- With seriously good Double Plus (A++) sides, this 360 stereo pressing has Demo Disc sound – sound that’s guaranteed to make you want to take all of your remastered pressings and dump them off at the Goodwill, followed by a heartfelt “Good riddance!”
- KOB is the embodiment of the big-as-life, spacious and timbrally accurate 30th Street Studio Sound Fred Plaut was justly famous for
- Space, clarity, transparency, and in-the-room immediacy are some of the qualities to be found on this pressing
- It’s guaranteed to beat any copy you’ve ever played, and if you have the new MoFi pressing, please, please, please order this copy so that you can hear just how completely they defiled the sound
- 5 stars: “KOB isn’t merely an artistic highlight for Miles Davis, it’s an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence.”
- Benny Golson makes his debut on the site with this STUNNING pressing of his 1959 release, with Shootout Winning Triple Plus (A+++) sound from start to finish – exceptionally quiet vinyl too
- These sides show off Rudy Van Gelder’s engineering chops to full effect – they’re big, full-bodied and lively, with good studio space around all the players
- “In this ’59 session, he stretches out on some simple blues patterns and one standard ballad. It’s all done at a swinging tempo that allows Fuller to shine on trombone with near perfect solos; the underrated Ray Bryant adds his impeccable piano touch (he’s as great as Kelly or Clark); Paul Chambers was never better on bass than here, both as accompanist and soloist; and the irrepressible drummer, Art Blakey, makes the whole session sparkle. Backed by this band, Golson is as smooth as butter in tone, and as dazzling in his virtuosity as any tenor player of the times.”
- With a seriously good Double Plus (A++) side one and a side two that’s close to it, this early Black Label stereo pressing has plenty of analog magic in its grooves
- ALIVE with musical energy, there’s also plenty of space for the players to occupy, a quality vital to this big group’s big sound
- “The surging, compelling, thoroughly earthy sound of this orchestra, led by CANNONBALL ADDERLEY and including as impressive a roster of jazz stars as has ever been assembled, has already been responsible for a major breakthrough on the musical front… Quickly and enthusiastically accepted by a wide public, it leaped almost overnight into the bestseller category.
Vintage original covers for this album are hard to find in clean shape. Most of them will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you. (more…)
- 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…”
One of our good customers has started a blog which he calls
A GUIDE FOR THE BUDDING ANALOG AUDIOPHILE
Below is a link to a comparison Robert Brook carried out with a few pressings of Miles Davis’ Masterpiece, Kind of Blue.
- Wynton Kelly’s hard-to-find second album finally makes its debut, with outstanding Double Plus (A++) sound on both sides – exceptionally quiet vinyl too
- A superb pressing, with lovely richness and warmth, good space and separation between the instruments and real immediacy throughout
- Kelly brings in jazz greats Nat Adderley, Bobby Jaspar, and Benny Golson, as well as several of his bandmates from Miles Davis’ sextet, including Paul Chambers and Jimmy Cobb
- 4 1/2 stars: “Kelly was renowned as an accompanist, but as he shows on a set including three of his originals and four familiar standards… A fine example of his talents.”
- “Wynton Kelly demonstrates once again why he has been a major influence in the history of jazz piano.”
- A superb copy of Blue Mitchell’s 1960 Riverside classic with solid Double Plus (A++) sound – exceptionally quiet vinyl too
- Yet another remarkable disc from the Golden Age of Vacuum Tube Recording, with the added benefit of mastering using more modern cutting equipment from the ’70s and ’80s
- (We are of course here referring to the good modern mastering of 35+ years ago, not the typically opaque, veiled and lifeless mastering of today)
- “Of trumpeter Blue Mitchell’s seven Riverside recordings, only this set — along with three numbers on Blue Soul — feature Mitchell as the only horn. Joined by pianist Wynton Kelly, bassist Sam Jones, and drummer Roy Brooks, the trumpeter is typically distinctive, swinging, and inventive within the hard bop genre.”
A distinguished member of the Better Records Jazz Hall of Fame.
This copy of Cannonball’s crazy-fun 1961 album offers outstanding Double Plus (A++) sound or better. ALIVE with musical energy, there’s also plenty of space for the players to occupy, a quality vital to this big group’s big sound.
This vintage pressing has the kind of Tubey Magical Midrange that modern records cannot begin to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.
Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real Cannonball Adderley and his orchestra playing live in your listening room. The best copies have an uncanny way of doing just that. (more…)
A distinguished member of the Better Records Jazz Hall of Fame.
Normally our notes for the sound of the records we are shooting out against each other fall into two categories: what the record is doing right and what the record is doing wrong. You’ll note that in this case there was nothing wrong about the sound to write about.
The secret is TUBES – they work their magic on this music like nothing else can.
I could have picked some nits, but when a specific pressing is so clearly superior to its competition, what’s the point?
Allow me to transcribe my notes:
The right sound — big, rich, tubey and real. No need to pick nits.
Transparent. Rich, smooth, balanced. Horn gets huge and loud the right way. Piano is full. Solid bass.
Over and out. (more…)
The first Hot copy of this classic to hit the site in over five years! Side one rates A++ to A+++ — super open and transparent with amazing immediacy.
This Red Label reissue DESTROYED the similar copies we played it against, and was also surprisingly competitive with our Super Hot (and Super Noisy) Six Eye ref copy. Most of these later pressings have superior clarity (compared to the earlier ones) but lack nearly all of the tubey magic. This one’s amazingly clean and clear, but still delivers on the tubey qualities — it’s richer, warmer, and sweeter than any other Red Label pressing we played. (more…)