Top Engineers – Frank Laico

Miles Davis / Bitches Brew

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  • An excellent copy of this 2 LP set with roughly Double Plus (A++) sound on all FOUR sides
  • Sides two, three, and four are clean, clear, lively and present with tons of space around all of the players, and side one is not far behind in all those areas
  • You can hear right into the soundfield, and you can be sure that there’s a whole lot more going on in there than you can bring out, but that’s what makes audio fun
  • Improving your playback can reveal more and more of what’s always been in the grooves of your records
  • This is not an easy album to find in clean condition, let alone a copy that sounds like this and plays reasonably well throughout
  • If jazz-fusion is your bag, the Nearly Triple Plus (A++ to A+++) side three of this copy will take you on a trip like few other records could
  • 5 stars: “Thought by many to be the most revolutionary album in jazz history, having virtually created the genre known as jazz-rock fusion (for better or worse) and being the jazz album to most influence rock and funk musicians, Bitches Brew is, by its very nature, mercurial.”

The incredible musicianship and Teo Macero’s innovative production each help take these jazz-fusion soundscapes to places most folks had never imagined before. And a copy like this one takes the entire production to a whole new level. I can’t begin to tell you how many crappy copies have hit our table over the years, but after finding this one I’m really glad we never gave up on this album.

I remember buying this record when I was in college and I had a hell of a time trying to make any sense of it. I also bought the first two Weather Report albums and had a hell of a time with those. But then when Sweetnighter came out, which was angular but still accessible, this kind of music started to make sense to me. This is music for those who want to be challenged. It’s as true today as it was 53 years ago when this record came out.

Our favorite track on this album, “Miles Runs The Voodoo Down,” is found on the Double Plus (A++) side four, which means the sound for it is OUTSTANDING.

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Frank Sinatra – Trilogy: Past, Present and Future

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  • With outstanding Double Plus (A++) grades or close to them on all SIX sides, this copy of Sinatra’s superb 1980 release will be very hard to beat
  • The sound here is rich and full-bodied with much less grain and much more Tubey Magic than most of the other copies we played in our recent shootout (particularly on the first five sides)
  • Credit the brilliant engineering of Frank Laico for the excellent sound – this record doesn’t sound like 1980, and that’s a very, very good thing
  • “An audacious, ambitious way to stage a comeback, each of the album’s three records was conceived as an individual work, and each was arranged by one of Sinatra’s major collaborators. . . the best moments are triumphant, proving that the Voice was still vital in his fourth decade of recording.”

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Miles Davis – Miles In The Sky

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More Jazz Rock Fusion

  • This original 360 Stereo pressing was doing pretty much everything right, with both sides earning seriously good Double Plus (A++ ) grades or BETTER – exceptionally quiet vinyl too
  • Excellent sound courtesy of Arthur Kendy’s and Frank Laico’s engineering at the famed Columbia Studio B in NYC
  • Miles here is backed by his classic ’60s All Star crew – Herbie Hancock, Wayne Shorter, Ron Carter & Tony Williams
  • “…Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion… intriguing music…”

We just finished a big shootout for this superb Miles Davis album and this copy was dramatically better sounding than most others we played. Both sides have excellent bass, correct sounding brass, wonderful transparency and loads of Tubey Magic.

Many copies didn’t have the kind of transparency or openness that we heard here, which made it harder to appreciate the contributions of the different players. This one puts plenty of separation between the various instruments, so you can make sense of what each of these heavy-hitters adds to the mix. You will have a very hard time finding a copy out in the bins that sounds as good as this one!

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Tony Bennett – Notes from Our First Hot Stamper

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More Vintage Hot Stamper Pressings on Columbia

Everything that’s good about All Tube Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record.

The huge studio the music was recorded in is captured faithfully here. The height, width and depth of the staging are extraordinary. We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this.

Transparency and Tubey Magic are key to the sound of the orchestra and you will find both in abundance on these two sides.

Some quick notes:

Side One

Highly resolving; tonally balanced; rich bottom end; breathy vocals; instruments are jumping out of the speakers; dynamic; with a touch of grain and spit on even the best copies.

Killer. Can’t be beat.

Side Two

Might be slightly better, but let’s just leave the grade at Triple Plus.

The first track is not as well recorded as those that follow.

The violin is sweeter on the second track here than on any other side we played.

The whole production is so immediate, so right, and so real it may just take your breath away.

The third track is rich, solid and tonally correct, which pretty much sums up the sound we heard on the best copies of the album.

Albums such as this live and die by the quality of their vocal reproduction. On this record Mr. Tony Bennett himself will appear to be standing right in your listening room, along with the 38 other musicians from the session (actually they’re probably sitting).

The space of your stereo room will seem to expand in all directions in order to accommodate them, an illusion of course, but nevertheless a remarkably convincing one.

Charlie Byrd – Delicately

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More Jazz Recordings Featuring the Guitar

  • Amazing sound for Byrd’s 1968 release, with a KILLER Shootout Winning Triple Plus (A+++) side one mated to a solid Double Plus (A++) side two on this original 360 Stereo pressing – fairly quiet vinyl too
  • Teo Macero‘s production here is rich, sweet, and highly resolving, with all the space and three-dimensionality that Frank Laico‘s brilliant engineering is known for
  • The music on this enchanting jazz / pop guitar album is every bit as good as the sound quality (and that is rarely the case with these kinds of records – we should know, we’ve played scores of them)
  • Marks in the vinyl are sometimes the nature of the beast with these early pressings – there simply is no way around them if the superior sound of vintage analog is important to you

Hearing is definitely believing, especially in our unique corner of the record business — we don’t give a fig about who, why or when a record was made; we just play it and judge it based on what we hear in its grooves. Needless to say. this pressing of the album was judged to be a knockout.

