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Brown, Ray and Milt Jackson - Self-Titled - Super Hot Stamper

The copy we are selling is similar to the one pictured above.

Super Hot Stamper

Ray Brown and Milt Jackson
Self-Titled

Regular price
$199.99
Regular price
Sale price
$199.99
Unit price
per 
Availability
Sold out

Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus

Side Two: Mint Minus Minus

  • You'll find solid Double Plus (A++) sound throughout this superb early Verve stereo pressing
  • Both sides here are big and lively, both of which are key elements for any album arranged by the-bigger-the-better Oliver Nelson
  • A lot of Verve records from this era are poorly mastered, but this one sounds just right to us
  • Big sounding ’60s jazz with lively arrangements from Oliver Nelson and Jimmy Heath. Clark Terry’s trumpet and flugelhorn contributions play a major role in the festivities. This is cool, swinging ’60’s jazz at its best!
  • The Allmusic Guide awards this album 4 1/2 stars, and that sounds about right to us

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This vintage Verve stereo 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 Of Ray Brown and Milt Jackson 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 1965
  • 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.

A Big Group of Musicians Needs This Kind of Space

One of the qualities that we don't talk about on the site nearly enough is the SIZE of the record's presentation. Some copies of the album just sound small -- they don't extend all the way to the outside edges of the speakers, and they don't seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies -- my notes for these copies often read "BIG and BOLD" -- create a huge soundfield, with the music positively jumping out of the speakers. They're not brighter, they're not more aggressive, they're not hyped-up in any way, they're just bigger and clearer.

And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that -- a copy like this one -- it's an entirely different listening experience.

What We're Listening For On Ray Brown and Milt Jackson

  • 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.

The Players

  • Arranged By, Conductor – Jimmy Heath, Oliver Nelson
  • Bass, Leader – Ray Brown
  • Drums – Al Heath, Grady Tate
  • Engineer – Val Valentin
  • French Horn – Ray Alonge
  • Painting – Robert Weaver
  • Piano – Hank Jones
  • Producer – Jim Davis
  • Saxophone – Danny Bank, Jerome Richardson, Jimmy Heath, Phil Woods, Bob Ashton, Romeo Penque
  • Trombone – Jimmy Cleveland, Tom McIntosh, Tony Studd, Urbie Green
  • Trumpet – Ernie Royal, Eugene Young
  • Trumpet, Flugelhorn – Clark Terry
  • Vibraphone [Vibes], Leader – Milt Jackson

Hi-Fidelity

What do we love about these vintage pressings? The timbre of every instrument is Hi-Fi in the best sense of the word. The unique sound of every instrument is reproduced with remarkable fidelity. That's what we at Better Records mean by "Hi-Fi," not the kind of Audiophile Phony BS Sound that passes for Hi-Fidelity these days. There's no boosted top, there's no bloated bottom, there's no sucked-out midrange.

This is Hi-Fidelity for those who recognize The Real Thing when they hear it. I'm pretty sure our customers do, and whoever picks this record up is guaranteed to get a real kick out of it.

Vinyl Condition

Mint Minus Minus and maybe a bit better 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.

Side One

  • Lined With A Groove
  • For Someone I Love
  • Dew And Mud
  • I Just Can't Fool Myself

Side Two

  • Lazy Theme
  • Now Hear My Meaning
  • In A Crowd
  • Monterey Mist