This Columbia 360 Label pressing has excellent sound on both sides and unusually quiet vinyl throughout. The music is wonderful too — Miles and his late ’60s quintet featuring Ron Carter, Herbie Hancock, Wayne Shorter and Tony Williams are all in top form here, slowly working their way towards the electric fusion sounds that would be coming shortly. Many copies lack the kind of transparency and clarity you need to make sense of what each player is doing, but this Super Hot pressing gives you those qualities on both sides.(more…)
This Columbia 360 LP has EXCEPTIONALLY GOOD LIVE JAZZ SOUND, but only on the Monk side. It sounds, to my mind, probably as good as this record can sound. It’s very rich and full-bodied with a very strong bottom end. The energy and presence are WONDERFUL! Monk’s piano has real weight and the brass sounds just right. We played this against a few other copies and none of them came close. We give side two an A++ — I don’t think you can find one that sounds any better.
Of special note is the excellent work of Frankie Dunlap on drums, and of course Charlie Rouse is always interesting. Add to those top players somone you wouldn’t normally associate with Monk — Pee Wee Russell on clarinet, here proving that he’s every bit the bop jazz musician that these other guys are.
The Miles side sounds like what you’d expect from an old jazz concert recording — somewhat thin, flat, and lifeless. We didn’t give it a grade, and we’ve never heard one that sounded very good. I just don’t think Hot Stampers for the Miles side are in the cards. (more…)
This Columbia Red Label LP has DEMO DISC QUALITY SOUND!
Call me crazy, but I DON’T THINK YOU CAN CUT A BETTER SOUNDING KIND OF BLUE THAN THIS ONE!
I’m fully aware of how outrageous a statement that is, considering the fact that this is a ’70s Red Label reissue. But I’ve long known of amazing sounding Kind Of Blue reissues.
Having played dozens 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.(more…)
Sit down with this record, draw the blinds, and you’ll hear why AMG gave it 5 Stars. Perhaps it’s the extended solos from John McLaughlin, Chick Corea, Herbie Hancock Wayne Shorter, and Davis himself. Perhaps it’s the slippery, spiraling nature of these signature jazz fusion epic pieces. Perhaps it’s the grooves that Tony Williams and Dave Holland spin, slowly at first, building later in each of the LP’s mesmerizing tracks.
This is one of the most important jazz-fusion records of all time and it sounds AMAZING on this pressing. Hearing music this important on a killer pressing is a treat to say the least! You can turn this one up good and loud and really immerse yourself in the sound.
We could talk about this music all day, but if you’re in the market for a Super Hot Stamper pressing I’m guessing it’s safe to assume you already know how good this album is. It’s worth mentioning how much more we appreciate this music after hearing it on Hot Stamper copies. If you’re stuck with a weak pressing, you’re missing a lot of magic. When you get a copy with real transparency and clarity there are numerous small details and subtle textures revealed in the mix that basically don’t exist on the standard LP. A copy like this lets you hear it all.
Superb transparency, amazing presence and immediacy, complete freedom from any kind of phony, hyped-up sound — you’re not going to find one like this lying around in the bins, that’s for sure. This album never comes cheap, is very rarely clean, and you need a pretty good sized stack to have a realistic chance on finding one with sound like this. If you’re up for the challenge, more power to you, but it’s probably a lot easier to let us tackle the hard work of unearthing the truly magical copies that are still to be found like this one.(more…)
This Original Miles Davis record has DEMO DISC QUALITY SOUND! Columbia jazz records from this period are some of the best sounding jazz records ever made, and this is a perfect example of what is right with their recordings. The sound is rich, full, sweet, tonally right on the money, and lively as can be.
This is an interesting album because half of it is recorded in Hollywood and half of it in New York, with the songs in each location interpersed on the sides. Victor Feldman handles the piano duties in California; Herbie Hancock in New York. I actually prefer Victor Feldman’s playing on this record. We don’t get to hear his piano work often — he’s really quite good. (Cal Tjader started out on the drums but it’s tough to find records with him drumming.)
Anyway, one of the thoughts that occurred to me when I was playing this record is this: Why is there no audiophile reissue on any label that sounds like this? There’s something about the sound of these old records, these original pressings, that’s impossible to recapture with modern equipment. It may not be impossible, but until somebody manages to do it, it might as well be.
When you drop the needle at the beginning of side one and hear Miles’ muted trumpet come jumping out of your speakers, I guarantee you will be amazed or your money back!
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…)
Insanely good Classic Jazz sound for this wonderful Miles Davis collection, with both sides rating Triple Plus (A+++)
The nine minute plus Green Dolphin Street that opens side two has some of the coolest jazz you will ever hear, on any record, at any price
If you want to know what the best copies of Kind of Blue sound like, this pressing will tell you, because it has that sound
We’re talking Bill Evans, John Coltrane and Cannonball Adderley in their prime, 1958, with top 1958 sound to match
Want to know how good our Hot Stamper Kind of Blue pressings sound? Listen to this very record. If you play the tracks that were recorded in 1958, the year before Kind of Blue, you will hear practically the same lineup of musicians.(more…)
Outstanding Double Plus (A++) sound from start to finish – you will have a very hard time finding a better Porgy and Bess
This 30th Street recording shows just how good Columbia’s legendary engineers were back then
If you’re looking for a stunningly natural, lifelike large group jazz recording, you can’t do much better than this album
5 stars: “The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin’s Porgy and Bess are indeed profound… It was Evans’ intimate knowledge of the composition that allowed him to so definitively capture the essence… No collection of American jazz can be deemed complete without this recording…”
The music is a classic example of the partnership between Davis and arranger Gil Evans, and a must-own for serious jazz fans. Those of you who have marveled at the sound of our Hot Stamper copies of Sketches Of Spain are sure to get a lot out of this one.(more…)
When you get a Hot Stamper like this one the sound is truly MAGICAL. (AMG has that dead right in their review.) Tons of ambience, Tubey Magic all over the place; let’s face it, this is one of those famous Columbia recordings that shows just how good the Columbia engineers were back then. The sound is lively but never strained. Davis’s horn has breath and bite just like the real thing. What more can you ask for?
We Was Wrong in the Past About HP and Six Eye Labels
In previous commentary we had written:
Harry Pearson added this record to his TAS List of Super Discs a few years back, not exactly a tough call it seems to us. Who can’t hear that this is an amazing sounding recording?
Of course you can be quite sure that he would have been listening exclusively to the earliest pressings on the Six Eye label. Which simply means that he probably never heard a copy with the clarity, transparency and freedom from distortion that these later label pressings offer.
The Six Eyes are full of Tubey Magic, don’t get me wrong; Davis’s trumpet can be and usually is wonderful sounding. It’s everything else that tends to suffer, especially the strings, which are shrill and smeary on most copies, Six Eyes, 360s and Red Labels included.
Over the course of the last few years we’ve come to appreciate just how good the right Six Eye stereo pressing can sound.
In fact, the two copies earning the highest grades were both original stereo pressings. Other pressings did well, but none did as well as the originals. This has never been our experience with Kind of Blue by the way. The later pressings have always done the best job of communicating the music on that album. (more…)