Top Engineers – Rudy Van Gelder

Stan Getz / Getz Au Go Go – Live and Learn

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A classic case of We Was Wrong. Many years ago we had written:

Of course, you would never know this is a good recording by playing the average domestic copy. This Japanese LP is one of the few pressings that can show you that this wonderful smoky night club jazz LP really can have Demo Disc sound.

Ridiculous, right? Well, at the time we believed it. Now our understanding is quite a bit more sophisticated, in the sense that the Japanese pressing is clearly better than most originals, not all of them.

More importantly, there are amazing sounding domestic reissues of the album that we’ve auditioned over the last ten years or so that really blew our minds and helped to set an even higher standard for the sound of Getz Au Go Go.

Our old story:

Way back in 2005 I discussed this very subject when listing a sealed copy:

There are pressing variations for this title on Japanese vinyl, and there’s no way to know what this one sounds like but all of them are better than any other pressing I know of. As I played the open copy we have listed on the site (1/12/05) I couldn’t help but marvel at the quality of the sound.

These days we would crack open a sealed one, clean it up and shoot it out with any others we could lay our hands on, because finding a copy with sound like this is a positive THRILL.

I’m no fan of Japanese pressings as readers of this Web site know very well, but the Japanese sure got this one right!

The domestic copies of this album are mediocre at best — there’s simply no real top end to be found on any Verve pressing I have ever heard. The top end is precisely where the magic is! Astrud Gilberto’s breathy voice needs high frequencies to sound breathy. Gary Burton’s vibes need high frequencies to emerge from the mix, otherwise you can hardly hear them. And Stan Getz’s sax shouldn’t sound like it’s being played under a blanket. The only version of this album that allows you to hear all the players right is a Japanese pressing, and then only when you get a good one.

The Revolutions in Audio of the last twenty years made it possible to get the domestic pressings — originals and reissues — to sound much better than the Japanese imports we used to like.

Paul Quinichette – On The Sunny Side, a Wonderful OJC Pressing from the ’80s

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  • Both sides of this long out of print OJC title boast lively, big and clear Double Plus (A++) sound quality
  • With three saxophones and a trombone, this is a fresh combination that really brings out the best in all the players during this Prestige jam session, a format for which they are justly famous
  • I raved about this album when it was in print many years ago – it’s solidly swinging jazz that belongs in your collection
  • Allmusic 4 Stars: “Waldron’s three originals (highlighted by “Cool-Lypso”) allow plenty of room for swinging, and Quinichette (who also performs “On the Sunny Side of the Street”) sounds comfortable interacting with the younger musicians. An enjoyable and underrated release.”

As I wrote years ago, back in the days when we regularly sent out catalog mailings:

When we discover a record like this, a record with no reputation either in the jazz world or the audiophile world, we try to bring it to people’s attention, usually with some success. Some of my customers called me up to tell me what a great record this is.

Based on what I’m hearing my feeling is that most of the lively, natural, full-bodied, sound of the album is on the master tape, and that all that was needed to get that vintage sound correctly on to disc was simply to thread up that tape on a reasonably good machine and hit play.

The fact that nobody seems to be able to make an especially good sounding record — certainly not as good sounding as this one — these days tells me that in fact I’m wrong to think that such an approach would work. Somebody should have been able to figure out how to do it by now. In our experience that is simply not the case today, and has not been for many years.

