This outstanding pressing of Ray Charles and Milt Jackson’s 1958 collaboration boasts solid Double Plus (A++) grades or close to them on both sides – exceptionally quiet too
Wonderful sound from start to finish — full-bodied and warm with wonderfully sweet vocals
Kenny Burrell lends his innovative guitar stylings to this soulful jazz collaboration
4 1/2 stars: “With Oscar Pettiford, Connie Kay, and Kenny Burrell in the various lineups, this is bluesy jazz in a laid-back manner; it surprised many hardcore R&B fans when these albums were originally issued.”
This wonderful pressing has superb sound throughout! It’s EXTREMELY rare to find a stereo copy of this title in anything but beat condition.(more…)
With two seriously good Double Plus (A++) sides this copy was one of the best we played in our recent shootout
The richness in the vocals and the wonderfully Tubey Magical sound makes this copy especially impressive
It’s not easy to find a Ray Charles record from the Sixties that plays this quietly: Mint Minus to Mint Minus Minus
AMG writes, “…He elevates the material with soulful vocals and good arrangements, particularly when the Raeletts back him up (as they do on half the tracks).”
Copies with rich lower mids and nice extension up top (to keep the female backup singers, the Raelets. sweet and clear) did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record. We know, we hear practically all of them whenever we sit down to do one of these shootouts.(more…)
This insanely good original stereo pressing of Mingus’s brilliant Oh Yeah from 1962 boasts outstanding Nearly Triple Plus (A++ to A++++) sound from first note to last
Tubey Magical, lively and clear, with three-dimensionality that will fill your listening room from wall to wall
Phil Iehle and Tom Dowd made up the engineering team for these sessions, which explains why the best copies of the album sound so damn good
A raucous (and ROCKIN’) deviation from traditional jazz, this compilation incorporates R&B and soul influences – Mingus even lends his rich vocal stylings to a few songs
5 stars: “Oh Yeah is probably the most offbeat Mingus album ever, and that’s what makes it so vital.”
This original Atlantic stereo pressing 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 Mingus, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
The engineering duties were handled by Phil Iehle, a man who recorded some of Coltrane’s most iconic albums for Atlantic, Giant Steps (1960) and Coltrane Jazz (also in 1961), and the venerable Tom Dowd, who also did Giant Steps (1960), Coltrane Jazz (1961), Coltrane’s Sound (1964) and many others.(more…)
As you might expect, the original Blue and Green label pressings have — potentially — superb sound on Giant Steps, but somewhat surprisingly — assuming you’ve heard a White Hot original copy — the Red and Green label pressings can sound every bit as good.
The Tubey Magical richness and warmth carried over into the ’70s, at least on some copies of this title, and we’re very glad they did, as finding clean original Coltrane albums from the early ’60s is not so easy these days.(more…)
One of the few copies to ever hit the site and boy is it KILLER — Triple Plus (A+++) sound on the second side and Double Plus (A++) on the first
The sound is incredibly rich, full and Tubey Magical with tons of energy and a nice extended top end
Robert Christgau noted that “Charles tried many times, but except for Modern Sounds, he never again assembled such a consistent album in this mode.”
“Charles’ voice is heard throughout in peak form, giving soul to even the veteran standards.”
Tom Dowd engineered on Ampex 3 Track through an All Tube chain (this is 1959 after all), Quincy Jones did the arrangements, and Ray sang the hell out of this great batch of songs — all the ingredients in a recipe for soul are here.
Top tracks on the first side: Let The Good Times Roll, It Had To Be You and When Your Lover Has Gone.(more…)
Outstanding Double Plus (A++) sound, or close to it, on both sides of this early pressing of Coltrane’s Sound
An authentic Green and Blue Atlantic stereo pressing, the only version of the album that has the potential for Hot Stamper sound, which explains why this is only the second copy to hit the site since 2011
“This is one of the most highly underrated entries in Coltrane’s voluminous catalog. Although the same overwhelming attention bestowed upon My Favorite Things was not given to Coltrane’s Sound upon its initial release, both were actually recorded during the same three-day period in the fall of 1960… these recordings remain among Trane’s finest.”
This is yet another superb Tom Dowd recording of Coltrane in his prime, with support from the brilliant McCoy Tyner and Elvin Jones.
Forget the later Red and Green Atlantic pressings. Every one we’ve ever played was flat, dry, and thin. They sound like the cheap reissues that we Atlantic churned out in the ’70s. Don’t get me wrong; there are some good sounding records on the Red and Green label, but you really have to know what you are doing, or be really lucky, to find them.
We’ve played them by the score, and found relatively few winners among a slough of losers. If you want to take your chances on some, knock yourself out, more power to you, but expect to come up with nothing to show for your time and money almost every time. That’s been our experience anyway.
And be very thankful if you happen to run into one of these early Atlantic stereo pressings, especially if it plays as quietly as this one does. Few Classic Coltrane albums survived the jazz lovers of the day and their awful turntables.(more…)
Noticing that this title had recently come back into print, and remembering that we used to like the SVLP of Layla, we decided to order a current copy of the album fromSIMPLY VINYL. Soon enough it came in, we played it, and we were pretty shocked to hear that the damn thing sounded just plain AWFUL.
Was I wrong about it before? Only one way to know. I pulled out my old Review Copy from way back when it first came out and sure enough that early pressing sounded dramatically BETTER than the new one. The stampers were completely different of course; someone had remastered it recently and ruined it.
The earlier SVLP pressing, though no award winner by any means, was at least a good record. This new pressing was nothing but a piece of crap. (more…)
You’ll find excellent Double Plus (A++) sound on both sides of this 1961 Coltrane classic
You’ll also find dramatically more richness, fullness and presence than most copies have to offer
An exceptionally difficult album to find with top quality sound and decent surfaces, but here one is!
5 stars: “The unforced, practically casual soloing styles of the assembled quartet allow for tastefully executed passages a la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band.”
An album like this is all about its Tubey Magical Stereoscopic presentation. If you’re looking to demonstrate just how good 1961 All Tube Analog sound can be — thanks go to legendary engineers Phil Lehle and Tom Dowd — this excellent copy should be just the record for you.(more…)
An excellent sounding copy with solid Double Plus (A++) sound on both sides
This compilation gives you a taste of Ray’s great instrumental tracks, all in surprisingly good sound
Like any compilation the sound varies from track to track, but most of the material here sounds WONDERFUL!
You may have noticed that Tom Dowd, the recording engineer for these tracks, receives a fair amount of criticism on our site. We’re not always fans of his work on rock albums, but on jazz music he usually managed to do a great job. The sound is open, sweet, transparent, rich — all the stuff we like here at Better Records. (more…)
Stunning sound on this stereo pressing with both sides rating close to our Shootout Winner, just shy of Triple Plus (A++ to A+++)
One of Tom Dowd’s many outstanding recordings of John Coltrane at the height of his powers – the sound is to die for
Exceptionally quiet on both sides for a vintage jazz album such as this – it actually plays a true Mint Minus
5 stars: “Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording.”
If all you have ever played is an original pressing or a modern reissue, you are in for a treat — this copy is going to murder them.
We found all of this out the hard way, by having some originals and some of the “wrong” reissues in our shootout. Of course, we didn’t know they were not going to be especially good sounding until we played them, but it didn’t take long to recognize there was one stamper and one stamper only that had the sonic goods. It was simply no contest. And it was not an original pressing.
Needless to say, this record has that stamper.(more…)