Both sides have that Midnight Blue magic — superb transparency, plenty of deep bass, silky highs, and TONS of energy. The sound of the congas on this copy is wonderful — so punchy with clearly audible transients and so much ambience, it sounded to us like Ray Barretto was right there in the room with us, over by the left speaker. The ultimate copies have a degree of clarity that can BLOW YOU AWAY. (more…)
This outstanding copy of Out Of This World boasts solid Double Plus (A++) sound – exceptionally quiet vinyl too
This superb RVG recording comes to life on this pressing – it’s full-bodied and above all, lively (Rudy’s trademark sound)
This collaboration between Burrell and Coleman Hawkins highlights the blues roots of these two jazz greats, veterans who can swing with the best of them (which is why their discographies run for pages)
“Bluesy Burrell combines the finest elements of blues and bebop jazz into a blend that demonstrates just how well the styles fit together and proves that blues need not be minimalist in nature, and jazz can be a bit less rigid, allowing breathing space amidst perfect chord work and superb rhythm.”
This vintage Prestige Stereo pressing has the kind of Tubey Magical Midrange that modern records rarely begin to reproduce. Folks, that sound is pretty much gone and sure doesn’t seem to be coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.(more…)
A good customer had this to say about a recent shootout:
“By the way side 2 of Midnight Blue bested every other copy I played including the 45 RPM Blue Note[Analogue Productions]reissue. The 45 RPM is very good. You know that technically it is right, but at the same time it’s missing something. When I listened to the [Hot] stamper copy you dug up for me I found it a little noisy at first and wasn’t sure if I could live with it. However after returning to the 45 RPM there was no enjoyment, so I dropped the needle on the stamper one more time, and then I heard it…”
I know what you mean about these modern reissues “missing something”. No matter how well mastered they may be, they’re almost always missing whatever it is that makes the analog record such a special listening experience. I hear that “analog” sound practically nowhere else outside of the live event. (more…)
A superb sounding original stereo pressing with solid Double Plus (A++) sound from first note to last
Gil Evans wrote the superb orchestral arrangements and Rudy Van Gelder captured them on lovely analog tape – what’s not to like?
We’ve really been digging these Creed Taylor productions for years now – it may not be serious jazz, but it’s no less interesting and captivating for it
“His landmark 1965 collaboration with Gil Evans, Guitar Forms rivals anything the arranger did with Miles Davis. Indeed, the track “Lotus Land” has a bolero form very reminiscent of Sketches of Spain. Throughout, Burrell takes thoughtful, concise, and utterly musical solos, and even switches to acoustic classical guitar on “Prelude #2” and “Loie.””
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1965 All Tube Analog sound can be, this killer copy will do the trick.(more…)
Pretty flat and lifeless. You would never understand why audiophiles rave about this recording by listening to the Classic Records pressing.
We played it up against our best, and as expected it was nothing to write home about. Since Rudy has remastered and ruined practically all the Blue Note CDs by now, you will have your work cut out for you if you want to find a good sounding version of Midnight Blue. This sure ain’t one.
Of course we would be more than happy to get you an amazing sounding copy — it’s what we do — but the price will be five to ten times (or more) what the Classic costs. In our opinion it’s money well spent, as you will see in our review below.
Since the Classic conveys very little of what the musicians were up to whilst recording the album, our advice is to cross it off your list of records of interest. It’s thirty bucks down the drain.(more…)
Truly superb sound for this incredible recording, Triple Plus (A+++) on the second side and Double Plus (A++) on the first
Amazingly present, immediate and REAL — musically and sonically, this is one of our favorite jazz albums
This is an incredibly tough album to find with the right sound and decent surfaces, which is the main reason it’s been years since we did the shootout
4 stars on Allmusic: “Highly recommended for all dimensions of jazz enthusiasts.” [We would of course give it the full 5 Stars]
This Stan Getz record has the kind of LIVE JAZZ CLUB SOUND that audiophiles like us (you and me) dream of. More importantly, this ain’t no Jazz at Some Stupid Pawnshop — this is THE REAL THING. Stan Getz, Gary Burton, Kenny Burrell and the lovely Astrud Gilberto, the living embodiment of Cool Jazz, are coming to a listening room near you.
This is about as good a copy as has ever hit the site. Fans of cool jazz — in point of fact, some of the coolest jazz ever recorded — take note.
This is one of our favorite orchestra-backed jazz records here at Better Records. A few others off the top of my head would be 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).
On a killer copy like this the sound is out of this world. Rich and full, open and transparent, this one defeated all comers in our shootout, taking the Top Prize for sound and earning all Three Pluses.(more…)