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Home , Alvin Batiste, Ben Webster, Bill Berry (trumpeter), Earl Hines, Gil Evans, Illinois Jacquet

TAS journal

The Best-Sounding LPs

Fred Kaplan

wenty years into the CD revolution, we find ourselves—at least those Pops and his sextet of Basie’s touch—the among us with a passion for such things—in the midst of an LP renais- blazing through the full percussive snap and sance. Thanks to Classic Records, Analogue Productions, Speakers likes of “St. James harmonic bloom; the sax Corner, and a few other audiophile labels, golden-age jazz are Infirmary,” “Frankie & section swoons; the T being reissued on gloriously thick slabs of virgin vinyl. Meanwhile, due Johnny,” and “Jelly horns scream; the to sonic improvements in digital reproduction, prices for original vinyl pressings are Roll ” picked up dynamics whisper and plunging. The time seems ripe, then, for a list of the best-sounding jazz LPs. by Telefunken micro- swell. (There’s also a very I stress the phrase “best-sounding.” To make the list, an must bear phones arrayed in an good digital disc from music that’s at least very good (no Finnish here). But the premium is M-S pattern. Satch’s JVC’s XRCD series.) on sonics, and all the choices meet demanding audiophile standards (hence, no brass-blare , either). I should also make clear—as Wayne Garcia and Bob ’s : For Duke Gendron did a few issues back in their similar “Great and Great-Sounding Rock licorice , and [M&K RealTime RT-101 LPs” piece—that this is not meant as a comprehensive catalog. Despite nearly ’s slide (direct-to-disc)]. 30 years of collecting, I don’t own everything and I’ve no doubt overlooked some are right there septet of (mainly) wonders from my stash. in the room. The duets AEllington alum- After each album title I cite the original label, followed in some cases by the with Duke are spirited ni—including Berry, reissue label. If the reissue is available (or worth getting) as a 45rpm pressing affairs, only slightly less , and Britt as well as 33 1/3, I note that in parentheses. (Analogue Productions has issued present. The Gershwin Woodman—trots out several titles in 45rpm, spread out on two discs; Classic has gone 45 with one- is a class act. The origi- the warhorses (“Take sided LPs, spread out on .) I also mark an asterisk (*) next to the album’s nal (black label) pressing the A Train,” “Mood title if it was (or should have been) included on my list of the 20th century’s 100 sports a gatefold cover, Indigo,” “,” best jazz albums in Issue 122. That list, by the way, was based entirely on musi- a big booklet, and an etc.). The band’s a bit cal criteria. orchestra with a spa- tepid, compared with cious soundstage, the real thing, but it’s booming tympani, and good enough, and the : range of what he could Play Together for the First silky strings. sound is spectacular, a *Somethin’ Else [Blue do. The first is a collec- Time [Roulette/Classic favorite demo disc of Note/Classic 1595 (also tion of standards, with SR-52074]; & Duke : 88 Basie the late ’70s and one of mono and 45rpm)]; In as lyrical Ellington: The Great Street [Pablo/Analogue the most realistic jazz San Francisco [Riverside/ sideman, recorded at Reunion [Roulette SR- Prod. 2310-901 (and recordings ever made. Analogue Prod. 1157 Blue Note’s studio 52103]; & Ella 45rpm)]. M&K later reissued (and 45rpm)]. with pristine precision. Fitzgerald: Porgy & Bess this and its “Fatha” The latter is a live ses- [Verve MGVS-6040-2]. Hines album [see sion of sophisticated below] on a single CD, soul, with brimstone which, amazingly, is brother Nat on . almost as real. It catches the wall-to- wall you-are-there Clarinet : In ambience of a jazz Concert at the Public club. In their own Theater [India ways, both are marvels. ne of Basie’s last Navigation IN-1062]. ulian “Cannonball” Oalbums. His great he idea behind this JAdderley blew the : ot the very best bands had long depart- T1981 live concert most mellifluous alto Satchmo Plays King NArmstrong, but ed. Still, this has ample was a gamble. Four , and these Oliver [Audio still wonderful. The charms, and the fideli- very different clar- albums, recorded in Fidelity/Classic AFSD- tribute is ty is awesomely high. inetists, playing all 1958 and ’59, span the 5930]; & : a stunning find, with You get every nuance together, with no

