- Stunning sound throughout with both sides of this very well recorded Desmond album from 1970 earning Shootout Winning Triple Plus (A+++) grades
- This pressing was noticeably richer, smoother and more natural than the competition – it’s also a big step up over many of the other CTI pressings of the man’s albums we’ve played
- Desmond’s sax is wonderfully present and breathy, and a copy with top grades like these is surely the best way to hear Don Sebesky’s wonderful strings with all their satiny sheen intact
- “Desmond finds something beautiful, wistful, and/or sly to say in each of these ten tunes, backed by Herbie Hancock’s Rhodes electric piano and a set of ravishing, occasionally overstated (as in “America”) orchestrations by Don Sebesky.” (more…)
A distinguished member of the Better Records Jazz Hall of Fame.
The first track, at more than ten minutes, is yet another one of our favorite orchestra-backed jazz recordings here at Better Records. Other albums of this sort that we love are Wes Montgomery’s California Dreaming (1966, and also Sebesky-arranged), Grover Washington’s All the King’s Horses (1973) and Deodato’s Prelude (also 1973, with brilliant arrangements by the man himself).
What’s especially notable is how well-recorded the orchestra’s string sections are. They have just the right amount of texture and immediacy without being forced or shrill. They’re also very well integrated into the mix. I wouldn’t have expected RVG to pull it off so well — I’ve heard other CTI records where the orchestration was abominable — but here it works as well as on any album I know of. (more…)
- This pressing boasts insanely good Triple Plus (A+++) sound or close to it on both sides, a huge step up from most copies
- There’s plenty of 1965 Columbia 360 Label Tubey Magic in Stereo – the analog sound is real, tonally correct, and above all, natural
- Miles fronts his second classic quintet here – saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams
- “They created a unique sound that came to define the very sound of modern jazz … ESP remains one of their very best albums.” — 4 1/2 stars
This Columbia 360 Label pressing is one of the better copies of E.S.P. we’ve heard.
It’s richer and fuller, with more ambience, and the trumpet and piano are just amazing sounding. You’re going to have a fairly tough time finding a copy that is anywhere near as impressive as this one. Trust me — we know whereof we speak. We’re always trying and all too often coming up short. Not here though! (more…)
Sonic Grade: B-
The sound is very good, with correct tonal balance and plenty of life. I was WAY TOO HARD on this album when it first came in. It’s playing right now and really swinging!
I just learned the secret to getting this one to sound right, and I am happy to share it with you. TURN IT UP!. When you get some volume going, the musicians really come to life on this album. It may sound crazy, but you need to play this one as loud as you would play your average rock record.
Billy Higgins whacks the hell out of his snare on the second track on side one. He really goes to town on that thing. Imagine you are sitting twenty feet from him in a jazz club; it would be plenty loud, right? Now find the equivalent volume setting on your preamp, drop the needle and get ready to FEEL the music, the way you would feel it if you were in that club.
Robert Pincus and Kevin Gray did a great job on this one. I put it right up there with the very best jazz records on Heavy Vinyl being made today. The first track is a tiny bit lean for my taste, but things get better after that.
Of course, how many copies do you really see of an album like this that aren’t beat to death, or minty but hundreds of dollars? Mighty few in our experience, so this has to be seen as a welcome addition to any audiophile’s jazz collection.