- A superb copy of Free Jazz with Nearly Triple Plus (A++ to A+++) sound from first note to last on this vintage Atlantic stereo LP – just shy of our Shootout Winner
- 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.”
- This vintage pressing of First Light has outstanding Double Plus (A++) sound or close to it on both sides – exceptionally quiet vinyl too
- Features an outstanding lineup including Herbie Hancock on keys, Ron Carter on bass, George Benson on guitar, Airto on percussion, and Jack DeJohnette on the drums.
- 4 1/2 stars: “The result is a masterpiece of textured sound, gorgeously far-flung charts, sweet, tight grooves, a subtle mystic feel, and some of Hubbard’s most exciting playing ever. While Red Clay [a Better Records favorite] and Straight Life are both fine albums, First Light is the one that connects on all levels — and it did with the jazz-buying public as well. A masterpiece.”
This is more of a mainstream jazz record than Red Clay or Straight Life. Hubbard was a master of funky jazz, and this pressing was one of the few in our shootout with the kind of high quality mastering that can do justice to his uniquely energetic, lightning fast jazz style. (more…)
- 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
- Lenny White drums up a storm on this album – with sound this good, 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.”
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…)
This Contemporary pressing has wonderful sound. This should not be too surprising as it was recorded by one of our favorite engineers, Allen Sides, working out of his Oceanway studios. (Supposedly he is a big fan of vintage mics and the like, with many superb and valuable examples.)
In addition the album was mastered by Bernie Grundman, who was at the time still cutting very good sounding records, this being 1980. Since then he has gone precipitously downhill, as we have noted on the site often.
This is the man who cut some of the best sounding records I have ever played, including many of the best Contemporary recordings, but his work in recent decades has left much to be desired.
He sure has fooled a lot of audiophile record reviewers, but not us I venture to say. We never jumped on the Classic Records bandwagon, and to this day we cannot understand how any critical listener could be fooled by the countless Heavy Vinyl mediocrities that awful label put out.
You can say the same thing for Doug Sax, a man whose work took a turn for the worse long ago. The sad reality is that the dull, thick, lifeless, veiled, ambience-free records he cut for Acoustic Sounds and Klavier in the ’90s were no worse than the dreck being made today.
The more things change… (more…)
- George Cables’ superb 1980 release finally arrives on the site with Shootout Winning Triple Plus (A+++) sound or close to it throughout
- I’ve known about this Allen Sides Oceanway recording for decades – his stuff is smooth, punchy, solid, and alive with energy
- 4 1/2 stars: “One of the most satisfying recordings to be released in 1980… this date features trumpeter Freddie Hubbard and saxophonist Ernie Watts in fiery form; the two horn players took time off from their much more commercial efforts for other labels. The solos overall are concise and make expert use of each note. Cables’ tunes are generally catchy and memorable while “Byrdlike” gives the virtuosos an up-tempo blues to romp through. This well-paced set is a gem that is highly recommended.”
This Contemporary pressing has wonderful sound. This should not be too surprising as it was recorded by one of our favorite engineers, Allen Sides, working out of his Oceanway studios. (Supposedly he is a big fan of vintage mics and the like. with many superb and valuable examples.) (more…)
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 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…)
A distinguished member of the Better Records Jazz Hall of Fame.
The best copies seem to have more space and are even more clear while at the same time keeping the sound rich and tonally correct from top to bottom. That sound is exactly what you will hear on this side two! It won our shootout because it gave us the feeling that we were hearing everything that was being recorded in the studio exactly the way Rudy, Stanley and his jazz buds wanted us to. In those long ago sessions at Van Gelder Studios in November of 1970, this is how it went down.
And don’t forget to check out some of the most soulful sax playing Stan the Man ever committed to tape: the solos he plays on Kenny Burrell’s Midnight Sugar. We simply cannot recommend a jazz album any more highly than Kenny’s landmark album for Blue Note from 1963. To this day it blows my mind. (more…)
- Nelson’s 1965 release makes its Hot Stamper debut with stunning Shootout Winning Triple Plus (A+++) sound throughout – 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 album, a vintage pressing like this one is the only way to hear it
- 4 stars: “… there are some strong moments from such all-stars as trumpeter Thad Jones, altoist Phil Woods, baritonist Pepper Adams, pianist Roger Kellaway and guest tenor Ben Webster (who is on two songs). The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor.”
A distinguished member of the Better Records Jazz Hall of Fame.
With a sonic grade of A+++ this White Hot Stamper original CTI pressing has a side two that won Top Honors in our recent shootout. It’s CLEARLY the best sounding side we have ever offered of this funky jazz classic, but it has serious condition issues, including a mark that plays at the end of track one all the way into track two. If you can live with that mark you will hear some amazing sound and music on side two. And if you buy this copy and realize you can’t, feel free to send it back for a full refund.
We ran into lots of condition problems with this album; perhaps your experience has been the same. Not many played anything close to Mint Minus, including this one. (more…)