John Coltrane
On A Misty Night

*NOTE: These records were not noisy enough to rate our M-- to EX++ grade, but they're not quite up to our standards for Mint Minus Minus either. If you're looking for quiet vinyl, this is probably not the best copy for you.

These vintage Prestige pressings have 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, these are the records 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 On A Misty Night 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 1957
• 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 these records 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 these two do.

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. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

Standard Operating Procedures

What are sonic qualities by which a record -- any record -- should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.

When we can get a number of these qualities to come together on the side we’re playing, we provisionally give it a ballpark Hot Stamper grade, a grade that is often revised during the shootout as we hear what the other copies are doing, both good and bad.

Once we’ve been through all the side ones, we play the best of the best against each other and arrive at a winner for that side. Other copies from earlier in the shootout will frequently have their grades raised or lowered based on how they sounded compared to the eventual shootout winner. If we’re not sure about any pressing, perhaps because we played it early on in the shootout before we had learned what to listen for, we take the time to play it again.

Repeat the process for side two and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.

It may not be rocket science, but it’s a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at are as accurate as we can make them.

The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing -- or your money back.

What We're Listening For On On A Misty Night

• 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, full-bodied 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.

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

• Tenor Conclave
• Just You, Just Me

Side Two

• Bob's Boys
• How Deep Is The Ocean

Side Three

• On A Misty Night
• Romas
• Super Jet

Side Four

• Mating Call
• Gnid
• Soultrane

AMG 4 Star Review

This double-LP compilation was first released in the late 70s and features tunes from two distinct fall of 1956 John Coltrane (tenor saxophone) sessions. Billed as the "Prestige All-Stars," the September 7 confab with fellow tenor tooters Hank Mobley, Al Cohn, and Zoot Sims, as well as Red Garland (piano), Paul Chambers (bass), and Art Taylor (drums) yielded the Tenor Conclave (1956) album. Less than three months later, Coltrane was backing Tadd Dameron (piano), John Simmons (bass), and Philly Joe Jones (drums) for tracks that would be issued as Mating Call (1957).

The intimacy of "How Deep Is the Ocean" dispels the "too many cooks spoil the pot" adage. Cohn's cool and supple tone sets the pace for the quarter-hour long reading. Saving the best for last, Coltrane brings up the rear with the final solo after Garland, Simmons, and Chambers have taken their own passes at the chorus. The midtempo "Just You, Just Me" uncovers an alternate facet of the involved parties -- especially as, one by one, the respective tenors assume the helm. The personalities of each player stand out when presented in such a context, making it among the disc's many indispensable entries.

With obvious overtones and sonic references to Charlie Parker's classic "Blues for Alice," the Mobley composition "Bob's Boys" is a fiery tenor-lovers dream as the primary participants are offered up in practically every configuration possible. Particularly potent are the four saxes as they quite literally respond to one another -- passing ideas and inspiration around like a joint.

The November 30 date was the last of 1956 for Coltrane as he finds himself integrated into a Dameron-led outing with the pianist also supplying all of the thoroughly excellent tunes. Interested parties are encouraged to check out the title piece "On a Misty Night" -- a lovely excursion that provides Coltrane the chance to let loose with his trademark lyrical phrasing. One need only hear the sweet and sinuous opening to realize the presence of true genius. Also, note the juxtaposition of the higher pitch -- during the intro -- to the lower, earthier quality Coltrane possesses in the verses.

Likewise, the bluesy "Romas," the lovely, melodic "Gnid," and the rocket-fuel pacing of "Super Jet," are similarly outstanding. However, the real heart is Dameron's ballad "Soultrane." Here again, Coltrane incorporates a wider range of sound to a tremendous emotional effect. He even quietly but confidently asserts a few bars of playful double-time, if for no other reason than to give the performance a bit of a lift that may be part of the reason for its well-deserved placement in the rarefied strata of Coltrane's most revered works.