Why is no one else writing about records like these? The music is wonderful and the sound is top drawer on the best copies. If you’ve tried and failed with other Pablo Zoot Sims records, fear not: this title is one of the best we have ever played, musically and sonically. (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…)
With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout – fairly quiet vinyl too
A Top Basie Big Band title in every way – musically, sonically, you name it, this album has got it going on!
This is the way it must have sounded in 1976, in the New York studios where the famous RCA engineer Bob Simpson was still behind the board
4 stars: “This is one of Count Basie’s best big-band studio recordings for Norman Granz during his Pablo years. The arrangements by Bill Holman are both challenging and swinging, containing enough surprises to make this session a real standout.”
On the best pressings, the horns are so present and high-rez, not to mention full-bodied, this could easily become a favorite big band album to demo or test with — or just to enjoy the hell out of.
I never noticed until just now that the album cover picture for Farmer’s Market Barbecue and this album are exactly the same! Wow, Pablo, that takes balls.(more…)
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! This album is clearly one of the best jazz piano recordings I’ve ever played. In its own way it’s every bit as good as that other landmark recording, The Three, from 1975.
Both belong in any right thinking audiophile’s jazz collection. Both are phenomenal Demo Discs on the best pressings. (more…)
This killer Gonsalves release makes its debut on the site with Shooutout Winning Triple Plus (A+++) sound on both sides – exceptionally quiet vinyl too
The sound is huge and spacious with richness and Tubey Magic like nothing you’ve heard
Engineered by the great Bob Simpson, this album has got it going on – musically, sonically, you name it
Gonsalves was Ellington’s tenor man, and his wonderfully expressive tone is what makes many of Ellington’s recordings the joy they are to this day
This vintage Impulse LP has the kind of Tubey Magical Midrange that modern records rarely even 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…)
This stunning sounding original copy has amazing Triple Plus (A+++) sound or close to it on both sides – it’s guaranteed to blow your mind
The sound here is vintage Living Stereo at its best – big, rich and Tubey Magical like you will not believe
These Black Label originals can rarely be found any quieter than this one – it plays Mint Minus Minus for the most part
5 stars: “Mingus at the time said that this was his greatest recording, and it certainly ranks near the top.”
NOTE: There are a few very light, barely audible marks on side one that play intermittently. There are four light pops at the start of track one and three light pops at the end of the track. There are also seven very soft pops near the middle of track 2.
This is the way it must have sounded in 1957, when legendary RCA engineers BOB SIMPSON and RAY HALL were sitting behind the board in the New York studios where it was recorded.(more…)
Incredible Shootout Winning Triple Plus (A+++) sound from the first note to the last
Both sides are wonderfully big, rich and LIVELY, with boatloads of Tubey Magic and the kind of three-dimendional space that’s a hallmark of Bob Simpson’s engineering
“Smith bubbles and bounces through all of it at the B-3 while Nelson proceeds to fill every available corner with huge, sweeping orchestral washes and crescendos. The clear highlight, though, is the lead and title track, “Hobo Flats,” which moves at a languid but wonderfully funky pace and establishes a groove as wide as the Mississippi River.”
Both sides of this very special early stereo pressing are huge, rich, tubey and clear. As soon as the band got going we knew that this was absolutely the right sound for this music. There was practically nothing that could beat it, in any area of reproduction.
In the past we’ve complained about “echo-drenched brass” on some of these Oliver Nelson / Jimmy Smith collaborations, but on a killer copy such as this there is nothing to complain about. If you have a top quality front end (and the kind of system that goes with it), this recording will be amazingly spacious, three-dimensional, transparent, dynamic, and open.(more…)
Yet another wonderful Getz Samba record, the third in the series. Some of our faourite music has this Samba syncopation: Sergio Mendes, first and foremost of course, but also Airto, and all the wonderful Getz albums from this period. Their enchanting Brazilian rhythms make their music fun.
Thanks go to all the engineers involved in this recording: