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
- This outstanding pressing boasts solid Double Plus (A++) grades on both sides - fairly quiet vinyl too
- Credit must go to Rudy Van Gelder once again for capturing the jazz energy and performance space of this superbly sympathetic ensemble
- "1969's Fancy Free marked the beginning of Donald Byrd's move away from hard bop, staking out fusion-flavored territory... the rare Donald Byrd album that holds appeal for rare-groove fanatics and traditionalists alike."
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If you're ready to take a mindblowing jazz fusion trip with sonics to match, you should definitely check this one out.
This vintage Blue Note 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 Fancy Free 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 1969
- 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 Fancy Free
- 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 players.
- Then: presence and immediacy. The musicians aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt -- Rudy Van Gelder in this case -- would put them.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
- Donald Byrd – trumpet
- Julian Priester – trombone
- Frank Foster – tenor saxophone
- Jerry Dodgion, Lew Tabackin – flute
- Duke Pearson – electric piano
- Jimmy Ponder – guitar
- Roland Wilson – bass guitar
- Joe Chambers, Leo Morris – drums
- John H. Robinson Jr., Nat Bettis – percussion
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.
- Fancy Free
- I Love The Girl
- The Uptowner
1969's Fancy Free marked the beginning of Donald Byrd's move away from hard bop, staking out fusion-flavored territory that -- at this juncture -- owed more to Miles Davis than the R&B-dominated jazz-funk Byrd would embrace several years down the road. Recorded just a few months after Davis' In a Silent Way, Fancy Free finds Byrd leading a large ensemble prominently featuring Frank Foster on tenor, Lew Tabackin or Jerry Dodgion on flute, and several percussionists.
But the most important piece of the puzzle is Duke Pearson's electric piano, the first time Byrd utilized the instrument. Pearson dominates the texture of the group sound, which makes the entirety of the session seem farther outside the realm of funky hard bop than it actually is.
However, that's not to say that Fancy Free isn't a clear break with Byrd's past -- especially the two Byrd originals that open the album. The title track -- which later became one of Byrd's more covered compositions -- contrasts Pearson's spacy musings with a busy, funky percussion groove, and there's a loose, open feel to the improvisations that breaks with hard bop conventions. The warm ballad "I Love the Girl" has a similarly airy feel, and at eight and a half minutes, is the shortest cut; clearly Byrd wanted an open framework for exploration. The other two numbers are more traditional hard bop compositions by former Byrd students, which -- although funky and full of improvisations -- can't help but feel more tethered than their predecessors.
Still, even if it isn't his most adventurous fusion outing, Fancy Free is the rare Donald Byrd album that holds appeal for rare-groove fanatics and traditionalists alike.