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Coleman, Ornette - Tomorrow Is The Question! - Super Hot Stamper (Quiet Vinyl)

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

Super Hot Stamper (Quiet Vinyl)

Ornette Coleman
Tomorrow Is The Question!

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 to Mint Minus Minus (barely)

Side Two: Mint Minus to Mint Minus Minus (barely)

  • An outstanding pressing with solid Double Plus (A++) sound or BETTER throughout - exceptionally quiet vinyl too
  • Our Contemporary Yellow Label Stereo LP here has breathy, full-bodied brass and tight, well-defined bass
  • For those of you who appreciate what Roy DuNann was able to achieve in the ’50s at Contemporary Records, this LP is a Must-Own
  • 4 stars: “…this is one of the things that came to define Ornette — his willingness to let simplicity and its bright colors and textures confound not only other players and listeners, but also him too.”

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The drum sound is OUT OF THIS WORLD — Roy Du Nann always seems to get amazing sound out of Shelley Manne’s kit.

Listen too for the interplay between Ornette and Don Cherry — they really drive each other to insane levels over the course of these nine tracks.

For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1959 All Tube Analog sound can be, this killer copy will do the trick.

This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.

This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There is, of course, a CD of this album, but those of us who possess a working turntable and a good collection of vintage vinyl could care less.

What the Best Sides of Tomorrow Is The Question! 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 1959
  • 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 Tomorrow Is The Question!

  • 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

  1. Ornette Coleman – alto saxophone
  2. Don Cherry – trumpet
  3. Percy Heath – bass
  4. Shelly Manne – drums
  5. Red Mitchell – bass

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

  • Tomorrow Is The Question!
  • Tears Inside
  • Mind And Time
  • Compassion
  • Giggin’
  • Rejoicing

Side Two

  • Lorraine
  • Turnaround
  • Endless

AMG 4 Star Review

On his second outing for the Contemporary label, Ornette dusted the piano from the bandstand and focused instead on a quartet. For some unexplained reason, Billy Higgins was replaced by Shelly Manne; the only constants remain Coleman and Don Cherry. The focus, then, is on the interplay between the altoist and trumpeter in executing Ornette’s tunes, which were, more than on the preceding album (Something Else!, recorded a year earlier), knottier and tighter in their arrangement style.

…And, if anything, this is one of the things that came to define Ornette — his willingness to let simplicity and its bright colors and textures confound not only other players and listeners, but also him too. In those days, Coleman’s musical system — although worked out in detail — always left room for the unexpected and, in fact, was played as if his life depended on it. As a result, Tomorrow Is the Question! was a very literal title; who could have guessed the expansive, world-widening direction that Coleman’s system would head into next?