Top Producers – Creed Taylor

Jimmy Smith – Got My Mojo Workin’

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  • With Shootout Winning Triple Plus (A+++) sound or very close to it on both sides, this copy handily won our shootout
  • The best sides have the kind of analog richness, warmth and smoothness that we make listening to records so involving
  • Some pop tunes, some Ellington and more, all of which has a real funky feel to it, with Jimmy really getting into it and grunting along with the music
  • “This 1965 Verve release finds the B-3 innovator mixing it up with organ and guitar combo swingers and big band charts compliments of arranger Oliver Nelson.”

This copy was just plain bigger and richer and tubier, as well as more dynamic than the others we played! (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…)

Astrud Gilberto – The Astrud Gilberto Album

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  • With seriously good Double Plus (A++) sides or close to them, this Van Gelder mastered copy was one of the best we played in our shootout (but the vinyl is iffy at best)
  • The sound here has real texture to the strings and breath to the vocals, key elements if this music is going to work
  • 4 1/2 stars: “The Astrud Gilberto Album was at least as good as Getz/Gilberto (despite what jazz fans say), for several reasons. Gilberto sounded beautiful on a range of material, from the sentimental “Dindi” to the playful “Agua de Beber,” and as long as intelligent musicians were playing to her strengths (as they do here), the results were splendid.”

If you can tolerate the slightly noisier surfaces of this pressing you are in for some amazing music and sound. If for any reason you are not happy with the sound or condition of the album,we are of course happy to take it back for a full refund including the domestic return postage.


This is an early stereo LP – the monos may be five times more common, but every last one we played was awful!

Check out this list of top jazz players:

Astrud Gilberto – vocals
Antônio Carlos Jobim – vocals, guitar (track 2)
João Gilberto – guitar
Joe Mondragon – bass
Bud Shank – alto sax, flute
João Donato – piano
Stu Williamson – trumpet
Milt Bernhart – trombone
(more…)

Stan Getz – Getz with Almeida

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  • With two nearly Triple Plus (A++ to A+++) sides, this copy is close to the BEST we have ever heard, right up there with our Shootout Winner – reasonably quiet vinyl too
  • Another Getz Bossa Nova Classic, recorded immediately after Getz/Gilberto, with comparable sound quality from Val Valentin’s All Tube Recording Chain
  • “Continuing his practice of running through one star guitarist after another, this time Getz has Laurindo Almeida as the designated rhythm man, featured composer, and solo foil. Jobim’s “Outra Vez” is a particularly lovely example of Getz’s freedom and effortless lyricism contrasted against Almeida’s anchored embroidering. [I]n the long view, one should be thankful that these musicians were recording so much cherishable material.”

(more…)

Jimmy Smith – Got My Mojo Workin’ – Reviewed in 2010

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Verve Stereo LP with RVG Stampers and very good sound. This album has that analog richness, warmth and smoothness that we prize so highly here at Better Records. Jimmy does some pop tunes, some Ellington and more on this one, which has a real funky feel to it, with Jimmy really getting into it and grunting along with the music in places.

This copy (especially on side one) was just plain bigger and richer and tubier, as well as more dynamic than the others we played. (more…)

Chet Baker – She Was Too Good To Me

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A distinguished member of the Better Records Jazz Hall of Fame

We guarantee you have never heard this album — or any later Chet Baker album — sound as good as this one does.

There’s so much life in these grooves. The sound jumps out of the speakers right into your lap. This kind of warm, rich, Tubey Magical analog sound is gone forever. You have to go back to 1974 to find it!

The early ’70s were a good time for Van Gelder, the engineer for these sessions. Grover Washington Jr.’s All the King’s Horses from 1973 is an amazing Demo Disc for large group. We could easily name-check a dozen others on CTI recorded by RVG that we’ve done shootouts for. 

But any album only sounds good on the copies that it sounds good on, on the pressings that were mastered, pressed and cleaned right, a fact that seems to have eluded most jazz vinyl aficionados interested in good sound but axiomatic (if not tautological) here at Better Records.

The extended song structures, ranging from four to seven minutes in length, leave plenty of room for the band to stretch out.

