- With excellent Double Plus (A++) grades throughout, this vintage Blue Note stereo pressing will be very hard to beat
- Once again Rudy Van Gelder delivers the sound that audiophiles and jazz fans alike thrill to
- These sides are lively, dynamic and full-bodied, and there’s real weight to the piano, always critically important to the piano recordings we play
- 5 stars: “Working with cornetist Freddie Hubbard, bassist Ron Carter, and drummer Tony Williams — a trio just as young and adventurous as he was — Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz.”
- If you’re a fan of the music of Herbie Hancock, this title from 1964 is surely one of his best, and one of his best sounding
- The complete list of titles from 1964 that we’ve reviewed to date can be found here.
- Outstanding Double Plus (A++) sound on both sides of this classic CTI album – exceptionally quiet vinyl too
- This is the kind of spacious, low-distortion, dynamic and energetic sound Rudy Van Gelder was getting in the early ’70s – if you think he was better in the sixties, you need to play some of these recordings from the ’70s that show off just how good his work could be
- Hubbard got together a great group of Funky Jazz players to support him here, with Don Sebesky doing his usual inventive arrangements
- 4 Stars: “The charts for the brass and woodwinds are colorful; there is a fine supporting cast that includes guitarist George Benson, Keith Jarrett on keyboards, and flutist Hubert Laws; and Hubbard takes several outstanding trumpet solos.”
Rudy was getting one hell of a lively trumpet sound on tape during this period in his career. If you have a good pressing of one of his early ’70s jazz recordings the sound can be positively EXPLOSIVE, with what feels like all the size and power of live music. (more…)
This Hot Stamper original CTI pressing from our shootout in 2011 has a truly SUPERB side two that put to shame most of what we played.
Smeary blurred trumpet blasts? Not here. Nope, the transient bite and energy of the trumpet is as REAL as it gets.
This Super Hot side earned a grade of A++ with its exceptional high end (although it doesn’t extend quite all the way, just most of the way) and its amazing transparency. It’s so clear! You really hear into this one, in the way that the best of the classic jazz recordings allow you to do, recordings such as Kind of Blue and the better Contemporaries.
And no smear. Trumpet records with no smear, by Freddie Hubbard or anyone else, or hard to come by. A bit more richness and this one would have been in White Hot Stamper territory. It is awfully close to the best we heard.
Earning a grade of A Plus, this is the side where some of that smear we discussed earlier can clearly be heard. The sound is rich, richer than side two even, with a huge stage and full size instruments. It’s just that the midrange is a bit veiled and smeary, and the midrange is where the trumpet is.
Our Standard RVG Hot Stamper Overview / Backhanded Compliment
Rudy Van Gelder does it again! I hear virtually none of his bad EQ, compressor overload and general unpleasantness. Instead, this recording has smooth, sweet mids; open unexaggerated highs; and rich, tonally correct bass. In other words, you would never know it’s an RVG recording.
- With Shootout Winning Triple Plus (A+++) sound or close to it on both sides, we guarantee you’ve never heard Red Clay sound remotely as good as it does here
- It’s one of our Five Favorite CTI albums – Red Clay is Hubbard’s Soul Jazz Masterpiece, and it’s a record that belongs in every audiophile’s jazz collection
- The Shootout Winning pressings always have these stampers, but there was an acetate or metalwork problem that is audible on the second track of side one, heard as grittier sound and more ticky vinyl – a small price to pay for the best sound of such great music
- Lenny White drums up a storm on this album – on this copy he is playing right in the room with you
- 5 stars: “This may be Freddie Hubbard’s finest moment as a leader, in that it embodies and utilizes all of his strengths as a composer, soloist, and frontman. [It] places the trumpeter in the company of giants such as saxophonist Joe Henderson, pianist Herbie Hancock, bassist Ron Carter, and drummer Lenny White… This is a classic, hands down.”
- We’ve recently compiled a list of records we think every audiophile should get to know better, along the lines of “the 1001 records you need to hear before you die,” but with less of an accent on morbidity and more on the joy these amazing audiophile-quality recordings can bring to your life. Red Clay is a good example of a record most audiophiles may not know well but should.
- If you’re a Hubbard fan, or perhaps a fan of early-’70s Soul Jazz, this title from 1970 is surely a Must Own.
- The complete list of titles from 1970 that we’ve reviewed to date can be found here
Hubbard was a master of funky jazz, and the song Red Clay is arguably the funkiest jazz track he ever committed to tape. At 12 minutes in length it is a transcendentally powerful experience — and the bigger your speakers and the louder you turn them up the more moving that experience is going to be!
The intro to Red Clay begins with a stylized free-form jam, sounding like a bop-jazz band of old, then takes form and solidifies into a groove of monstrous proportions. Ron Carter’s bass playing is stellar! We rated this side Single to Double Plus. It’s big and lively with tons of presence and energy.
