- Movin’ Wes finally arrives on the site with outstanding Double Plus (A++) sound or BETTER throughout
- We guarantee there is dramatically more richness, fullness and presence on this copy than anything you have ever heard, and that’s especially true if you made the mistake of buying whatever godawful Heavy Vinyl pressing is currently on the market
- Credit goes to Rudy Van Gelder once again for the huge space this superbly well-recorded group occupies
- “The guitarist is in excellent form here, playing a nimble solo on the up-tempo waltz ‘Senza Fine’, as well on old favourites from previous albums like ‘Born To Blue’ and ‘West Coast Blues.”
- This superb collabration makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish on this early Jazzland stereo pressing
- With a rich, lively, present piano, as well as dead-on timbral accuracy for everyone else, this is by far the best sounding George Shearing record we have ever played
- “… features a rich blend of sound between piano, guitar and vibes all firmly supported by Monk Montgomery’s formidable bass work and Walter Perkins’ solid drumming.”
- 4 stars: “Pianist George Shearing meets up with guitarist Wes, vibraphonist Buddy, and bassist Monk Montgomery on this enjoyable if slightly lightweight outing… some fine soloing by the principals.”
- Wes Montgomery’s final album makes its Hot Stamper debut with Shootout Winning Triple Plus (A+++) sound or close to it throughout
- Full-bodied, musical, warm and smooth – this should sound far better than any copy you’ve heard
- Features the limitless talents of Herbie Hancock, Ed Shaughnessy, Richard Davis, and more
- “These songs are short, sweet, and supported by classical-tinged string and woodwind arrangements. This is not heavy jazz in any sense. Wes sounds to be just relaxing and having fun with it…”
- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish, a tough record to find these days
- These sides are doing pretty much everything right – they’re surprisingly rich, full-bodied and Tubey Magical yet still clean, clear and spacious
- 5 stars: “Smokin’ at the Half Note is essential listening for anyone who wants to hear why Montgomery’s dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Pat Metheny calls this “the absolute greatest jazz guitar album ever made…”
- Montgomery’s wonderful 1963 release finally makes its Hot Stamper debut here with Shootout Winning Triple Plus (A+++) sound or close to it throughout
- Exceptionally spacious and three-dimensional, as well as relaxed and full-bodied, this reissue pressing had better sound than any original
- As you can imagine, harmonically rich, clear, clean strings (or the lack of them) separated the winners from the losers pretty quickly
- 4 stars: “As with his later albums, Montgomery’s guitar solos here are brief and melodic but the jazz content is fairly high even if the emphasis is (with the exception of “Tune Up”) on ballads.”
- You’ll find KILLER sound on both sides of this jazz favorite — Shootout Winning Triple Plus (A+++) sound on the first side and solid Double Plus (A++) sound on the second
- Another triumph for Rudy Van Gelder and his unerring skill at getting all the musical elements to work together
- The first album Creed Taylor produced for A&M was A Day in the Life with Wes Montgomery, just days after the release of the Beatles’ Sgt. Pepper (and which Wes never heard before recording this album!)
- “There is a notable quality that each Wes recording seems to retain – they just seem to be getting better as the years go by.” – Pat Metheny
This superb album includes Montgomery’s great cover of A Day In The Life on side one and killer tracks like Eleanor Rigby, Willow Weep for Me, Windy and The Joker on side two!
It’s damn near impossible to find decent sounding early pressings, but the sound here is very good. There are plenty of dull, lifeless, overly compressed copies out there. That sound becomes especially offensive when the strings come in, most notably in the climactic middle section of “A Day In The Life.”
Fortunately for everyone who loves this kind of guitar-led jazz, our Hot Stampers have the warm, rich sound that let you enjoy this wonderful music without causing your ears to bleed. (more…)
- Truly superb sound can be found on both sides of this Jazzland recording, with each earning Shootout Winning Triple Plus (A+++) grades
- Wally Heider, recording in San Francisco in 1960, captured the jazz excitement on tape, and George Horn took those tapes and mastered them faultlessly
- “Tenor saxophonist Harold Land leads an all-star sextet that includes guitarist Wes Montgomery, trumpeter Joe Gordon, pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes… The music is as well-played and swinging as one would expect from this superior bop group.”
This vintage Jazzland/OJC pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound. (more…)
A distinguished member of the Better Records Jazz Hall of Fame.
This Minty Milestone Two-Fer Promo Double LP set features material from two Wes Montgomery albums: The Incredible Jazz Guitar and So Much Guitar.
There’s a reason Steve Hoffman chose So Much Guitar to do on Gold CD. It’s a superb recording, and it sounds great here.
A distinguished member of the Better Records Jazz Hall of Fame.
This White Hot Stamper Shootout Winner has the REAL Wes Montgomery/ Creed Taylor/ Rudy Van Gelder MAGIC in its grooves. You will not believe how big, rich and full-bodied this pressing is on side one! Since this is one of Wes’s best albums, hearing this side one was a THRILL for us and will no doubt be as big a thrill for you too.
Beware any and all imitations (even the one I like somewhat, the Cisco version). They barely BEGIN to convey the qualities of the real master tape the way this pressing does. This White Hot Stamper exhibits huge amounts of ambience and spaciousnesss, with far more energy and the kind of “see into the studio” quality that only the real thing ever seems to have.
Wall to Wall
Note especially how so much musical information is coming from the far sides of the soundfield. The Cisco reissue makes a mockery of that wall to wall sound, sucking it into the middle and flattening it into a single plane. Ugh.
To be fair — and I always am — the Cisco did beat and will beat the pants off of practically any copy you run across. There is a very simple explanation for this: Verve is probably the most poorly mastered label in the history of the world. No other label produced so many wonderful sounding recordings that were turned into lousy sounding LPs — I could list them for days. We rarely even pick up most Verves, having been burned so many times we just can’t face another badly mastered noisy LP. (more…)