Apparently the album has garnered attention from other audiophiles – HDTracks offers a high-rez digital download of it! (more…)

Tony Bennett – I Left My Heart In San Francisco

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More 5 Star Albums

  • Amazing sound throughout this early 360 Stereo pressing, with both sides earning superb Double Plus (A++) grades
  • Rich, smooth, sweet, full of ambience (maybe too much ambience!), dead on correct tonality, and wonderfully breathy vocals – everything that we listen for in a great record is here
  • Huge amounts of three-dimensional space and ambience, along with boatloads of Tubey Magic – here’s a 30th Street recording from 1962 that demonstrates just how good Columbia’s engineers were back then
  • The title track became a gold-selling Top Ten hit that stayed on the charts for almost three years (!) and earned Bennett two Grammy Awards (Record of the Year and Best Solo Vocal Performance)
  • To hear the real Tony Bennett, play “Once Upon a Time” – it’s here and nobody sings it better
  • 5 stars: “…Bennett had been searching for a … musical approach beyond his long-gone pop work…. With this album, [he] found the key, not only by happening across a signature song in the title track, but also in the approach to songs like ‘Once Upon a Time’…and Cy Coleman and Carolyn Leigh’s ‘The Best Is Yet to Come,’ which Bennett helped make a standard.”

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Johnny Mathis – Up, Up And Away

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More Pop and Jazz Vocal Recordings

  • Up, Up And Away debuts on the site with stunning Nearly Triple Plus (A++ to A+++) grades throughout this original Columbia 360 Stereo pressing – just shy of our Shootout Winner
  • So hugely spacious and three-dimensional, yet with a tonally correct and natural sounding Johnny, this is the way to hear it
  • “Johnny Mathis’s return to the Columbia label purrs with the rich, romantic tones that suspend the very sensation of conscious listening … ‘Up, Up and Away’, ‘Misty Roses,’ and ‘I Won’t Cry Anymore’ are soothed and coated with Mathis’s seamless style – music running together like prefabricated daydreams padded with a feeling of luxury.” – Billboard Magazine
  • More Reviews and Commentaries for the Recordings of Frank Laico

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 Johnny Mathis singing live in your listening room. The best copies have an uncanny way of doing just that.

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Tony Bennett – Frank Laico Knocks Another One Out of the Park

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Reviews and Commentaries for the Recordings of Frank Laico

Amazing vocal reproduction courtesy of the brilliant engineering of Frank Laico at his favorite studio (and ours), Columbia 30th Street studios

We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this

Everything that’s good about Vocal Recordings from the ’50s and ’60s is precisely what’s good about the sound of this record.

The huge studio the music was recorded in is captured faithfully here. The height, width and depth of the staging here are extraordinary. We are not big soundstage guys here at Better Records, but we can’t deny the appeal of the space to be found on a record as good as this.

Transparency and Tubey Magic are key to the sound of the orchestra and you will find both in abundance on these two sides.

On this record Mr. Tony Bennett himself will appear to be standing right in your listening room! The space of your stereo room will seem to expand in all directions in order to accommodate them, an illusion of course, but nevertheless a remarkably convincing one. (more…)

Bill Evans / Symbiosis – One of the Few MPS Pressings with (Potentially) Top Sound

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More Jazz Piano Recordings

  • An outstanding copy of Evans’ wonderful 1974 album accompanied by symphony orchestra with solid Double Plus (A++) sound or BETTER throughout
  • We dropped the needle on a copy years ago and heard wonderful audiophile sound right from the get-go
  • Bigger, richer, more Tubey Magical, with more extension on both ends of the spectrum and more depth, width and height than most other copies we played
  • We are not big fans of the MPS label — most of their stuff, especially the Oscar Peterson records they made, is not very good — but we sure liked this one
  • “… a special and unique entry in Evans’ huge catalog… Not your “typical” Bill Evans album–but that’s what makes SYMBIOSIS such a fine, gently challenging listen.”
  • If you’re a Bill Evans fan, this 1974 release might be a perfect fit for your collection.

On the best copies the strings have wonderful texture and sheen. If your system isn’t up to it (or you have a copy with a problem in this area), the strings might sound a little shrill and possibly grainy as well, but I’m here to tell you that the sound on the best copies is just fine with respect to string tone and timbre. You will need to look elsewhere for the problem. (more…)

Tony Bennett – I’ve Gotta Be Me

More of the Music of Tony Bennett

More Vintage Columbia Hot Stamper Pressings

  • This vintage Columbia 360 label pressing gives Tony the sound he deserves, with Double Plus (A++) grades on both of these early stereo sides
  • Brilliant engineering by Frank Laico, the man who recorded I Left My Heart In San Francisco and Sketches of Spain, among others
  • Tony Bennett was in fine form and still able to sing the hell out of these songs in 1969 – when you hear the quality of his voice on this very album you will perhaps appreciate the toll this century has taken on him
  • Vintage record guys with top quality turntables – like us – get to hear Tony the way he should be heard, with his voice at the peak of its powers

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