Like many of our funky favorites, this one was eventually sampled for a popular hip-hop song. That may not mean much to you, but it definitely means that nice copies of this album get swiped up quickly by young DJs and producers. (more…)
The sound of this Shootout Winning reissue 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 pressing 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.
We tested this very proposition in our recent shootout, as well as in previous ones of course. It is our contention, based on the experience of hearing quite a number of copies over the years, that Rudy did not cut the original record as well as he should have. For those of you who would like to know who did, we proudly offer this copy to make the case.
Three words say it all: Hearing is believing.
(And if you own any modern Heavy Vinyl reissue we would love for you to be able to appreciate all the musical information that you’ve been missing when playing it. I remember the one from the ’90s on Impulse being nothing special, and the Speakers Corner pressing in the 2000s if memory serves was passable at best.) (more…)
That’s too often the sound we hear on the Heavy Vinyl records being pressed these days. From time to time we get hold of some to audition just to see what they’ve done with (to?) the titles we know well.
We sure don’t have any intention of selling them. That would be against our principles. And the very name of our operation: Better Records. It’s rare for anything pressed on Heavy Vinyl to qualify as a Better Record, which is why so many of them can be found in our Heavy Vinyl Disasters section.
Not sure why so few reviewers and audiophiles notice these rather obvious shortcomings, but we sure do, and we don’t like it when records sound that way.
But that sound can be found on plenty of vintage pressings too. We should know, we’ve played them by the tens of thousands!
Smear is by far the most common problem with the copies we played. When the transient bite of the trumpet is correctly reproduced, maintaining its full-bodied tone and harmonic structures, you know you have a very special copy of Sky Dive (or First Light or Red Clay, etc., etc.).
When the sound is blurry, thick, veiled, dull or slow, you have what might be considered something more like the average copy.
Rudy gets one hell of a lively trumpet sound in this period of his career. If you have a good pressing of one of his early ’70s jazz recordings the sound can be positively EXPLOSIVE, with what feels like all the size and power of live music.
If you don’t have a hot copy of Red Clay, get one. It’s some of the best funky jazz ever recorded. No collection should be without it.
- Rudy Van Gelder really knocked this one out of the park – the sound here is solid, punchy and present, just the way we like it
- If you prefer a recessed, vague, washed-out presentation, may we recommend you find whatever Heavy Vinyl reissue pressing is currently available – it will surely be more to your taste than this one
- Thanks to RVG and Creed Taylor, this is some very well recorded funky Soul Jazz that we enjoyed the hell out of in our shootout
- “Aided by the subtly soulful organ of Butch Cornell and the smoldering sensuality of George Benson’s guitar, Turrentine churned out solidly grooving (though not literally “funk”) tunes that employ blues-based economy and bob-schooled chops in equal measure. The fiery trumpet interjections of Freddie Hubbard keep things moving, but Turrentine’s mastery of the mid-tempo groove is exemplified throughout, whether on the down-and-dirty jam “Sunshine Alley” or a soulful take on John Coltrane’s “Impressions.””
Olé! Here’s a great copy of a wonderful Coltrane album that we seriously enjoy but just don’t see enough to keep in our regular rotation. And that’s a shame, because these Top Copies are a THRILL to hear. Both sides give you an exceptionally strong bottom end, and with two bass players contributing on much of the album that is essential for this music. The overall sound is lively, dynamic, and very transparent.
The music is wonderful, with Coltrane in fine form backed by a stellar lineup that includes Freddie Hubbard, McCoy Tyner, Elvin Jones, an uncredited Eric Dolphy and more. Two of the three extended tracks feature two bass players, and a transparent copy like this one allows you to separate out the players and follow their contributions over the course of the songs. (more…)
- We guarantee there is dramatically more richness, fullness, and performance energy on this copy than others you’ve heard, and that’s especially true if you made the mistake of buying whatever Heavy Vinyl pressing is currently on the market
- Tubier, more present, more alive, with more of that “jumpin’ right out of the speakers” quality that only The Real Thing (The Real Thing being an Old Record) ever has
- 5 stars: “As jazz’s first extended, continuous free improvisation LP, Free Jazz practically defies superlatives in its historical importance. . . Jazz had long prided itself on reflecting American freedom and democracy and, with Free Jazz, Coleman simply took those ideals to the next level. A staggering achievement.”
- This vintage Blue Note pressing boasts Nearly Triple Plus (A++ to A+++) sound on both sides – just shy of our Shootout Winner
- Freddie’s trumpet sounds Right On The Money — it’s breathy and full-bodied with clearly audible leading edge transients
- Credit must go to Rudy Van Gelder once again for the huge space this superbly well-recorded ensemble occupies
- 4 1/2 stars: “John Coltrane’s modal music was starting to influence Hubbard’s conception and his own playing was pushing the modern mainstream ahead without really entering the avant-garde.”