16 THE ABSOLUTE SOUND n DECEMBER 2005 for back- is OK, but not great. Mobile Fidelity SACDs, up. , the Ditto, below, for the though the vinyl rules. Ellington veteran, was absence of Coltrane’s lured out of retirement for , A Love Miles Davis: * the occasion which also Supreme, and Live at the [Columbia/Classic CS-8163 included , . (and 45rpm)]; The Complete the master; Prestige Quintet Recordings John Carter, the abstract : *Blue Train (esp. Cookin’, Workin’, expressionist; and, on bass [Blue Note/Classic 1577]; Relaxin’) [Prestige 7094, clarinet, David Murray, * [Prestige/ 7166, 7129/Analogue Prod. then the eclectic wun- Analogue Prod. 7142 (and (and 45rpm, mono), five-LP derkind. It paid off won- 45rpm)]; Ballads [Impulse! A- box set, 33rpm APJ-075]; drously. The highlights 32]; John Coltrane & Johnny *The Complete Studio are the standards— Hartman [Impulse! AS- Recordings of the Miles “Groovin’ High,” “Jeep 40/Speakers Corner]. Davis Quintet, 1964-68 Blues,” and a sweltering [Mosaic Records MQ10-177]; Batiste-Hamilton duet on Bags’ Groove [Prestige/ “Honeysuckle Rose.” You Analogue Prod. 7109 (and hear the air flow through 45rpm)]; & : those dark wooden tubes, [Columbia/ the musicians’ shoes tap- Classic CS-8271 (and ping the floor, and the 45rpm)]; Miles Live Around audience’s startled laugh- the World [Warner Bros. ter wafting through the (Germany) 9362-46132 1]. hall. (Avoid Volume II, hat more is there to taken from the same con- Wsay? These four cert. Also stay away from albums capture the most the CD, which combines adventurous tenor saxo- all the tunes in the order phonist tracing the more played and which sports, accessible paths of transi- puzzlingly, just so-so sonics.) tion between his ’50s be- bop roots and his ’60s & Charlie spiritual explorations. Blue Haden: *Soapsuds, Train is his purest immer- iles Davis’ 1959 Kind Soapsuds [Artists House sion into “hard-bop” and a Mof Blue is a truly revo- AH-9406]. textbook case of “Blue lutionary concept album rnette turns to the Note sound”—the crisp that’s also a giant hit. Otenor sax on this lit- cymbals, wide soundstage, Instantly appealing on a tle-known late ’70s ses- warm horns, clean balance, dozen levels, it’s still a best- sion, playing duets with and, usually the glaring seller after nearly a half-cen- Haden, the bassist from flaw, a somewhat dimmed tury. If you can find a clean his erstwhile break- . SoulTrane finds him copy, the original stereo through quartet. They applying his “sheets of pressing, with the “six-eyes” play original tunes, main- sound” style to standards, label, is a joltingly vivid ly ballads, and the theme in a more upfront sound. recording. Classic Records from Mary Hartman, Mary Ballads and the Hartman seems to release a new, Hartman (which, you real- album feature his classic slightly different reissue ize, sounds a lot like quartet in its most com- every year; they all come “Lonely Woman”). The mercial—but not remotely very close to the original, music is riveting, the sell-out—mode, more while the 45rpm pressing sound pleasantly in-your- lushly recorded. (Rudy exceeds it. The 1956 face. A Verve CD reissue, Van Gelder was the engi- Prestige dates—five albums put out years later, falls neer for all.) The Speakers recorded in marathon ses- far short. Where, you ask, Corner reissue of Ballads sions—are best heard in are Ornette’s master- sucks out some of the air; AP’s box set or in separate pieces, Change of the its Hartman reissue is sub- 45rpm double-LPs. The lat- Century and The Shape of lime. SoulTrane and Ballads ter are spooky; the first time Jazz to Come? Their sound are also well served on I heard Coltrane solo on

