Top Artists – Bill Evans

Miles Davis / Basic Miles – Here Is the Hot Stamper Sound of Kind of Blue

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Reviews and Commentaries for Kind of Blue

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Yet Another Record We’ve Discovered with (Potentially) Excellent Sound

  • Demo Disc Jazz sound for this wonderful collection, with both sides earning outstanding Double Plus (A++) grades
  • Opening side two, the 9 plus minutes of On Green Dolphin Street has some of the coolest jazz you will ever hear, on any record, at any price
  • If you want to know what the better copies of Kind of Blue sound like, this pressing will tell you, because it has that sound
  • And that means it is absolutely NOTHING like the MoFi 45 RPM 2 LP pressing that some audiophiles (and the reviewers who cater to them) seem to like so much
  • 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.

That means Stella By Starlight and Little Melonae on side one, and Green Dolphin Street and Fran-Dance (Put Your Little Foot Right Out) on side two. We’re talking Bill Evans, John Coltrane, and Cannonball Adderley in their prime, 1958, with top 1958 sound to match.

The nine-minute plus Green Dolphin Street that opens side two is nothing short of amazing, some of the coolest jazz you will ever hear. With Fran Dance on the same side, that gives you about 17 minutes of great-sounding jazz by Miles’ classic Kind of Blue lineup.

Side one has the same cats playing for more than 12 minutes. By my calculation, that’s close to another album’s worth of material from the group. The rest of the material on this compilation is best seen as gravy; maybe not essential, but never less than interesting. (more…)

Bill Evans – Conception

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  • A KILLER copy of Conception with Shootout Winning Triple Plus (A+++) sound or very close to it on all FOUR sides – fairly quiet vinyl too
  • You’d be hard-pressed to find a copy that’s this well balanced, big and lively, with wonderful clarity in the mids and highs
  • 4 stars: “Even in 1956, Evans had his own chord voicings and a lyrical yet swinging style… A strong start to a significant career.”
  • “In addition, there is a full album of previously unreleased music: an alternate take of “No Cover, No Minimum,” an unaccompanied version of “Some Other Time” from 1958 and four solo pieces that Evans cut in 1962, his first recordings after the tragic death of his bassist Scott LaFaro.”

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Bill Evans – Everybody Digs Bill Evans

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More Jazz Piano Recordings

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  • This outstanding pressing boasts solid Double Plus (A++) sound or BETTER from start to finish – exceptionally quiet vinyl too
  • Some of you may have discovered that the original Bill Evans records on Riverside are mostly awful sounding — I can’t recall ever hearing one sound better than mediocre — so we are not the least bit worried that this Hot Stamper pressing won’t beat the pants off of the original, any reissue you may have, and of course the (no doubt awful) Analogue Productions 45
  • “With the unmatched pair of former Miles Davis drummer Philly Joe Jones and bassist Sam Jones (no relation), Evans was emerging not only as an ultra-sensitive player, but as an interpreter of standards second to none.”

The cover has a cut corner, but is otherwise very nice.

These three guys — Sam Jones is on the bass and Philly Joe Jones on the drums — are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one. (more…)

A Killer Kind of Blue — We Guarantee You’ve Never Heard It Sound Like This

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Hot Stampers of Miles’s Albums Available Now

A knockout copy of one of the most famous albums of all-time, the great Kind Of Blue! This one is absolutely SUPERB, earning our top Triple Plus (A+++) grade for both sides. You will not believe the presence, energy and transparency on this pressing. The brass sounds AMAZING. The bottom end is just right. And the piano is Right On The Money. Folks, I don’t think you could ask anything more from this music than what this White Hot Stamper gives you.

In my opinion, many of the best sounding copies are standard domestic Red Label pressings from the ’70s. I’m fully aware of how outrageous a statement that may sound. But I’ve long known of amazing sounding Kind Of Blue reissues.

Having played scores 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. The Red Labels are all over the map, ranging from smeary and dull to out of this world. And this copy, my friends, is one of the good ones.

Unimpeachable Audiophile Credentials

We know we’re asking a lot of money for a record that any jazz record dealer would be embarrassed to charge more than $25 for. (Actually, these are starting to sell for $40+ pretty regularly on eBay and elsewhere. Apparently the word got out that these can sound incredible. Blame us!) But jazz record dealers don’t know anything about sound. They know about collectibility. They know about price guides. They know their market — jazz collectors — and I know mine: audiophiles. This record has unimpeachable audiophile credentials. It has the sound in the grooves like you have never heard before. And who else but your friends at Better Records are going to be able to tell you that?

Quick Listening Test for Side One

This is an easy one. Just listen to the trumpet at the start of Freddie Freeloader. Most copies do not fully convey the transient information of Miles’ horn, causing it to have an easily recognizable quality we talk about all the time on the site: smear. No two pressings will have precisely the same amount of smear on his trumpet, so look for the least smeary copy that does everything else right too. (Meaning smear is important, but not all-important.)

