The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus*
Side Two: Mint Minus Minus
Side Three: Mint Minus Minus*
Side Four: Mint Minus Minus
- Adderley's superb double album reissue, which includes the complete 1961 album Know What I Mean, returns to the site with Double Plus (A++) sound or BETTER on all four sides
- With outstanding presence, clarity, space and right on the money timbral accuracy, this pressing is guaranteed to be one of the best sounding jazz records you've played in a long, long time
- This is some of the best sound we have ever heard for this exceptional Golden Age '60s recording, and that is really saying something
- 4 stars: "This two-LP set combines two fine sessions from 1961. The great altoist is heard with his quintet in 1961 (featuring cornetist Nat Adderley, Victor Feldman on vibes and piano and guest pianist Wynton Kelly) and in a quartet date with pianist Bill Evans."
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*NOTE: On side 1, there is a mark that plays 20 times at a moderate level at the start of track 1. Side 3 has a noisy edge that quiets down after about 1/4".
A hard record to find and an even harder record to find with this kind of top quality sound and audiophile playing surfaces.
Sides one and two of this double LP were originally issued as The Cannonball Adderley Quintet Plus, while sides three and four were originally released as Know What I Mean?
All four sides boast excellent mastering and very good sound. The cymbals have that just right "tap" followed by an open and sweet "shimmer."
The piano and sax, the heart of the music of course, are rendered as accurately as can be expected.
As good as the OJC sounds, and it can sound very good indeed, this Milestone reissue from the decade before is even better.
This vintage Milestone pressing has the kind of Tubey Magical Midrange that modern records can barely 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 band, 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.
What The Best Sides What I Mean Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1979
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Copies with rich lower mids and nice extension up top 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've heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We're Listening For On What I Mean
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- Arriving Soon
- Well You Needn't
- New Delhi
- Star Eyes
- Waltz For Debby
- Who Cares?
- Nancy (With The Laughing Face)
- Know What I Mean
- Know What I Mean (Previously Unissued Take)
4 Star AMG Review
This two-LP set combines two fine sessions from 1961. The great altoist is heard with his quintet in 1961 (featuring cornetist Nat Adderley, Victor Feldman on vibes and piano and guest pianist Wynton Kelly) and in a quartet date with pianist Bill Evans. The former has some nice music but it is the latter session (which is highlighted by "Waltz for Debby," "Who Cares," "Nancy (With the Laughing Face)" and two versions of "Know What I Mean?" that is the main reason to acquire this excellent two-fer.