energy, incredible immediacy, real separation between the instruments and natural live imaging — you really get a sense of where each of the players is on the stage. The sound is cleaner and clearer than we heard elsewhere, with more extension up top and more weight down low. The bass sounds JUST RIGHT. Most copies we’ve played weren’t nearly this rich, warm and full-bodied. I don’t think you could find a better sounding side one no matter what you did. We gave it our top grade of A+++, any Bill Evans fan is going to be very impressed.
Side two was also very good but not quite as impressive. The sound is rich and full with a strong bottom, but it doesn’t have all the top extension of the first side. Most of the side is taken up by a 13 minute solo piano piece. The playing is nice, but even on the very best side twos the sound of this piece does not quite live up to what you get from the full trio. (more…)
- An incredible sounding copy – this early stereo pressing boasts Shootout Winning Triple Plus (A+++) sound from start to finish
- We were knocked out by the Tubey Magical midrange of this killer original, with all the saxophone’s breath and bite you would expect to hear on an All Tube affair from 1958
- This is precisely what is sure to be missing from whatever reissue has been made from the tapes (or, to be clear, a modern digital master copied from who-knows-what-tapes)
- “Jump for Joy is Adderley’s reinterpretation of a Duke Ellington stage musical from 1941… Hearing Adderley’s often thrilling, always well-constructed alto sax improvisations over tunes like “I Got It Bad and That Ain’t Good” is reason enough for the album to exist…”
With Bill Evans on piano no less! (more…)
- Oliver Nelson’s masterpiece returns to the site with outstanding Double Plus (A++) sound on both sides
- Clean, clear and present with a solid bass foundation, as well as the big stage this big group of musicians needs
- If all you know is Van Gelder’s original cutting, you will surely have your eyes and ears opened by this wonderful Hot Stamper
- Allmusic calls this album “…his triumph as a musician for the aspects of not only defining the sound of an era… but on this recording, assembling one of the most potent modern jazz sextets ever.” 5 Stars (of course)
The sound is tonally correct, Tubey Magical and above all natural. The timbre of each and every instrument is right and it doesn’t take a pair of golden ears to hear it. So high-resolution too. If you love ’50s and ’60s jazz you cannot go wrong here.
For those record lovers who still cling to the idea that the originals are better, this record will hopefully set you straight.
Yes, we can all agree that Rudy Van Gelder recorded it, brilliantly as a matter of fact. Shouldn’t he be the most natural choice to transfer the tape to disc, knowing, as we must assume he does, exactly what to fix and what to leave alone in the mix?
Maybe he should be; it’s a point worth arguing.
But ideas such as this are only of value once they have been tested empirically and found to be true. (more…)
Sonic Grade: F
That weird boost around 10k that Stan Ricker liked to add to practically every record he mastered wreaks havoc on the sound of Tony Bennett’s voice. I would be very surprised if the current in-print CD doesn’t sound more tonally natural, and for us audiophile record lovers – not lovers of audiophile records, but guys who love records with audiophile sound – that’s simply another nail in the coffin for one of the most laughably inept remastering labels in the history of that sad enterprise. (more…)