- Movin’ Wes finally arrives on the site with outstanding Double Plus (A++) sound or BETTER throughout
- We guarantee there is dramatically more richness, fullness and presence on this copy than anything you have ever heard, and that’s especially true if you made the mistake of buying whatever godawful Heavy Vinyl pressing is currently on the market
- Credit goes to Rudy Van Gelder once again for the huge space this superbly well-recorded group occupies
- “The guitarist is in excellent form here, playing a nimble solo on the up-tempo waltz ‘Senza Fine’, as well on old favourites from previous albums like ‘Born To Blue’ and ‘West Coast Blues.”
Listen to the trumpet on the second track on side one — it’s so immediate, it’s practically JUMPING out of the soundfield, just bursting with energy. Rudy can really pull off these big productions on occasion, and this session was clearly one of them. If you have the kind of stereo that’s right for this music (the bigger the better) you could easily find yourself using this record as a demonstration disc. It’s very unlikely your audiophile friends have ever heard anything like it.
Both sides are especially full and rich. The congas are present in the mix and very full-bodied — this allow them to really drive the rhythmic energy of the music. We know this because the copies with congas that were veiled or thin never seemed to get up go. The bass on these two sides was some of the best we heard as well.
The top is most often the problem with these CTI pressings. Both sides here seem to give you all the top end that was on the tape.
There is wonderful transparency and openness to the soundstage, as well as less congestion in the loudest parts. Also Sprach (2001) is on side one of the album and it is KILLER here.
Both sides are also surprisingly sweet and Tubey Magical, nice qualities for a CTI record to have since so many of them are aggressive and edgy to the point of distraction. (more…)
- An outstanding copy with solid Double Plus (A++) sound or BETTER from first note to last
- This kind of spacious, warm, rich, Tubey Magical analog sound is gone forever – you have to go back to 1966 to find it
- Creed Taylor (the CTI man) produced, Gil Evans did most of the arrangements, Rudy Van Gelder and Val Valentin engineered – what’s not to like?
- 4 1/2 stars: “This was a beautiful bossa nova record of Astrud Gilberto’s vocal stylings…”
- Wes Montgomery’s final album makes its Hot Stamper debut with Shootout Winning Triple Plus (A+++) sound or close to it throughout
- Full-bodied, musical, warm and smooth – this should sound far better than any copy you’ve heard
- Features the limitless talents of Herbie Hancock, Ed Shaughnessy, Richard Davis, and more
- “These songs are short, sweet, and supported by classical-tinged string and woodwind arrangements. This is not heavy jazz in any sense. Wes sounds to be just relaxing and having fun with it…”
- An outstanding copy of this Big Band Jazz classic led by Jimmy Smith with solid Double Plus (A++) sound or BETTER throughout
- If you own only one Jimmy Smith album, make it this one – with Oliver Nelson’s arrangements ferociously blasting away, at good loud levels the first side here has the power to swing like you will not believe
- 5 stars: “On the first half of the program, Smith was for the first time joined by a big band. Oliver Nelson provided the arrangements, trumpeter Joe Newman and altoist Phil Woods have a solo apiece, and “Walk on the Wild Side” became Smith’s biggest hit up to that point.”
*NOTE On side one, a mark makes very light intermittent ticks through Track 3, Should I Stay or Should I Go.
This is tube mastering at its finest. Not many vintage tube-mastered records manage to balance all the sonic elements as correctly as this copy does.
For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1962 All Tube Analog sound can be, this killer copy will do the trick. (more…)
- A superb sounding original stereo pressing with solid Double Plus (A++) sound from first note to last
- Gil Evans wrote the superb orchestral arrangements and Rudy Van Gelder captured them on lovely analog tape – what’s not to like?
- We’ve really been digging these Creed Taylor productions for years now – it may not be serious jazz, but it’s no less interesting and captivating for it
- “His landmark 1965 collaboration with Gil Evans, Guitar Forms rivals anything the arranger did with Miles Davis. Indeed, the track “Lotus Land” has a bolero form very reminiscent of Sketches of Spain. Throughout, Burrell takes thoughtful, concise, and utterly musical solos, and even switches to acoustic classical guitar on “Prelude #2” and “Loie.””
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1965 All Tube Analog sound can be, this killer copy will do the trick. (more…)
- The first copy to hit the site in NINE years and with KILLER sound to boot; both sides earned Shootout Winning Triple Plus (A+++) grades
- Both of these sides are incredibly full-bodied, natural and present with tight punchy bass and lots of space around all of the players
- I love the music of Antonio Carlos Jobim and this is one of his best albums; it belongs in any serious Latin Jazz record collection.
- “When Creed Taylor left Verve/MGM for his own label under the auspices of A&M, he quickly signed Antonio Carlos Jobim and they picked up right where they left off with this stunningly seductive record, possibly Jobim’s best.” – All Music
- You’ll find SUPERB nearly Triple Plus (A++ to A+++) sound on both sides of this CTI pressing of Benson’s Must Own Masterpiece – just shy of our Shootout Winner – exceptionally quiet vinyl too
- Open and transparent throughout, with wonderfully full-bodied guitars, solid bass and huge amounts of swingin’ jazz energy
- Superb engineering by Rudy Van Gelder – White Rabbit features jazz legends Herbie Hancock, Ron Carter, Billy Cobham, Airto, and more
- 4 stars: “For George Benson’s second CTI project, producer Creed Taylor and arranger Don Sebesky successfully place the guitarist in a Spanish-flavored setting full of flamenco flourishes, brass fanfares, moody woodwinds and such… In this prime sample of the CTI idiom, everyone wins.”
- Getz’s superb 1962 release finally arrives on the site with outstanding Double Plus (A++) stereo sound or BETTER from start to finish – and the vinyl plays about as quietly as any vintage Verve ever does
- Speakers Corner produced an unimpressive remaster on Heavy Vinyl years ago, and there are probably plenty of newer pressings that have come out since then, but none of them can begin to compete with the All Analog sound of this very pressing
- 4 stars: “Fresh from the sudden success of Jazz Samba and “Desafinado,” Stan Getz asked the 28-year-old, strikingly gifted Gary McFarland to arrange a bossa nova album for big band as a follow-up. Getz is always his debonair, wistful, freely-floating self, completely at home in the Brazilian idiom that he’d adopted only a few months before.”
- 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…)