Side one was the best we heard in our shootout, earning a grade of nearly Triple Plus (A++ to A+++)
It’s clear yet rich- the horns are full-bodied and warm, and the top is fairly extended
Side two earned a Double Plus (A++) grade – by track two it’s full, smooth and natural
Both sides are exceptionally quiet, playing a true Mint Minus – for Blue Note that’s rare!
A fun and lively Blue Note, presented here with two especially hot sides and quiet vinyl!
After hearing a copy that blew us away a few years back, we went on the hunt for enough pressings to get this shootout off the ground. It wasn’t easy — run across many clean Kenny Dorham LPs recently? — but we finally pulled it off and this copy really impressed the hell out of us compared to the others we had on hand to play.
Dorham is backed by a killer lineup here — Joe Henderson, Herbire Hancock, Butch Warren and Anthony Williams. AMG calls the music “explorative yet swinging music” that “lives up to its potential”. I’d say it’s one of the better “lesser-known” Blue Note titles, a real sleeper in their catalog.(more…)
Dorham and Adderley’s 1959 collaboration finally arrives on the site with Shootout Winning Triple Plus (A+++) sound on side two with an outstanding Double Plus (A++) side one
This superb recording is huge and lively with startling dynamics and in-the-room-presence like nothing you’ve heard
The trumpet and saxophone are so full-bodied and Tubey Magical you won’t believe it – where is that sound today?
4 stars: “The set features plenty of Dorham’s varied and sophisticated horn work and four of his top-drawer originals. The theme is spring… Essential listening for Dorham fans.”
On side two, A mark makes 10 moderately light to light ticks three-quarter inches into track 3, Passion Spring.
To find a clean, 1959 Riverside pressing on the early Blue Label with vinyl any quieter and no groove damage whatsoever strikes us as practically impossible. This is the first pressing in audiophile playing quality we have ever seen, and we may never see its like again.
Jack Higginswas the engineer for these sessions. He recorded Chet Baker’s brilliant Chet album the same year, as well as another favorite of ours here at Better Records, Wynton Kelly’s wonderful (and very good sounding on ’80s OJC) Kelly Blue.(more…)