If you made the mistake of buying the atrocious Anadisq pressing MoFi put out in the ’90s, our Hot Stamper pressings will let you hear what a wonderful recording Val Valentin cooked up with these cats back in the day. (more…)
- With superb Triple Plus (A+++) grades on side two and Double Plus (A++) sound on side one, this is one of the best copies of Silver’s 1957 classic we’ve ever heard
- The last copy to hit the site went up in 2016 – clean Horace Silver records in stereo with the right stampers and good sound are hard to find!
- Rich and solid, this is the kind of sound that makes us sit up and take notice – Thanks RVG, we love your work (when it sounds like this)
- “All of Silver’s Blue Note quintet recordings are consistently superb and swinging…”
I chanced upon a clean copy of this album in a store last year. When I got home with it I found I loved the music and I loved the sound. I then went about buying them up as fast as I could, returning something on the order of half the copies I was sent: some for scratches, some for the wrong labels, some for being mono — you never know what you’re going to get when you order records online!
Except from us of course. Unless something goes terribly wrong you will always get a good sounding, reasonably quiet record from us.
RVG in ’57
The best copies are just bigger, fuller and more present than others. The sound is natural and REAL, with exceptional space and see-through transparency, something that practically no heavy vinyl modern pressing we’ve ever played can reproduce.
Classic Records remastered the album, Music Matters remastered it, and there are plenty of copies of both out there. If you have either one, do yourself a favor and order up this Hot Stamper. We’re pretty sure you will be amazed at how much more musical involvement you will find on it, involvement that will be lacking when you go back to the Heavy Vinyl LP.
- Excellent sound throughout with solid Double Plus (A++) sound from the first note to the last – exceptionally quiet vinyl too
- All four sides here are clear and full-bodied with wonderfully breathy vocals and the kind of vintage analog sound you won’t hear from any modern reissue or CD, that’s for sure
- This double LP set captures some of Billie’s best music from the years 1952 to 1954 and features Oscar Peterson, Barney Kessel, Ray Brown, Flip Phillips, Freddie Green, Charlie Shavers and more
- Outstanding sound throughout for this Verve Two-Fer set with Double Plus (A++) sound or close to it on all four sides – exceptionally quiet vinyl too
- Unlike the Speakers Corner version from a few years back, this is the real thing, mastered by real pros, not audiophiles
- This reissue combines the albums Soulville and Ben Webster Meets Oscar Peterson
- With rave reviews for both albums, AMG lauds Soulville is, “one of the highlights of that golden ’50s run,” and notes the collaboration as “one of the jazz legend’s all-time great records.”
- This superb Oscar Peterson album boasts a Shootout Winning Triple Plus (A+++) side one and an outstanding Double Plus (A++) side two – exceptionally quiet vinyl too
- The piano has heft, the drums are big, and everything is relaxed and natural – this copy is doing pretty much what we want a top quality ’50s Peterson album to do
- Songs you know well – I’m In The Mood For Love; On The Sunny Side Of The Street; I Can’t Give You Anything But Love, etc.
- The last in the “Oscar Peterson Plays” series – Oscar puts his sublime touches to these timeless Jimmy McHugh classics
- “[Peterson’s] sound was consistently classy and first rate here, as it was for his entire career… impeccable taste and technique and the best songs out there…”
A distinguished member of the Better Records Jazz Hall of Fame.
“Benny Carter had recorded with pianist Oscar Peterson back in the early ’50s for Norman Granz’s Verve label. More than 30 years, later he teamed up with Peterson again, this time for Granz’s Pablo company. There was no sign of decline or disillusionment in either of the co-leaders’ playing; in fact, if anything, they had improved with age. Joined by guitarist Joe Pass, bassist Dave Young and drummer Martin Drew, Carter and Peterson are both in a joyous mood and in typically swinging form on six standards and a blues.” — AMG (more…)
A distinguished member of the Better Records Jazz Hall of Fame.
Boy, these original Strobe Label (and T label) Verve pressings are sure all over the map. If there’s one jazz label that gets an F for consistency, it’s Verve. And they typically get an F (or at best a D) for mastering as well, since good sounding Verve pressings are few and far between. I guess that should not come as much of a surprise to many of our long time customers, but to hear how bad some of these pressings are mastered is nevertheless pretty shocking. One of the Strobe label copies we played had such a boosted top end it was positively distorted. (The RIAA curve does not allow that kind of top end boost without causing serious problems.)
Lucky for you, dear reader, we found a copy that had the tubey magic and transparency that really lets this live jazz album transport you back in time to a small club in Chicago in the ’60s. (Some of the talking patrons won’t even shut up for the likes of Oscar Peterson!)
As we mentioned above, some copies are poorly mastered, so poorly that Ray Brown’s bass all but disappears from the trio! Other copies made Thigpen’s snare sound hard and too forward in the mix. This is obviously just a mastering EQ problem, since the good copies, such as this one, get all those elements to balance beautifully. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
With Hot Stamper sound on both sides, this Pablo disc shows you what three of the greatest trumpeters of the last fifty years can do given the opportunity, nay, the encouragement, to let loose on a handful of classic slow blues jams. Many of the tracks here run in excess of eight minutes, giving the players plenty of space to explore, yet practically all of them are taken at a fairly slow pace, what used to be called a “slow drag”, making them that much more involving and emotional. These are not your classic “blowing sessions” where the players try to outdo each other. No, this is something quite different.
Norman Granz revered the classic “jam session”, of which this is a prime example; he produced dozens for the various labels he owned over the years. Playing this album we can see why. The heart of the blues is here in every measure.
Clark Terry is joined here by Freddie Hubbard and Dizzy Gillespie on trumpet, with strong support from Oscar Peterson, Ray Brown, Joe Pass and Bobby Durham on drums.
The album was recorded in 1980 by Dennis Sands, one of my favorite Pablo recording engineers, the man behind the brilliant Farmer’s Market Barbecue and many others. (Soon enough he crossed over to films and has done the sound for more than 250 to date. He must be pretty good to get that much work, and you can be sure he makes a lot more money for his film work than he would for recording jazz dates.) (more…)
Side two of this wonderful Basie Peterson record has nearly White Hot Stamper Demo Disc sound — jazz records don’t get a whole lot bigger, clearer or more full-bodied. Man, that is the sound of glorious ANALOG. A++ to A+++ is our conservative grade. It might be worth the full Three Pluses but we just can’t find enough copies to know if this side could get any better. There is not a single critical comment of any kind in the notes, so that ought to tell you that you are in for a real sonic treat with this side two. (more…)