George Horn was doing brilliant work for Fantasy all through the ’80s. This album is proof that his sound is the right sound for this music. (more…)

John Coltrane – Black Pearls

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  • This superb 1958 stereo LP boasts two Triple Plus (A+++) sides – the sound of this copy simply cannot be beat
  • It’s big, lively, tubey, present and very transparent – nothing we played could compete with it
  • A great Rudy Van Gelder recording that hits a whole nother level on a copy like this
  • 4 stars on Allmusic: “…captures Coltrane at the height of perfecting the intense volley that would garner the name ‘sheets of sound.’ “

A killer copy of this wonderful 1958 Coltrane album, unbeatable on either side! We heard one that blew us away a few years big, so we picked up a bunch more and finally had the chance to evaluate them. The music was always enjoyable, but on a copy like this things really get going. Coltrane is joined here by Donald Byrd, Red Garland, Paul Chambers and Art Taylor — a top lineup, the same crew behind the great Lush Life. (more…)

Donald Byrd – A New Perspective

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  • An STUNNING stereo pressing of one of our all-time favorite Blue Note albums with Shootout Winning Triple Plus (A+++) sound throughout
  • The gospel vocals are amazingly well recorded (thanks RVG!) – with the transparency of this copy, you can easily pick out and follow each voice
  • To hear the real RVG magic, play Beast of Burden on side one – that’s some real audiophile DEMO DISC sound
  • 5 stars: “One of the most successful uses of a gospel choir in a jazz context. This is a memorable effort that is innovative in its own way, a milestone in Donald Byrd’s career.”

(more…)

Getz Au Go Go – A Bossa Nova Classic

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  • Truly superb sound for this incredible recording, Triple Plus (A+++) on the second side and Double Plus (A++) on the first
  • Amazingly present, immediate and REAL — musically and sonically, this is one of our favorite jazz albums
  • This is an incredibly tough album to find with the right sound and decent surfaces, which is the main reason it’s been years since we did the shootout
  • 4 stars on Allmusic: “Highly recommended for all dimensions of jazz enthusiasts.” [We would of course give it the full 5 Stars]

This Stan Getz record has the kind of LIVE JAZZ CLUB SOUND that audiophiles like us (you and me) dream of. More importantly, this ain’t no Jazz at Some Stupid Pawnshop — this is THE REAL THING. Stan Getz, Gary Burton, Kenny Burrell and the lovely Astrud Gilberto, the living embodiment of Cool Jazz, are coming to a listening room near you.

This is about as good a copy as has ever hit the site. Fans of cool jazz — in point of fact, some of the coolest jazz ever recorded — take note. 

Cool Jazz Is Right

I’ve gotten more enjoyment out of this Getz album than any other, including those that are much more famous such as Getz/Gilberto (which doesn’t sound as good by the way). This one is (mostly) live in a nightclub and it immediately puts you in the right mood to hear this kind of jazz.

Listening to side one I’m struck with the idea that this is the coolest jazz record of cool jazz ever recorded. Getz’s take on Summertime is a perfect example of his “feel” during these sessions. His playing is pure emotion; every note seems to come directly from his heart.

What really sets these performances apart is the relaxed quality of the playing. He seems to be almost nonchalant, but it’s not a bored or disinterested sound he’s making. It’s more of a man completely comfortable in this live setting, surrounded by like-minded musicians, all communicating the same vibe. Perhaps they all got hold of some really good grass that day. That’s the feeling one gets from their playing. As one is listening, there’s a certain euphoria that seems to be part of the music. This is definitely one of those albums to get lost in. (more…)

Charles Earland – Black Talk!

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  • Charles Earland makes his Hot Stamper debut here with this STUNNING pressing of Black Talk!, boasting Shootout Winning Triple Plus (A+++) sound or close to it throughout
  • You’d be hard-pressed to find a copy that’s this well balanced, yet big and lively, with such wonderful clarity in the mids and highs
  • Credit goes to Rudy Van Gelder once again for the huge space that the superbly well-recorded group occupies
  • 5 stars: “… one of the few successful examples of jazz musicians from the late ’60s taking a few rock and pop songs and turning them into creative jazz… Fans of organ combos are advised to pick up this interesting set.”

