Oliver Nelson’s masterpiece debuts at Better Records with at least White Hot Stamper sound on both sides. Side one was so HUGE and Tubey Magical we called it at least White Hot – it’s out of this world. If all you know is the Van Gelder original cutting, you will surely have your mind blown by this Hot Stamper LP. (more…)
An incredible sounding copy and the first to ever hit the site; Triple Plus (A+++) sound on the first side, Double Plus (A++) on the second
If you love the swinging sounds of Oliver Nelson’s Big Band arrangements behind Jimmy Smith, Frank Sinatra, Monk and others, you can’t go wrong here
Fairly quiet throughout with both sides playing Mint Minus to Mint Minus Minus
“Here’s a driving high flying record from start to finish. It’s jazz at it’s exciting best as Nelson’s arranging conducting and zippy sax work lead real quality playing…” – Billboard
What do we love about these vintage pressings? The timbre of every instrument is Hi-Fi in the best sense of the word. The unique sound of every instrument is reproduced with remarkable fidelity. That’s what we at Better Records mean by “Hi-Fi,” not the kind of Audiophile Phony BS Sound that passes for Hi-Fidelity these days. There’s no boosted top, there’s no bloated bottom, there’s no sucked-out midrange.
This is Hi-Fidelity for those who recognize The Real Thing when they hear it. I’m pretty sure our customers do, and whoever picks this record up is guaranteed to get a real kick out of it.(more…)
KILLER Triple Plus (A+++) grades or very close to it on both sides, this is a wonderful vintage stereo pressing of a classic jazz collaboration from 1966
Big, rich and lively, thanks to Oliver Nelson’s arrangements (and RVG’s engineering), this big group of top players is having a blast and we think you will too
5 stars: “The romping, aggressive big band charts [represent] Oliver Nelson at his best… The results are incendiary — a near-ideal meeting of yin and yang… They are an amazing pair, complementing each other, driving each other, using their bop and blues taproots to fuse together a sound.”
The sound of this Verve stereo pressing is tonally correct and natural. The timbre of each and every instrument is right and it doesn’t take a pair of golden ears to hear it. So high-resolution too. If you love ’60s jazz you cannot go wrong here.(more…)
This HOT STAMPER copy of the swingingest Christmas record ever made has SWINGING SOUND to match. It’s relaxed and musical, with lovely 3D openness.
Mostly gone is the dull, smeary blare of RVG’s horns, replaced by real leading edge transients and air going through brass, while mostly avoiding the grit and grain that all too often passes for detail. Good extension on both ends helps a lot. Harmonics up top keep the sound open and airy, and plenty of bottom end lets the solid rhythm section come through the mix like gangbusters.(more…)
Superb Double Plus (A++) sound or BETTER on both sides and only the second copy to ever hit the site
A shockingly well recorded album, with Oliver Nelson’s arrangements exploding from the speakers with all the brilliant energy and color we’ve come to expect from the man
“For this date, the group decided to emphasize its pop side, recording the record with the lush Oliver Nelson Orchestra and choosing to cover such pop hits as “The Look of Love” and “Last Train to Clarksville”… the glossy production has its appealing moments…”
This vintage Blue Note 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…)
Oliver Nelson’s masterpiece returns to the site with outstanding Double Plus (A++) sound on both sides
Clean, clear and present with a solid bass foundation, as well as the big stage this big group of musicians needs
If all you know is Van Gelder’s original cutting, you will surely have your eyes and ears opened by this wonderful Hot Stamper
Allmusic calls this album “…his triumph as a musician for the aspects of not only defining the sound of an era… but on this recording, assembling one of the most potent modern jazz sextets ever.” 5 Stars (of course)
The sound is tonally correct, Tubey Magical and above all natural. The timbre of each and every instrument is right and it doesn’t take a pair of golden ears to hear it. So high-resolution too. If you love ’50s and ’60s jazz you cannot go wrong here.
For those record lovers who still cling to the idea that the originals are better, this record will hopefully set you straight.
Yes, we can all agree that Rudy Van Gelder recorded it, brilliantly as a matter of fact. Shouldn’t he be the most natural choice to transfer the tape to disc, knowing, as we must assume he does, exactly what to fix and what to leave alone in the mix?
Maybe he should be; it’s a point worth arguing.
But ideas such as this are only of value once they have been tested empirically and found to be true.(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.
Bashin’ is back after a two and a half year hiatus, and it’s back with a vengence — both sides here are Super Hot, with some of the best sound we have ever heard for the album. In the past we’ve complained about “Rudy Van Gelder’s somewhat over the top echo-drenched brass”, but on a copy such as this there is nothing to complain about!
All that reverb on the brass sounds RIGHT. If you have a top quality front end (and the system that goes with it), this recording will be amazingly spacious, three-dimensional, transparent, dynamic, and open.
With a bit more weight and whomp down low this copy would have been competitive with the best we played. Everything above two hundred cycles is here!
Copies of this album are sometimes so SOUR or dull (or both) that they go right in the trade pile. Add to that the difficulty of finding copies that are scratch-free and not too noisy and you have one tough shootout. Inner Groove Distortion caused by the non-anti-skate-equipped turntables of the day is a chronic problem with vintage jazz records, and this title is typically no exception — except in this case! The record has no IGD and plays mostly Mint Minus, as quiet an original as we have ever heard.(more…)
Excellent Double Plus (A++) sound on both sides and one of the better copies from our most recent shootout
If you dig Oliver’s Nelson’s swingin’ BIG BRASS as much as we do you are in for a treat with this stereo pressing
The best sides have the kind of analog richness, warmth, and smoothness that make listening to records so involving
Slaughter On Tenth Avenue is the monster track leading off here, and it swings the way Walk on the Wild Side does – like crazy, man!
This is some of the BEST SOUND we have ever heard for any RVG recording of Jimmy Smith with arrangements by Oliver Nelson (Claus Ogerman also took on some of the arranging duties; his work with Antonio Carlos Jobim is superb in all respects).(more…)
Incredible Shootout Winning Triple Plus (A+++) sound from the first note to the last
Both sides are wonderfully big, rich and LIVELY, with boatloads of Tubey Magic and the kind of three-dimendional space that’s a hallmark of Bob Simpson’s engineering
“Smith bubbles and bounces through all of it at the B-3 while Nelson proceeds to fill every available corner with huge, sweeping orchestral washes and crescendos. The clear highlight, though, is the lead and title track, “Hobo Flats,” which moves at a languid but wonderfully funky pace and establishes a groove as wide as the Mississippi River.”
Both sides of this very special early stereo pressing are huge, rich, tubey and clear. As soon as the band got going we knew that this was absolutely the right sound for this music. There was practically nothing that could beat it, in any area of reproduction.
In the past we’ve complained about “echo-drenched brass” on some of these Oliver Nelson / Jimmy Smith collaborations, but on a killer copy such as this there is nothing to complain about. If you have a top quality front end (and the kind of system that goes with it), this recording will be amazingly spacious, three-dimensional, transparent, dynamic, and open.(more…)