- INCREDIBLE Shootout Winning Triple (A+++) sound on both sides of this original CTI pressing
- Open and transparent throughout, with wonderfully full-bodied guitars, solid bass and huge amounts of funky jazz energy
- This is the kind of spacious, low-distortion, dynamic and energetic sound Rudy Van Gelder was getting in the mid-’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
- We are exceptionally tough graders these days – you may have no problem with the surfaces of this pressing at all (and if you do, we are happy to refund your money, just say the word)
- 4 1/2 Stars: “The R&B elements [are] stronger, the sound and mix are more attuned to the dancefloor… and as a result, the record cooks and dances… Buy this one for “Cast Your Fate,” but there is plenty more to savor here.”
- If you’re a George Benson fan, or perhaps a fan of mid-’70s Jazz Guitar, this title from 1976 is surely a Must Own
- The complete list of titles from 1976 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…)
- Breezin’ finally returns to the site with Shootout Winning Triple Plus (A+++) sound or very close to it throughout
- Tubey Magical richness and plenty of note-like bass are two of the important qualities that separate the winners from the also-rans, but smooth, grain-free, present vocals for Masquerade are a big part of the best pressings too, so make that three important qualities
- This copy will blow the doors off your old copy or any MoFi pressing — guaranteed!
- It’s got all the elements this smooth masterpiece needs to come to life today, almost 40 years later if you can believe it
- There’s tons of energy, strong presence, excellent bass and a huge soundfield with real depth
- You hear right into the music, something that is only possible on the most transparent copies
- If like us you’re a fan of Jazz Guitar, this is a killer album from 1976 that belongs in your collection.
- The complete list of titles from 1976 that we’ve reviewed to date can be found here.
This album features the huge hit “This Masquerade” and lots of other strong material as well. Benson is at the top of his game, with blazing guitar lines accompanied by his scat vocals at many times. No one else ever did music like this so well again, in our humble opinion.
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.””
White Hot Stamper sound on side two, which means this copy has the power to show you just how well-recorded the album really is, and how much energy and drive there is to both the sound and the music.
No other side of any copy earned the full Three Plus White Hot grade, so this is a very special side indeed. [Now that we are much better at our jobs — see the advice at the end of this review — this happens only a few times a year.]
A+++, the best side of any side we played. So clear, transparent and high-rez, yet rich and tonally correct from top to bottom, this is the kind of sound we call Hard To Fault (HTF).
A+ to A++, a bit fat and smeary, but since that’s pretty much the sound of most tube equipment, it’s still very musical and enjoyable (as is most tube equipment). The details aren’t there, but the thrust of the music comes through just fine.
We didn’t run into any awful CTI originals the way we do with the typical rock record from the ’70s, but it’s the rare copy that has a real top end, or much in the way of transparency, or freedom from smear. This copy has all three, without any sacrifice in richness or Tubey Magic.
- This outstanding Columbia pressing boasts solid Double Plus (A++) or close to it from first note to last
- Excellent sound courtesy of Arthur Kendy’s and Frank Laico’s engineering at the famed Columbia Studio B in NYC
- Miles here is backed by his classic ’60s All Star crew – Herbie Hancock, Wayne Shorter, Ron Carter & Tony Williams
- “…Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion… intriguing music…”
*NOTE: On side one, a mark makes 5 light ticks at the beginning of Track 2, Paraphernalia.
We just finished a big shootout for this superb Miles Davis album and this copy was dramatically better sounding than many. Both sides have excellent bass, correct sounding brass, wonderful transparency and loads of Tubey Magic.
Many copies didn’t have the kind of transparency or openness that we heard here, which made it harder to appreciate the contributions of the different players. This one puts plenty of separation between the various instruments, so you can make sense of what each of these heavy-hitters adds to the mix. You will have a very hard time finding a copy out in the bins that sounds as good as this one!
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds. (more…)
- 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…)
- Open and transparent throughout, with wonderfully full-bodied guitars, solid bass and huge amounts of swingin’ jazz energy
- Superb engineering by Rudy Van Gelder – White Rabbit features jazz legends Herbie Hancock, Ron Carter, Billy Cobham, Airto, and more
- 4 stars: “For George Benson’s second CTI project, producer Creed Taylor and arranger Don Sebesky successfully place the guitarist in a Spanish-flavored setting full of flamenco flourishes, brass fanfares, moody woodwinds and such… In this prime sample of the CTI idiom, everyone wins.”
The Half-Speed is pretty — pretty lifeless if you ask me, in the way that so many Half-Speed mastered records are.
It’s cut very clean, but until you play a good A&M pressing, you don’t know how much meat has been stripped from the bones. The best A&M pressings sound like a Rudy Van Gelder recording, which, of course, they are.