The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- This copy of Newborn’s first album for Contemporary boasts superb Double Plus (A++) sound throughout - exceptionally quiet vinyl too
- One of the most musically impressive jazz piano recordings we’ve played in years – Newborn’s improvisational skills are operating at a very high level
- The team of Roy DuNann and Howard Holzer insure that everything you want in an Audiophile Quality piano trio recording is here
- If you don't have any Phineas Newborn albums in your collection, this is definitely the place to start
- 5 stars: "Phineas Newborn’s Contemporary debut (he would record six albums over a 15-year period for the label) was made just before physical problems began to interrupt his career…. He performs five jazz standards and three obscurities by jazz composers on this superb recital…"
More Phineas Newborn, Jr. / More Contemporary Label Jazz Recordings
100% Money Back Guarantee on all Hot Stampers
FREE Domestic Shipping on all LP orders over $150
This Contemporary recording 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 A World of Piano! 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 1962
- 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. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
Old and New Work Well Together
This reissue is spacious, open, transparent, rich and sweet. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording Technology, with the added benefit of mastering using the more modern cutting equipment of the ’70s and ’80s. We are of course here referring to the good modern mastering of 40+ years ago, not the generally opaque, veiled and lifeless mastering so common today.
The combination of old and new works wonders on this title as you will surely hear for yourself on these superb sides.
We were impressed with the fact that these pressings excel in so many areas of reproduction. What was odd about it -- odd to most audiophiles but not necessarily to us -- was just how rich and Tubey Magical the reissue can be on the right pressing.
This leads me to think that most of the natural, full-bodied, lively, clear, rich sound of the recording was still on the tape decades later, and that all that was needed to get that vintage sound on to a record was simply to thread up the tape on the right machine and hit play. The fact that practically nobody seems to be able to make a record nowadays that sounds remotely this good tells me that I’m wrong to think that such an approach tends to work, if our experience with hundreds of mediocre Heavy Vinyl reissues is relevant.
There was virtually no trace of smear on the piano, which is unusual in our experience, although no one ever seems to talk about smeary pianos in the audiophile world (except us of course).
If you have full-range speakers, some of the qualities you may recognize in the sound of the piano are WEIGHT and WARMTH. The piano is not hard, brittle or tinkly. Instead, the best copies show you a wonderfully full-bodied, rich, smooth piano, one which sounds remarkably like the ones we’ve all heard countless times in piano bars and restaurants.
In other words, like a real piano, not a recorded one. This is what we look for in a good piano recording. Bad mastering can ruin the sound, and often does, along with worn out stampers and bad vinyl and five gram needles that scrape off the high frequencies. But a few -- a very few -- copies survive all such hazards. They manage to reproduce the full spectrum of the piano’s wide range (and of course the wonderful performance of the pianist) on vintage vinyl, showing us the kind of sound we simply cannot find any other way.
What We're Listening For On A World of Piano!
- 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.
- Then presence and immediacy -- the piano isn’t “back there” somewhere, way behind the speakers. It’s front and center where any recording engineer worth his salt -- Howard Holzer and Roy Dunann in this case -- would have put it.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
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.
A Word About OJC Pressings
OJC versions of Contemporary Records albums can be excellent. Those tend to be the ones we say nice things about. But most of the time the pressings that were mastered and put out by Contemporary in the mid ’70s on the yellow label (until they were bought by Fantasy) are superior. Again, you have to play them to know which are which.
We are also big fans of the OJCs that come with the long strips on the cover. They tend to be mastered pre-Phil De Lancie (maybe by George Horn, one of our favorite mastering engineers), and usually sound much better than the pressings that followed.
My understanding is that Bernie Grundman was cutting a lot of records for Contemporary in those days. If that’s true he was doing a great job because those are some truly wonderful sounding records.
- Lush Life
- Juicy Lucy
- For Carl
AMG 5 Star Rave Review
Phineas Newborn’s Contemporary debut (he would record six albums over a 15-year period for the label) was made just before physical problems began to interrupt his career…. He performs five jazz standards and three obscurities by jazz composers on this superb recital; highlights include "Cheryl," "Manteca," "Daahoud," and "Oleo."