Top Engineers – Tom Dowd

Sonny Stitt – Stitt Plays Bird

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  • With a Triple Plus (A+++) shootout winning side two and a better than Double Plus (A++ to A+++) side one, this copy on the lovely Blue and Green Atlantic stereo label is practically as good as it gets
  • No reissue in our shootout could touch it, and where are you going to find an early pressing like this one in audiophile playing condition?
  • Tom Dowd engineered, which is why the best copies of the album sound so damn good – Dowd recorded many of the best Coltrane albums in the early ’60s
  • 4 1/2 stars: Sonny Stitt forged his own approach to playing bebop out of the sound and style of Charlie Parker, so this tribute album was a very logical project… Stitt, who mastered bebop and could play hot licks in his sleep, is in top form… making this an essential item for straight-ahead jazz fans…”

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Ornette Coleman – The Art of the Improvisers

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  • 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.”

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John Coltrane – Coltrane’s Sound – Forget the Reissues

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This is yet another superb Tom Dowd recording of Coltrane in his prime, with support from the brilliant McCoy Tyner and Elvin Jones.

Advice

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 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

The Players

John Coltrane — tenor saxophone on all except “Central Park West” soprano saxophone on “Central Park West” and “26-2”
McCoy Tyner — piano
Steve Davis — bass
Elvin Jones — drums (more…)

Ray Charles – Soul Meeting

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Soul Meeting

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  • 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…)

Ray Charles – Have a Smile With Me

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  • 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…)

Charles Mingus – Oh Yeah

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  • 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.

Engineering Excellence

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…)

John Coltrane – Giant Steps on Real Atlantic Vinyl

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A distinguished member of the Better Records Jazz Hall of Fame.

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…)

Ray Charles – The Genius of Ray Charles

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  • 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…)

John Coltrane – Coltrane’s Sound

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  • 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.

Advice

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 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…)

Derek and the Dominos – Layla (2 LPs) – Remastering the Remaster (and Keeping It a Secret)

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NEWSFLASH! [circa 2010]

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 from SIMPLY 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…)