18 THE ABSOLUTE SOUND n DECEMBER 2005 Cookin’, I leapt off the he plays so gorgeously, their sophistication, Brown’s bass-plucking couch. The ’60s quintet those strings are so versatility, and heady in all its dynamic sub- sessions feature Wayne silky, and the cushy swing. sat tlety. Big 4, with Shorter, Herbie ambience just makes at the controls and, Brown, , and Hancock, Tony you sway. BMG’s CD except that it’s in , is the Williams, and Wayne doesn’t cut it. mono, you’d think this sonic hair-raiser, the Shorter. In those days, was an audiophile quartet right there, Columbia wreaked havoc : *Out to Lunch demo disc. So many trading phrases in the in post-production, pil- [Blue Note 4163]. colors, such true tones same ambient space. ing on the EQ and he raw and brilliant and vast dynamics! the original Riversides, reverb. Mosaic’s box set TEric Dolphy took (Columbia Legacy : *Waltz for but AP’s vinyl reissues returns to the unadulter- the to pressed an excellent, Debby [Riverside are jaw-dropping. I’ve ated mastertapes and the next step beyond DSD-mastered CD as 9399/Analogue Prod. been to the Vanguard they sound terrific, in the Charlie Parker; he well.) The Pablos, APJ-009]; *Sunday at the many times, and this is same league as Kind of teamed up too briefly small-group sessions Village Vanguard what the place sounds Blue (no surprise, as they with Coltrane; and he recorded in 1973 near [Riverside 9376/ like (except that the share the same engineer, died, in 1964, way too the end of Duke’s life, Analogue Prod. APJ-140 piano’s on the left, not the unjustly neglected young. Out to Lunch is are fairly routine, (and 45rpm)]. the right). The Waltz for Fred Plaut). Columbia’s his most exquisitely though Ellington ome would say I’ve Debby 45rpm is marred CD set of the same experimental work, fea- shows his percussive Swritten enough by boomy bass, which is recordings, remastered turing Bobby piano style in great about these 1961 not present on either by Mark Wilder, sounds Hutcherson on vibes, form and color. The albums, both recorded AP’s 33 1/3 pressing or very nearly as good. on duet with Ray Brown live at the Vanguard— its 45 for Sunday. AP also Sketches of Spain was trumpet, is the more musically piano-trio jazz par has a very good SACD, Miles’ second-biggest on drums, compelling, and the excellence. I have never with the added attraction hit: exquisite solos in on bass, and some of the microphones pick up heard a clean pressing of of alternative takes. front of Gil Evans’ most oddly appealing swooning orchestral sounds Blue Note ever . The sonics laid down on disc. Van on Classic’s 45rpm are Gelder matches the jaw-dropping. Listen to bold music with some the percussion, the harp, of his most upfront the horns, the air. Live engineering. Those Around the World consists vibes clang, and all the of highlights from live other instruments do concerts in the ’80s, the what they’re supposed more melodic of Miles’ to do, too. Brilliant, jazz-rock fusion periods, engrossing stuff. and he plays with star- tling gusto. The sound is Duke Ellington: warm, detailed, and *Masterpieces by auditorium-spacious. Ellington [Columbia CL- 825 (mono)]; Duke’s Big Paul Desmond: 4 [Pablo/Analogue Prod. Desmond Blue [RCA/ 2310-703 (and 45rpm)]; Classic LSP-2438]. & Ray Brown: This One’s t’s schmaltz, but for Blanton Isuavely so. Paul [Pablo/Analogue Prod. Desmond, the personi- 2310-720 (and 45rpm)]. fication of early ’60s asterpieces is a 1950 sophistication and best- Mrecording, known as Brubeck’s Ellington’s first long- sometime-sidekick who playing record album, wanted to play the alto which allowed him to sax like a dry martini, stretch his three- blows romantic ballads minute hits into 15- before a big string minute arrangements orchestra. But damn, that still astonish with

