- This superb compilation album makes its Hot Stamper debut here with outstanding Double Plus (A++) sound or close to it throughout
- Tubier, more transparent, more dynamic, with that “jumpin’ out of the speakers” quality that only The Real Thing (an old record) ever has
- Huge amounts of three-dimensional space and ambience, along with boatloads of Tubey Magic – here’s a 30th Street recording from 1967 and 1968 that demonstrates just how good Columbia’s engineers were back then
- “Time has revealed this band to be as daring and fascinating as any in the long Davis career, and Water Babies contains some of its best music. There is simply so much happening here; hear it.”
- 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.”
- An outstanding copy with Nearly Triple Plus (A++ to A+++) sound on side two mated to a very good side one
- Ray Hall once again engineered brilliantly for RCA – the Tubey Magical richness and dynamic energy of the sessions are captured with audiophile quality sound
- Forget the Classic Records reissue from the ’90s and whatever Heavy Vinyl they’re making now – it sure won’t sound like this!
- Features performances by Rollins with Herbie Hancock, Thad Jones, Ron Carter, Bob Cranshaw and Roy McCurdy on several bebop tunes
- Ed Thigpen arrives on the site with this STUNNING copy of his debut album, boasting Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
- Lively, dynamic, transparent, spacious and musical throughout – you won’t believe how good this Jazz Classic from 1966 sounds
- Superb engineering by Rudy Van Gelder – Out of the Storm features jazz legends Clark Terry, Kenny Burrell, Herbie Hancock, and Ron Carter
- 4 stars: “Drummer Ed Thigpen’s first album as a leader… Although not soloing much, Thigpen wrote three of the seven selections and occasionally played tuned drums, which sound a little bit like timbales… the performances are enjoyable.”
- Thrust makes its Hot Stamper debut here with solid Double Plus (A++) sound or BETTER on both sides – reasonably quiet vinyl too
- This vintage pressing is well balanced, big and lively, with wonderful clarity in the mids and highs, as well the bass foundation critical to Hancock’s funky jazz
- 4 stars: “… an earthy, funky, yet often harmonically and rhythmically sophisticated tour de force… Hancock continues to reach into the rapidly changing high-tech world for new sounds, most notably the metallic sheen of the then-new ARP string synthesizer which was already becoming a staple item on pop and jazz-rock records… This supertight jazz-funk quintet album still sounds invigorating a quarter of a century later. “
- An STUNNING stereo pressing of one of our all-time favorite Blue Note albums with Shootout Winning Triple Plus (A+++) sound throughout
- The gospel vocals are amazingly well recorded (thanks RVG!) – with the transparency of this copy, you can easily pick out and follow each voice
- To hear the real RVG magic, play Beast of Burden on side one – that’s some real audiophile DEMO DISC sound
- 5 stars: “One of the most successful uses of a gospel choir in a jazz context. This is a memorable effort that is innovative in its own way, a milestone in Donald Byrd’s career.”
- This original Black Print 360 pressing was one of the best we played in our recent shootout, earning Double Plus (A++) grades on both sides and playing quietly
- Stan Getz is the real standout on this album, a very pleasant surprise for us since his exceptionally good recordings of his music are so hard to find
- Another example of the phenomenal sound quality found on so many recordings made at CBS’s 30th street studios in New York
- “Stan Getz, known for his ‘lyrical’ style, is in top form throughout and brings out the best of his cohorts, including two young musicians, Gary Burton on vibes and Herbie Hancock on keyboards…”
If you like the sound of relaxed, tube-mastered jazz — and what red blooded audiophile doesn’t — you can’t do much better than Bob Brookmeyer And Friends. The warmth and immediacy of the sound here are guaranteed to blow practically any jazz septet record you own right out of the water.
Getz and Burton have always been magical together. Their work on Getz Au Go Go is legendary. Every time I play that record I am astonished at how good it is, one of those very special jazz recordings that are easy to get lost in. (more…)
Years ago we wrote the following:
TOP RECOMMENDATION from Better Records. What an amazing discovery! I can’t take credit for it, the credit belongs to Four Men with Beards.