And of course Chet sings the title track beautifully. (more…)

Stanley Turrentine – Sugar

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

The best copies seem to have more space and are even more clear while at the same time keeping the sound rich and tonally correct from top to bottom. That sound is exactly what you will hear on this side two! It won our shootout because it gave us the feeling that we were hearing everything that was being recorded in the studio exactly the way Rudy, Stanley and his jazz buds wanted us to. In those long ago sessions at Van Gelder Studios in November of 1970, this is how it went down. 

And don’t forget to check out some of the most soulful sax playing Stan the Man ever committed to tape: the solos he plays on Kenny Burrell’s Midnight Sugar. We simply cannot recommend a jazz album any more highly than Kenny’s landmark album for Blue Note from 1963. To this day it blows my mind. (more…)

Astrud Gilberto – The Shadow Of Your Smile

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The space is HUGE and the sound so rich. The vocals have dramatically less hardness and the orchestra sounds right for once. Prodigious amounts of Tubey Magic as well, which is key to the best sounding copies. The sound needs weight, warmth and tubes or you might as well be playing a CD.

More Astrud Gilberto

If you don’t like at least some reverb on your vocals, this album is probably not for you. The standard recording approach for Male and Female Vocals in the ’50s and ’60s was to add reverb to them. Sometimes it sounds right and sometimes it’s too much. For “too much” play some of Nat King Cole’s records from the era to hear what I mean. (Try “Those Lazy-Hazy-Crazy Days of Summer” from 1963 if you want a good place to start.)

Like any processing of the sound in the studio — compression, limiting, reverb, EQ, etc. — it can be used with taste and discretion and make the recording better, or it can be overdone and ruin everything. For our part we think Astrud Gilberto’s recordings use reverb more or less tastefully. And of course there sure aren’t going to be any versions of this music coming along any time soon without the added echo. Getting the reverb to sound right is one of the things a good Hot Stamper has to do on a record like this. (more…)

Grover Washington Jr. – Inner City Blues – Our Shootout Winner from 2012

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

TWO A+++ SIDES ON QUIET VINYL, making this the best copy of Inner City Blues we’ve found! This copy trounced the other ones we played, giving us the kind of open, transparent sound that brings out the best in this music. The overall sound is very clean and clear with lots of weight down low and extension up top. I don’t think you could find a better sounding copy no matter what you did. 

The lineup here is absolutely stellar, with players including Ron Carter, Idris Muhammed, Richard Tee, Airto and Eric Gale, among many others.

Yer Average Copy

The typical sound we find on most pressings is full of heavy compression as well as the kind of high frequency restriction that prevents the top end from extending naturally. The result: Grover’s horn takes on a slightly sour quality — not a fun way to hear this kind of music. (more…)

Grover Washington Jr. – All The King’s Horses – Our Shootout Winner from 2012

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

Side one of this original Kudu pressing is OUT OF THIS WORLD. The sweetness and transparency of Grover Washington Jr.’s breathy sax went beyond any copy we’ve ever played. Who knew it could sound like this? We sure didn’t!

I’ve been a big fan of this record since I first heard it all the way back in High School. I only found out later that this is not what most people would consider “real” jazz — it’s CTI jazz, more in the pop jazz or soul jazz vein. But I love the music more with each passing year and would not hesitate for a moment to recommend it to any jazz lover or audiophile. If the first track doesn’t knock you out, this album may not be for you. Without a doubt, in my book it’s the best thing Grover Washington ever did.

The really good RVG jazz pressings sound shockingly close to live music — uncompressed, present, full of energy, with the instruments clearly located and surrounded by the natural space of the studio. As our stereo has gotten better, and we’ve found better pressings and learned how to clean them better, his “you-are-there” live jazz sound has begun to impress us more and more.

Obviously the credit must go to Rudy Van Gelder for recording and mastering the album so well.

The early ’70s were a good time for Van Gelder. All the King’s Men from 1973 is an amazing Demo Disc for large group. But it only sounds good on the copies that it sounds good on, on the pressings that were mastered, pressed and cleaned right, a fact that has eluded most jazz vinyl aficionados interested in good sound.

But not us. We’ve played the very special pressings that prove the album can sound amazing. (more…)