WWW.THEABSOLUTESOUND.COM 19 the bunch, sonically and of a trend that re-ener- jazz,” and the music does through modernist Gil Evans: *Out of the otherwise, especially the gized jazz for the rest bear a classical trace, but tunes by Monk and Cool [Impulse!/ original pressings, of the century—avant- it also swings in a quiet Zawinul, as well as clas- Speakers Corner A-4]. though Speakers garde musicians redis- way, almost unnoticeably; sics by Ellington and his is the best Corner’s four-LP box is covering the standard the pulse insinuates its others, never abandon- Talbum that Gil an extremely close sec- ballad, not as objects of way into your senses, sort ing his playful pizzazz. Evans made without ond—and pristine clean. nostalgia or tradition- of like the curves of a late M&K’s direct-to-disc Miles Davis. Evans was Her voice is upfront and worship but simply as de Kooning painting. It’s sound is just as fiery a “vertical” arranger, 3D; the orchestra is new terrain for explor- unclear whether the LP and immediate as on with a flair more for spread across the sound- ing. Melody, beauty, and was cut from analog or the label’s Duke tribute. stacking harmonies stage, and front to back wit came back in style, digital tapes, but the than for pushing a too, with fine detail and yet not at the sacrifice of sound is full-bodied and : Blues-a- melodic line forward. airy ambience. Take individual expressive- just gorgeous. Plenty [Verve/Classic boasts note, though, that even ness. The original LP MGVS-68358]. his most lushly disso- the Gershwins wrote a pressing is fatally : The nant harmonies and a few duds, and they’re flawed—too much Piano [Sony (Japan) 30AP- muscular propulsive here along with the mas- reverb in the post-pro- 1033 (direct-to-disc)]. edge, to boot. Rudy terpieces. The Porter is, duction. But AP’s LP uring a 1978 con- Van Gelder picks it all musically, the most con- goes back to the master- Dcert tour in Japan, up with extremely sistently splendid; tapes, which were record- pianist Herbie Hancock high fidelity. The though mono, the ed by David Baker, and stepped into Sony’s stu- Speakers Corner reissue orchestra has wondrously they sound terrific. dio, played two sides’ is one of that compa- deep layers. The other Freeman’s tenor sax worth of solo ballads, ny’s best; if anything, two albums, with small- exudes a warm heft. You each non-stop, while a luscious 1958 it’s a bit better than er ensembles, mark rare can hear, practically feel, cutting lathe carved the Aalbum with Hodges’ the superb original. occasions when Ella paid the strings snap and the sounds directly to disc. alto joined by a half- close attention to the wood vibrate on Cecil There’s a soft, even dozen others from : *The lyrics, and the results are McBee’s bass. Billy Hart’s ethereal intensity to Ellington’s band and else- Gershwin Songbook captivating. Clap Hands trapset sizzles; only John this music; you can where (, [Verve/Speakers Corner includes the most Hick’s piano is a bit zone out to it or listen , Ben MG-VS-6082-5]; *The breathtaking vocalizing hooded. An AP gold CD very closely, and get Webster, , Songbook of “Round Midnight” falls short of the vinyl deep satisfaction either Sam Woodward). There’s [Verve/Speakers Corner and possibly the most but still sounds very nice, way. The piano’s too a little too much reverb MG-V-4001-2 (mono)]; intimate sonics of any and has four extra tracks, wide (the result of close on the horns, but saxes *Clap Hands, Here jazz vocal record in histo- including a lovely miking?), but its tones sound so creamy and the Comes Charlie! [Verve/ ry. Classic’s reissue “Lonnie’s Lament.” and overtones hit the rest of the band so crisp, Classic V6-4053]; Like chokes off a lot of air, but spot. Columbia recently it’s hardly noticed. Someone in Love [Verve is better than nothing if : *1961 released a CD, mastered Hodges’ solo on “Gone MGV-4804]. you can’t find the origi- [ECM/Speakers Corner from the back-up digi- With the Wind” is eye- nal. Like Someone, another 1438/39 849644-1]. tal tapes. It sounds rollingly silky. collection of ballads, is daring album in its fine, but nothing like nearly as luminous. Aday—actually two this. I’m told the origi- : Songs for albums (titled Fusion and nal plates still exist in Distingué Lovers [Verve/ Chico Freeman: *Spirit Thesis, neither of which Sony’s Tokyo vaults. Speakers Corner/ Sensitive [India makes much sense), Some audiophile com- Analogue Prod. MG-VS- Navigation/Analogue recorded back to back in pany should license 6021 (and 45rpm)]. Prod. APJ-020]. 1961 for Verve, com- them and make a new ecorded in 1957, bined and reissued on batch of D2D LPs. Rthis album doesn’t lla Fitzgerald’s CD 40 years later by find Billie in her finest EAmerican Songbook ECM, and now put on : “Fatha!” voice, but she still had series was one of the vinyl by Speakers Corner. [M&K RealTime RT-105 a commanding way of great ideas in the history The jazz clarinet, (direct-to-disc)]. singing a story and of jazz recordings, and Giuffre’s horn, was out of t’s a kick to hear knew how to swing put both Ella and the style at the time; a drum- I“Fatha” Hines, the with the band—which, Verve label on the map. merless trio ( on king of stride piano, in this case, included With Nelson Riddle piano, on joined by bass and , Roy arrangements, the his 1979 album bass) was unheard of. drums, strutting and Eldridge, and Barney Gershwin is the best of Ttriggered the start Some called it “chamber galloping his way Kessel. The sound is