Herbie Hancock manages to get a lot of different jazz artists to play some of the most interesting jazz I’ve ever heard. I have no idea who all is playing but each of the different songs involved different players playing in different groupings: sometimes it’s guitar and organ, sometimes it’s saxophone-led quartet; it pretty much runs the gamut of jazz. And the amazing thing is every track is great. And the sound is great.
If you want a jazz primer that introduces you to the different ways jazz groups are arranged, I can hardly think of a better record.
If you want a great jazz record to demonstrate your stereo, it works on that level too. The sound is that good.
Side 1 has the best music overall; it’s superb from beginning to end. Side 2 is very good as well, but side 1 has the real demo disc quality material in my opinion.
We can’t be sure that we would still feel the same way. My guess is that this is still probably a good record if you can get one for the 25 bucks we used to charge for it.
- Jimmy Heath makes his site debut here with this superb Riverside Black Label stereo pressing of his 1963 album, which boasts Shootout Winning Triple Plus (A+++) sound from start to finish
- With Donald Byrd on trumpet and Herbie Hancock on piano (as well as French horns and a tuba!), this is a fun session with top players
- Based on what we’re heard, this is an outstanding recording – the top opens up nicely and there’s plenty of space in the studio, giving all the players room to breathe
- “This is a delightful if underrated set… The multi-talented Jimmy Heath has many consistently rewarding and distinctive tenor saxophone solos..
One of our good customers had this to say about some Hot Stampers he purchased recently:
I have to commend you once again. I have never heard Maiden Voyage like this before. The transparency on this copy is superb! I gave up listening to my reissue a while back. It had a heavy veil hanging over it that was obvious. Yet as the listener I yearned to hear past it because the music itself is so wonderful. Thanks for digging up this treasure. It will bring many hours of enjoyment now and in the future.
Records are a tangible investment for the listener. When you find a great copy you hang on to it because it engages you. It moves you in a real sense. A collector who collects for value of first issue is a collector too. However they collect as one would coins, stamps or baseball cards. The value is attributed to what is perceived not what is experienced. I do not slam anyone for this. If joy is found in this manner then, so be it.
I collect records to enjoy the music and if that means digging thru a number of pressings to find the best one or paying the bucks from someone like Better Records, so be it. If a reissue is better than an earlier pressing I will hold on to the re issue. This is a rarity but does happen. I can think of at least 20 LPs I have that I still favor the reissue over all others. Both collectors are valid. They simply have different goals in mind.
Mark, thank you for your letter. We actually have a commentary about this very subject, entitled Collecting for the Sake of Collecting — Records Versus Hot Stampers, which we have reproduced below.
It discusses why Record Collecting as it is commonly understood is not something in which we can muster much interest these days, although we used to, and is certainly not something we recommend to our customers, “as it is commonly understood” being key to our point here.
Anyone can collect records: originals, imports, audiophile pressings, picture discs, the TAS List, what have you. There are literally millions of records for sale at any given time. (A single collection for sale as of this writing contains more than 3 million records.)
Some people see them as an investment. We do not. We think audiophile-oriented music lovers should pursue good sounding records for the purpose of playing them and enjoying them, understanding that the better their records sound the more enjoyable they will be. Collecting records primarily to build a record collection that can be sold at a profit in the future should be the last thing on anyone’s mind.
Most of the following was written in response to a customer who wanted to know how original our Hot Stamper pressings were since he preferred to collect first pressings — which were also worth more money should he decide to sell them at a later date. We asked:
Why would you want a first pressing if it didn’t sound as good? Or, if a later pressing sounded better, why would that make any difference in your desire to buy it? Isn’t the idea to get good sound?
An Awful Collection
If you buy records principally to collect original pressings, you will end up with one awful sounding collection of records, that I can tell you without fear of contradiction. On the other hand, if you want the best sounding pressings, we are the only record sellers on the planet who can consistently find them for you. This is precisely the service we offer, unique in the world as far as we know. Hence the name Better Records. (more…)