These are just some of the recordings by Milt Jackson that we’ve auditioned recently and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place in your collection, and may even belong in our Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.
This outstanding pressing of Ray Charles and Milt Jackson’s 1958 collaboration boasts solid Double Plus (A++) grades or close to them on both sides – exceptionally quiet too
Wonderful sound from start to finish — full-bodied and warm with wonderfully sweet vocals
Kenny Burrell lends his innovative guitar stylings to this soulful jazz collaboration
4 1/2 stars: “With Oscar Pettiford, Connie Kay, and Kenny Burrell in the various lineups, this is bluesy jazz in a laid-back manner; it surprised many hardcore R&B fans when these albums were originally issued.”
This wonderful pressing has superb sound throughout! It’s EXTREMELY rare to find a stereo copy of this title in anything but beat condition.(more…)
An excellent copy which earned Double Plus (A++) grades for sound on both sides – there’s plenty of rich, Tubey Magic from 1962 to be found on this vintage stereo pressing
If you made the mistake of buying the atrocious Anadisq pressing MoFi put out in the ’90s, here is your chance to hear what a wonderful recording Val Valentin cooked up with these cats in their prime
“This first matchup on records between pianist Oscar Peterson and vibraphonist Milt Jackson was so logical that it is surprising it did not occur five years earlier… this first effort is a particularly strong set.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1961-62 All Tube Analog sound can be, this killer copy will do the trick.(more…)
Another amazingly well recorded Count Basie album, and this one is killer with Triple Triple grades. It’s bigger, more solid and rich, with extension on both ends of the frequency spectrum that no other copy could match. First time on the site – a great session with a fresh sound for Basie, with Milt Jackson on vibes and Joe Pass on guitar.
I was not familiar with this record until recently. We pick up all the Pablo Basie titles we can get our hands on, and when we needle dropped a copy of this album we were amazed at the sound. Don’t know much about the engineer but he did a great job at Kendun for this session.
This was the first of a series of smaller ensemble recordings under the heading of Kansas City. We have more coming, including the superb Kansas City piano trio album entitled “For the Second Time” with Louis Bellson and Ray Brown, a record that can have superb sound on the Pablo pressing (but steer clear of the OJC which is thin and opaque, the opposite of the sound you want).(more…)
These two guys were made for each other; they have the same musical sensibilities. Credit must also go to Wynton Kelly; his every solo is a thing of beauty. The three principles here are at the tops of their games and the sound will have you drooling. Good luck finding a more involving and enjoyable jazz record with this kind of sound — they just aren’t out there. That’s why, even with some surface problems, we think you are getting your money’s worth and more with this one.
A superb sounding Pablo recording from 1976 – this copy gives you outstanding Double Plus (A++) sound or better from start to finish
We found the sound superb, but even better is the fact that with only three instruments – vibes, guitar (Joe Pass) and bass (Ray Brown) – each of the players has plenty of room to stretch out and have fun with the tunes
5 Stars: “The colorful repertoire — ranging from “The Pink Panther” and “Blue Bossa” to “Nuages” and “Come Sunday” — acts as a device for the musicians to construct some brilliant bop-based solos.”
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…)
An outstanding vintage stereo pressing with Double Plus (A++) sound from start to finish – 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 session from 1957, this is the way to go
4 1/2 stars: “The first side of Plenty, Plenty Soul, which features a nine-piece group, is highlighted by the contributions of the exuberant altoist Cannonball Adderley, while the flip side has a sextet that is not hurt by the solos of tenor-saxophonist Lucky Thompson. With pianist Horace Silver helping out on both sessions, these all-star dates still sound fresh and enthusiastic decades later.”
This vintage Atlantic stereo pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of 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…)
This Minty Verve LP with the old style paste-on back cover sounds great! Big sounding ’60s jazz with lively arrangements from Oliver Nelson and Jimmy Heath. Clark Terry’s trumpet and flugelhorn contributions play a major role in the festivities. This is cool, swinging ’60’s jazz at its best!
A lot of Verve records from this era are poorly mastered, but this one sounds just right to us.
Stunning sound on this stereo pressing with both sides rating close to our Shootout Winner, just shy of Triple Plus (A++ to A+++)
One of Tom Dowd’s many outstanding recordings of John Coltrane at the height of his powers – the sound is to die for
Exceptionally quiet on both sides for a vintage jazz album such as this – it actually plays a true Mint Minus
5 stars: “Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording.”
If all you have ever played is an original pressing or a modern reissue, you are in for a treat — this copy is going to murder them.
We found all of this out the hard way, by having some originals and some of the “wrong” reissues in our shootout. Of course, we didn’t know they were not going to be especially good sounding until we played them, but it didn’t take long to recognize there was one stamper and one stamper only that had the sonic goods. It was simply no contest. And it was not an original pressing.
Needless to say, this record has that stamper.(more…)