20 THE ABSOLUTE SOUND n DECEMBER 2005 lively, reverberant, and casually swaying way, and the customary its true tone, and when bright—in a good way. except during the blues, killing bass line. The they all play together, the when they perk up and sound is as natural and crisscrossing overtones : Birthday wail. There are no engi- vivid as any Living blossom in the ambience. Party [Groove Note GRV- neering credits, but the Stereo jazz album. It There are reissues, but 1003-1]. sound quality is just was recorded in 1957 they pale before the origi- his is an album of amazing. Jacquet has but not released until nal orange-label pressing. Tbizarre provenance. never been heard in such ’62, and then in trun- At a 1972 Tokyo jazz knock-me-down pres- cated form. Many years Newport Rebels. festival, a rich music ence. Bernie Grundman later, RCA put out a earthy and lyrical, a [Candid/Pure Pleasure lover offers Illinois did the mastering for CD of the complete ses- string of stunning solos Records 9022]. Jacquet a recording ses- Groove Note, which also sion, but alas the and lush ensemble har- n 1960, Charles sion if it includes “The issued it on CD. sound—like many digi- monies. Consider the IMingus organized a Shadow of Your Smile.” tal RCAs of the ’90s— band: Nelson on alto sax; group of musicians who The rousing tenor : *Tijuana was dreadful. Maybe Freddie Hubbard, trum- were annoyed by the rounds up some pals Moods [RCA/Classic LSP- RCA (or someone) pet; Eric Dolphy, ; growing commercializa- (, Roy 2533 (and 45rpm)]. should try again. Bill Evans, piano; Paul tion of the Newport Haynes, , aybe Mingus’ Chambers, bass; Roy Jazz Festival, and put , others) Mliveliest album, : *Blues and Haynes, drums—and the on a simultaneously and they make an featuring his great late- the Abstract Truth results exceed the possi- held alternative festival. album. The session ’50s septet, it roars [Impulse! A-5]. bilities. It may also be The Newport Rebels, started at 2 a.m., after a with Latin rhythms, his 1961 session is a engineer Van Gelder’s the group was called, night of playing. They crisscrossing melodic Tclassic: equal parts peak triumph. Each and a few months later, sound tired, but in a lines, dark harmonies, cerebral and swinging, instrument is captured in he brought some of the