(more…)

Stanley Turrentine – Rough ‘N Tumble

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  • With two Shootout Winning Triple Plus (A+++) sides, we guarantee you’ve never heard this kind of life and energy on any other Stanley Turrentine album
  • It’s rare for us to find New York label stereo pressings in audiophile playing condition, but here’s one, and it simply takes the recording (and the music) to another level
  • This session boasts all the top players: Blue Mitchell, Pepper Adams, McCoy Tyner, Grant Green, Bob Cranshaw, and Mickey Roker and more
  • “…the star of the show is Turrentine, and his warmth and playing make this a necessity, especially for fans ’60s pre-funk Blue Note jazz.”

(more…)

Grant Green’s Green Street on Heavy Vinyl – Music Matters, But Apparently Sound Does Not

Sonic Grade: F

A Hall of Shame pressing and a Heavy Vinyl Disaster if there ever was one (and oh yes, there are plenty).

After discovering Hot Stampers and the mind-blowing sound they deliver, a new customer generously sent me a few of his favorite Heavy Vinyl pressings to audition, records that he considered the best of the modern reissues that he owns.

He admitted that most of what he has on Heavy Vinyl is not very good, and now that he can clearly hear what he has been missing, having heard some of our best Hot Stamper jazz pressings, he is going to be putting them up on Ebay and selling them to anyone foolish enough to throw their money away on this kind of vinyl junk.

We say more power to him.  That money can be used to buy records that actually are good sounding, not just supposed to be good sounding because they were custom manufactured with the utmost care and marketed at high prices to soi-disant audiophiles.

Audiophile records are a scam. They always have been and always will be.

I haven’t listened to a copy of this album in a very long time, but I know a good sounding jazz record when I hear one, having critically auditioned more than a thousand over the course of the 33 years I have been in business selling good sounding records.

I knew pretty early on in the session that this was not a good sounding jazz record.  Five minutes was all it took, but I probably wasted another ten making sure the sound was as hopeless as it originally seemed.

For those of you who might have trouble reading my handwriting, my notes say: (more…)

Chet Baker / Jim Hall / Hubert Laws – Studio Trieste

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  • This surprisingly good sounding collaboration finally arrives on the site with outstanding Double Plus (A++) sound or BETTER throughout
  • Three-dimensional space and ambience, with Tubey Magic by the boatload – guaranteed to be one of the better sounding Chet Baker albums you’ve heard, and probably the best of his later period
  • Another triumph for Rudy Van Gelder and his “live-in-the-studio” jazz sound – like most of his recordings (at least those from the ’60s on), this album still sounds fresh today, even after 38 years
  • 4 stars: “For what would be his final CTI date, he was matched with guitarist Jim Hall, flutist Hubert Laws and a fine rhythm section for two jazz standards… Throughout, Sebesky’s charts favorably showcase Baker’s lyrical trumpet, making this a recommended LP…”

(more…)

Wes Montgomery – A Day In The Life

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  • You’ll find KILLER sound on both sides of this jazz favorite — Shootout Winning Triple Plus (A+++) sound on the first side and solid Double Plus (A++) sound on the second
  • Another triumph for Rudy Van Gelder and his unerring skill at getting all the musical elements to work together
  • The first album Creed Taylor produced for A&M was A Day in the Life with Wes Montgomery, just days after the release of the Beatles’ Sgt. Pepper (and which Wes never heard before recording this album!)
  • “There is a notable quality that each Wes recording seems to retain – they just seem to be getting better as the years go by.” – Pat Metheny

This superb album includes Montgomery’s great cover of A Day In The Life on side one and killer tracks like Eleanor Rigby, Willow Weep for Me, Windy and The Joker on side two!

It’s damn near impossible to find decent sounding early pressings, but the sound here is very good. There are plenty of dull, lifeless, overly compressed copies out there. That sound becomes especially offensive when the strings come in, most notably in the climactic middle section of “A Day In The Life.”

Fortunately for everyone who loves this kind of guitar-led jazz, our Hot Stampers have the warm, rich sound that let you enjoy this wonderful music without causing your ears to bleed. (more…)