Shelly Manne / Bill Evans – Empathy

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  • With two Triple Plus (A+++) shootout winning sides, there is nothing that could touch this original stereo copy
  • This outstanding Jazz Piano Trio album is truly a Forgotten Classic with DEMO DISC audiophile quality sound – on this copy anyway
  • So big, so rich, so transparent, so open, so musical – this copy showed us that this album can compete with any recording by Bill or Shelly
  • Allmusic 4 Stars: “Evans was freed from the musical parameters he had set for his then-current trio. The result is that his playing seemed lighter, freer, and more relaxed than it had for a while. “

There is practically nothing to fault in the sound of either side of this pressing – what a record!

Both sides are Tubey Magical, rich, open, spacious and tonally correct. We’ve never heard the record sound better, and that’s coming from someone who’s been playing the album for at least ten years. (more…)

Cannonball Adderley – Know What I Mean?

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  • This outstanding pressing boasts solid Double Plus (A++) sound on both sides
  • 1961 recording technology coupled with the mastering chops of the very gifted George Horn results in the top quality sound found here
  • These guys are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one
  • 4 stars: “It’s hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording.”

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Bill Evans – Quintessence

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  • An original Fantasy pressing with outstanding Double Plus (A++) sound on both sides of this wonderful Bill Evans album, a Better Records favorite since we first heard it some years ago
  • Evans is joined by an all-star lineup of Harold Land, Kenny Burrell, Ray Brown and the great Philly Joe Jones
  • Sonic highlights include a breathy, full sax; a big, solid piano; well-defined acoustic bass; and guitar tone that’s tubey and warm
  • “Most of pianist Bill Evans’ recordings were in a trio format, making this quintet date a nice change of pace… the results are quite tasteful and explorative in a subtle way.”

There aren’t too many ’70s jazz records that are as well recorded as this one is.

The music is wonderful as well, and Evans is joined by an all-star lineup of Harold Land, Kenny BurrellRay Brown and the great Philly Joe Jones.

We were shocked to hear how good this album can sound on the right pressing. It has that natural, realistic feel that you get on the best Contemporary recordings. We don’t know what more you could do to make this music sound any better than it does on this original Fantasy pressing.

The sax is breathy and full, the piano is big and solid, the acoustic bass is well-defined with real weight and the guitar tone is tubey and warm. Hard to imagine that there are too many audiophiles with a substantial number of jazz records in their collection that sound as good as this (our own Hot Stampers excluded of course)! (more…)

Bennett and Evans – The Tony Bennett / Bill Evans Album

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  • A wonderful early pressing of this classic collaboration, with outstanding Double Plus (A++) sound from start to here finish and vinyl that is hard to find any quieter
  • When heard on our best Hot Stamper pressings, the album clearly belongs near the top of the All Time Great Male Vocal Records
  • Waltz for Debby is the best thing here. You want to hear the Bennett-Evans Magic? Go right to that track
  • 4 1/2 stars: “… one of the best albums of either’s career… an excellent jazz-pop hybrid in which both musicians were shown off to advantage.”

If you like sophisticated vocal jazz I don’t think you can do much better than this record, especially when it sounds like this. Tony Bennett’s voice sounds wonderfully rich, BREATHY, and above all REAL.

The soundstage is open and spacious, the piano full-bodied and clear, and the vocals have the clarity and fullness missing from most pressings. It’s incredible to hear these two top-notch musicians interacting and responding to each other in this kind of huge, open and natural space. (more…)

Bill Evans Moon Beams – Superb on the Right OJC Pressing

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  • Excellent Double Plus (A++) sound on both sides, this is one of the better copies of Bill Evans’ 1962 classic to ever hit the site
  • Full-bodied and warm, exactly the way vintage analog should sound, yet as clear and as open as any pressing you’ve heard (or your money back)
  • The first album Evans recorded after Scott LaFaro’s death and it is deeply immersive experience
  • Allmusic raves it’s “…so well paced and sequenced the record feels like a dream … Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader.”
  • Great sound for this rockin’ soul album with two live tracks. Just listen to the drums on Black-Eyed Blues — the way the percussion and bass mingle sonically with Alan White’s skins takes this listener right into the room where the magic happened.

Moon Beams is one of the best sounding Bill Evans records we’ve ever played. You can see why we chose it to be the first OJC Hot Stamper of his to hit the site back in 2015. Play It Might As Well Be Spring for the kind of sublime musical experience you only find on 20th century analog. (more…)

Bill Evans ‎– New Jazz Conceptions on OJC

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Some OJC Pressings Sound Good, Some Don’t – This One Doesn’t

We play mediocre-to-bad sounding pressings so that you don’t have to, a public service from your record loving friends at Better Records.

Here is a list of the OJCs we’ve auditioned and found to have at least the potential for good sound.

(Some will and some won’t — that’s what shootouts are for.)

And here are the OJCs we’ve auditioned and found wanting to some degree. Not all of them are bad; some are just not very good and would not be suitable for an audiophile with high standards.

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