WWW.THEABSOLUTESOUND.COM 21 musicians into the stu- U.S. by Analogue LSP-2612 (and 45rpm)]; quartet with Don dio. The band included Productions), and this *Way Out West Cherry and Billy not just young avant- is a splendid reissue. [Contemporary/Analogue Higgins, the trumpeter gardists (Mingus, Eric Compared with the Prod. S-7530 (and and drummer from Dolphy, Booker Little, on original, it lacks a 45rpm) or Stereo Ornette Coleman’s revo- one track ) smidgen of air, and the Records S-7017]; Music lutionary band. It’s one but older traditionalists bass is a bit less dis- from the Score “Alfie” of the most thrilling (Roy Eldridge, Tommy tinct; but it’s otherwise [Impulse! A-9111]. jazz albums ever made, a Flanagan, ), and better and the pressing onny Rollins ceaseless succession of the mix was sensational. is exceptionally clean. rips through the sheets Sremains the most tension and resolution. They played nothing very in a way we don’t hear brilliant improviser in It may also be the most rebellious by the day’s : Meets the on the pressure-cooking jazz, but you wouldn’t you-are-there live jazz standards, mainly blues, Rhythm Section Miles sessions. Roy know it from most of album; you can practi- but they all played with [Contemporary/Analogue DuNann’s minimalist the albums he’s made cally see the brass out- tight, boisterous joy. Prod. 7532 (and 45rpm)]. miking yields an eerily during the past 30 lines of Rollins’ tenor, Eldridge especially cooks! blazing 1957 session realistic sound. The years. See him live. Or the peculiar shape of The sound has that live Awith the West Coast sounds burst out of your pick up these LPs, Cherry’s pocket trum- excitement. When alto saxophonist Art speakers, yet lay back recorded between 1957 pet, the shimmer of Lincoln sings, she’s not Pepper, at the height of when they’re supposed and ’66, the peak of the Higgins’ drumkit, the hyped upfront; she seems his fluency, joining up to, too. Get either the classic stereo era. Our shape of the bandstand a part of the band, and with Miles Davis’ original black-label Man, cut live at the where each musician is her voice breathes rhythm section of the pressing or the 45rpm. Village Gate in ’62, standing. Hypnotic. through the ensemble. day (, Paul finds Rollins in his most Way Out West is a piano- Pure Pleasure is a new Chambers, and Philly : *Our Man experimental phase, less trio—another va-va- label (distributed in the Joe Jones). The band in Jazz [RCA/Classic heading a pianoless vivid Roy DuNann pro-

22 THE ABSOLUTE SOUND n DECEMBER 2005 duction—with Rollins as on this vinyl pressing. three or four most “Sweets” Edison’s plan- spinning quirky geo- : *Atlas Blues (The Japanese package “live”-sounding jazz gent trumpet, backed metric patterns through “Blow! & Ballade” [Atlas also includes diagrams of albums ever made. It’s by the exceptionally odd standards like “I’m (Japan) LA27-1007]. where all the musicians also very hard to find. (I tasty combo of Hank an Old Cow Hand.” The his is really an Art were sitting and what bought mine at Tower Jones, piano; George Alfie soundtrack should TPepper date, with microphones were used.) Records in the mid Duvuvier, bass; and the be better known: lovely Stitt heading the ticket Hard to find, but worth ’80s, on sale for $1.99.) underrated Clarence balladry, great rhythm to avoid contract viola- the chase. Notice: It was pressed Johnston, drums. This section, Oliver Nelson tions, with the two alto at 45rpm and direct-to- is another classic arrangements, and a men—playing together : Trackin’ disc. Can’t Classic or Columbia, recorded at tightly booming big- for the first time—glori- [RCA (Japan) RDC-3 Analogue Productions its sumptuously wood- band sound. (A note ously trading fours on (direct-to-disc, 45rpm)]. try to get the licensing paneled 30th Street regarding Way Out West’s extended blues and taking he music on this rights and plates? Studio, which so warmly catalogue number. turns fronting slow bal- T1976 quartet session encased all those rever- Contemporary used to lads. Part of this album is is nothing special, Ben Webster & “Sweets” berant sounds. The call its jazz label included in an Art Pepper though it’s fine in a Edison: Ben and “Sweets” highlight is Edison’s solo “Stereo Records,” until CD box set on Fantasy, gentle head-swaying [Columbia/Classic CS- on “,” a the RIAA protested; The Hollywood All-Star way, featuring Tabackin 8691 (and 45rpm)]. startlingly modern trek Stereo S-7017 was the Sessions, but omitted are on flute and tenor sax; his is a delightful with harmonies and first pressing. the ballads with Stitt , Talbum, Ben intervals that seem closer Subsequent pressings, soloing (gorgeous takes piano; Bob Dougherty, Webster’s rich tenor sax, to Ornette-style avant- which otherwise look of “Autumn in New bass; , with its deep register garde than to Sweets’ the same and sound York” and “Lover Man”). drums. The sound, and sonorous , swing-era roots. An nearly the same, are Also, the sound quality though, smacks you on cruising through stan- album for big ears to marked S-7530.) is not nearly as luscious the head. It’s one of the dards with Harry bask in. &

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