- Outstanding sound throughout for this Verve Two-Fer set with Double Plus (A++) sound or close to it on all four sides – exceptionally quiet vinyl too
- Unlike the Speakers Corner version from a few years back, this is the real thing, mastered by real pros, not audiophiles
- This reissue combines the albums Soulville and Ben Webster Meets Oscar Peterson
- With rave reviews for both albums, AMG lauds Soulville is, “one of the highlights of that golden ’50s run,” and notes the collaboration as “one of the jazz legend’s all-time great records.”
- This superb Oscar Peterson album boasts a Shootout Winning Triple Plus (A+++) side one and an outstanding Double Plus (A++) side two – exceptionally quiet vinyl too
- The piano has heft, the drums are big, and everything is relaxed and natural – this copy is doing pretty much what we want a top quality ’50s Peterson album to do
- Songs you know well – I’m In The Mood For Love; On The Sunny Side Of The Street; I Can’t Give You Anything But Love, etc.
- The last in the “Oscar Peterson Plays” series – Oscar puts his sublime touches to these timeless Jimmy McHugh classics
- “[Peterson’s] sound was consistently classy and first rate here, as it was for his entire career… impeccable taste and technique and the best songs out there…”
A distinguished member of the Better Records Jazz Hall of Fame.
“Benny Carter had recorded with pianist Oscar Peterson back in the early ’50s for Norman Granz’s Verve label. More than 30 years, later he teamed up with Peterson again, this time for Granz’s Pablo company. There was no sign of decline or disillusionment in either of the co-leaders’ playing; in fact, if anything, they had improved with age. Joined by guitarist Joe Pass, bassist Dave Young and drummer Martin Drew, Carter and Peterson are both in a joyous mood and in typically swinging form on six standards and a blues.” — AMG (more…)
A distinguished member of the Better Records Jazz Hall of Fame.
Boy, these original Strobe Label (and T label) Verve pressings are sure all over the map. If there’s one jazz label that gets an F for consistency, it’s Verve. And they typically get an F (or at best a D) for mastering as well, since good sounding Verve pressings are few and far between. I guess that should not come as much of a surprise to many of our long time customers, but to hear how bad some of these pressings are mastered is nevertheless pretty shocking. One of the Strobe label copies we played had such a boosted top end it was positively distorted. (The RIAA curve does not allow that kind of top end boost without causing serious problems.)
Lucky for you, dear reader, we found a copy that had the tubey magic and transparency that really lets this live jazz album transport you back in time to a small club in Chicago in the ’60s. (Some of the talking patrons won’t even shut up for the likes of Oscar Peterson!)
As we mentioned above, some copies are poorly mastered, so poorly that Ray Brown’s bass all but disappears from the trio! Other copies made Thigpen’s snare sound hard and too forward in the mix. This is obviously just a mastering EQ problem, since the good copies, such as this one, get all those elements to balance beautifully. (more…)
A distinguished member of the Better Records Rock and Pop Hall of Fame.
With Hot Stamper sound on both sides, this Pablo disc shows you what three of the greatest trumpeters of the last fifty years can do given the opportunity, nay, the encouragement, to let loose on a handful of classic slow blues jams. Many of the tracks here run in excess of eight minutes, giving the players plenty of space to explore, yet practically all of them are taken at a fairly slow pace, what used to be called a “slow drag”, making them that much more involving and emotional. These are not your classic “blowing sessions” where the players try to outdo each other. No, this is something quite different.
Norman Granz revered the classic “jam session”, of which this is a prime example; he produced dozens for the various labels he owned over the years. Playing this album we can see why. The heart of the blues is here in every measure.
Clark Terry is joined here by Freddie Hubbard and Dizzy Gillespie on trumpet, with strong support from Oscar Peterson, Ray Brown, Joe Pass and Bobby Durham on drums.
The album was recorded in 1980 by Dennis Sands, one of my favorite Pablo recording engineers, the man behind the brilliant Farmer’s Market Barbecue and many others. (Soon enough he crossed over to films and has done the sound for more than 250 to date. He must be pretty good to get that much work, and you can be sure he makes a lot more money for his film work than he would for recording jazz dates.) (more…)
Side two of this wonderful Basie Peterson record has nearly White Hot Stamper Demo Disc sound — jazz records don’t get a whole lot bigger, clearer or more full-bodied. Man, that is the sound of glorious ANALOG. A++ to A+++ is our conservative grade. It might be worth the full Three Pluses but we just can’t find enough copies to know if this side could get any better. There is not a single critical comment of any kind in the notes, so that ought to tell you that you are in for a real sonic treat with this side two. (more…)
One of our good customers had this to say about some Hot Stampers he purchased recently:
I really liked the Osacr Peterson West Side Story and appreciate the effort you put in to find me a Hot Stamper. This was an album my mother bought for me and I have fond memories of lying on my back under my parents RCA console stereo looking up at the glowing tubes and listening to it. Thank you. Much better than the DCC cd. It now sounds like I remember it.
Mr. Magic was also a surprise. It never sounded that good and was better than I remember it.
The one that has completely blown me away was the Jackson Browne 3+ side one. It never sounded like that ever. I had a 1.5 and it was good; kind of like I remember it. This copy is a completely different musical experience. I enjoy the presentation more and have a much better appreciation of the music. You guys did it again.
Thanks as usual,
Mike H. (more…)
- A superb copy with solid Double Plus (A++) sound or BETTER from start to finish
- Rich, solid bass; you-are-there immediacy; sound that’s just jumping out of the speakers, this copy had the sound we were looking for
- Which wouldn’t mean much if the music wasn’t swingin,’ but it is – this could very well be the best record Oscar Peterson ever made
- Credit engineer Bob Simpson, the man behind the legendary Belafonte at Carnegie Hall recording from a couple of years before
- An absolute Must Own – for sound and music this is our pick for The Best Oscar Peterson album of All Time
I’ve known this was a well recorded album since I first heard the DCC gold CD back in the ’90s. It sounded great to me at the time — I had nothing to compare it to — but it sure didn’t sound like this. (more…)
- An excellent copy which earned Double Plus (A++) grades for sound on both sides – there’s plenty of rich, Tubey Magic from 1962 to be found on this vintage stereo pressing
- If you made the mistake of buying the atrocious Anadisq pressing MoFi put out in the ’90s, here is your chance to hear what a wonderful recording Val Valentin cooked up with these cats in their prime
- “This first matchup on records between pianist Oscar Peterson and vibraphonist Milt Jackson was so logical that it is surprising it did not occur five years earlier… this first effort is a particularly strong set.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1961-62 All Tube Analog sound can be, this killer copy will do the trick. (more…)