This insanely good copy of Coltrane’s brilliant sixth studio album boasts Shootout Winning Triple Plus (A+++) sound on the first side and solid Double Plus (A++) sound on the second
This pressing captures the classic Coltrane sound that Tom Dowd and Phil Iehle achieved in the studio in 1961, with plenty of the Tubey Magic that makes a vintage jazz album like this one such a special listening experience
It’s the rare pressing that isn’t mediocre if not outright awful – it took us a long time to find the right stampers for this one
It’s trial and error, no more, no less, a process that worked for plenty of other hard-to-find-good-sound-for-Coltrane albums too
4 1/2 stars: “The first album to hit the shelves after Giant Steps… While not the groundbreaker that Giant Steps was, Coltrane Jazz was a good consolidation of his gains as he prepared to launch into his peak years of the 1960s.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1961 All Tube Analog sound can be, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This is an exceptionally well recorded jazz flute album, and if you want to hear this kind of sound, you going to need an early ’60s pressing, because none of the reissues we played even came close to our good stereo originals
“By 1961, flutist Herbie Mann was really starting to catch on with the general public. This release, a follow-up to his hit At the Village Gate…features Mann in an ideal group with either Hagood Hardy or Dave Pike on vibes, Ahmed Abdul-Malik or Nabil Totah on bass, drummer Rudy Collins and two percussionists. Mann really cooks on four of his own originals, plus ‘Bags’ Groove,’ blending in the influence of African, Afro-Cuban and even Brazilian jazz.”
A Jazz Classic from 1963 that should appeal to any fan of Bossa Nova music
Coltrane’s Atlantic debut returns to the site on this KILLER vintage pressing with Nearly Triple Plus (A++ to A+++) sound from the first note to the last – just shy of our Shootout Winner
As is so often the case, the right stampers make all the difference in the world on this album, and these are some of the best, even though the label may not be the right colors
It takes us years to find a copy that plays as quietly as this one with no marks in the vinyl – it will be quite a while before another of its kind comes our way
It’s big, lively, tubey, present and very transparent – nothing we played could compete with it
Credit superb engineering from Phil Iehle and Tom Dowd, who would work on some of Coltrane’s most iconic albums at the label
5 stars: “[Coltrane] was…beginning to rewrite the jazz canon with material that would be centered on solos — the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling.”
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 Nearly White Hot original — 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.
If you know anything about this music, you know that Coltrane builds up a head of steam on practically every track on the album. He is blasting away here and it is a thrill to be sure. The soundfield opens up naturally, with real depth.
The clarity does not come at the expense of brightness or thinness of any kind. In fact, just the opposite is the case — the sound is so rich and tubey you will be practically bowled over by it.
The extension on both ends of the frequency spectrum is one of the qualities that often sets the better copies apart from the pack. All the top end and the deep bottom end weight and fullness that are so essential to the sound are simply not to be found on most pressings — but here they are.
Clean and clear, rich and natural, with good vocal presence and wonderful energy throughout
The title track sounds amazing, but that’s just one of the great songs with excellent sound on the album
The engineering team of Tom Dowd and Phil Iehle really worked their magic on this one
4 1/2 stars: “…Walker favored the country and folk side of folk-rock much more than the rock side.”
This is only the second title by Jerry Jeff that we’ve been able to do shootouts for. Most of the records we’ve played of his from the ’70s left a lot to be desired sonically and more often than not musically, so we gave up on them.
His Vanguard release from 1969 has superb sound, as does this Atco from 1968. There may be one or two more coming down the pike but that could be many years from now. His records never sold all that well, and not many of them can be found in Southern California.
And they are hard to find in audiophile playing condition.(more…)
This is one of the BEST sounding jazz albums we have played in many months – it is ALIVE with energy and dynamic contrasts
We had a superb original Plum and Orange Mono pressing and as good as that one may be, this stereo pressing takes the music to another level entirely (on big speakers at loud levels of course)
Compare this pressing to anything ever recorded by Rudy Van Gelder and you may be in for quite a shock
Engineered by the team of Tom Dowd and Phil Iehle, the men behind some of Coltrane’s most iconic, best sounding albums for Atlantic
5 stars in Downbeat – Allmusic notes: “It’s an understatement to say that Ornette Coleman’s stint with Atlantic altered the jazz world forever, and Ornette on Tenor was the last of his six LPs (not counting outtakes compilations) for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history… far ahead of its time.
With a nearly Triple Plus (A++ to A+++) side one and a seriously good Double Plus (A++) side two, this copy will be very hard to beat – exceptionally quiet vinyl too
Engineered by the team of Tom Dowd (whose work you surely know well) and Phil Iehle – the pair recorded some of Coltrane’s most iconic albums for Atlantic: Giant Steps (1960) and Coltrane Jazz (also in 1961)
5 stars in Downbeat – Allmusic notes: “It’s an understatement to say that Ornette Coleman’s stint with Atlantic altered the jazz world forever, and Ornette on Tenor was the last of his six LPs (not counting outtakes compilations) for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history… far ahead of its time.”
You’ll find outstanding Double Plus (A++) sound on both sides of this 1961 Coltrane classic – exceptionally QUIET vinyl too
There is more richness, fullness and presence on this pressing than other copies offer, and that’s especially true for whatever godawful Heavy Vinyl pressing is currently being foisted on an unsuspecting public
With McCoy Tyner on piano, Steve Davis on bass and Elvin Jones on the drums, this is a group that can do no wrong with standards of this caliber
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. Each track of this album is a joy to revisit.”
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…)