Top Artists – Cannonball Adderley

Cannonball Adderley In San Francisco in 1959

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  • Amazing Triple Plus (A+++) sound on the first side and Double Plus (A++) on the second for this groundbreaking live jazz album 
  • The sound of this wonderful reissue pressing is big and full-bodied with good live club space and plenty of Tubey Magic
  • Cannonball joins forces here with his brother, cornetist Nat Adderley, at The Jazz Workshop in San Francisco to create an album Orrin Keepnews lauded as, “the birth of contemporary live recording”
  • 4 1/2 stars: “Both Cannonball and Nat Adderley play with stunning, bluesy brilliance here… Outside of Somethin’ Else, Adderley’s 1958 masterpiece, In San Francisco may be the saxophonist’s defining moment.”

Classic Jazz – How Can You Go Wrong?

What the best sides of this Classic Jazz Album have to offer is clear for all to hear: (more…)

Cannonball Adderley – Cannonball’s Bossa Nova – A Forgotten Jazz Classic

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  • An exceptionally rare and amazing sounding early stereo pressing – it boasts Triple Plus (A+++) sound from first note to last 
  • These originals are by far the best way to go, in stereo of course, putting Cannonball’s breathy, melodic sax right between your speakers, with the rest of the band – including Sergio Mendes on keys – spread out around him
  • Truly an undiscovered gem in the Adderley catalog – the audiophiles here at Better Records were digging both the music and especially the superb sound
  • Another top quality recording from the superbly talented Ray Fowler, the house engineer for Riverside and the man behind many of the best Thelonious Monk and Cannonball Adderley recordings done for that great jazz label

I think I first heard this album on the original pressing about ten years ago. Of course I liked it immediately; samba jazz and pop are two of my favorite styles of music, from Getz Au Go Go to Astrud Gilbert, on to Antonio Carlos Jobim and ending with the bottled-sunshine Pure Pop of Sergio Mendes and Brazil ’66.

For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1962 All Tube Analog sound can be, this killer copy will do the trick. (more…)

Cannonball Adderley – In the Land of Hi-Fi – A Good Speakers Corner Reissue

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Sonic Grade: B?

A fairly good Speakers Corner jazz album (we’re guessing). Years ago we wrote the following:

“Outstanding! Top recommendation!”

Hard to know what we would think of this pressing today, but for the thirty bucks you might pay for it it’s probably worth a listen. 

 

Cannonball Adderley Quintet In Chicago on Speakers Corner Heavy Vinyl

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Sonic Grade: C? B?

A fairly good Speakers Corner jazz album.

Years ago we wrote the following: “This one has excellent sound (in that left-right jazz of the fifties kind of way).” We can’t be sure that we would still feel the same way. My guess is that this is still probably a good record if you can get one the 30 bucks we used to charge for it. 

Check out our Heavy Vinyl Scorecard to read all about the latest winners and losers.

 

 

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…)

Somethin’ Else – Setting the Record for Straight Ahead Jazz

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COMMENTS TAKEN FROM A RECENT HOT STAMPER SHOOTOUT

The music here is amazing — as I’m sure most of you know, this is as much a showcase for Miles Davis as it is for Cannonball himself — but the good news for audiophiles is that it’s also one of the BEST SOUNDING BLUE NOTE ALBUMS we know of! When you hear it on a copy like this, it’s just about As Good As It Gets.

Setting the Record for Straight Ahead Jazz

After doing this shootout in 2015 I would like to amend the above remarks for being much too conservative. The current consensus here at Better Records is that this album deserves to hold three — count ’em, three — somewhat related titles:

One, The Best Sounding Blue Note record we have ever played.

Two, The Best Sounding Jazz Record we have ever played.

Three, Rudy Van Gelder’s Best Engineering (based on the copies we played). (more…)

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.

(more…)