Sonny Rollins
The Standard Sonny Rollins

*NOTE: This record was not noisy enough to rate our M-- to EX++ grade, but it's 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.

This original stereo RCA pressing from 1965 has the kind of Tubey Magical Midrange that modern records rarely even 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 Sonny Rollins, Herbie Hancock, and 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 The Standard Sonny Rollins 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.

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.

What We're Listening For On The Standard Sonny Rollins

• 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 for the Jim guitar, Herbie piano, Sonny's horn and Mickey and Stu's drums, not the smear and thickness common to most LPs.
• Tight, note-like bass with clear fingering -- which ties in with good transient information, as well as 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, way behind the speakers. They're front and center where any recording engineer worth his salt would have put them.
• Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

The Players

• Sonny Rollins – tenor saxophone
• Herbie Hancock - piano
• Jim Hall - guitar
• David Izenzon - bass
• Teddy Smith - bass
• Bob Cranshaw - bass
• Stu Martin - drums
• Mickey Roker – drums

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 later 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 originals.

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

• Autumn Nocturne
• Night And Day
• Love Letters
• My One And Only Love
• Three Little Words

Side Two

• Trav'lin' Light
• I'll Be Seeing You
• My Ship
• It Could Happen To You
• Long Ago (And Far Away)

All About Jazz.com Review

I tend to think of Sonny Rollins in terms of his tenures with the various labels he has recorded for over the past almost 50 years. In the 50s it was Prestige, Blue Note, Riverside, and Contemporary. The saxophonist would then drop off the scene in the early 60s, followed by a brief stay with RCA Victor that was followed up with three albums for Impulse and then his lengthy and often disappointing stay with Milestone. Clearly, the RCA period was one of the finest of his career...

While The Bridge has got to be the quintessential accomplishment of the period, this collection of standards is worthy of praise too. The cast assembled is sure to sound familiar - Herbie Hancock, Bob Cranshaw, Mickey Roker, and Jim Hall. Each standard is given a brief performance that basically gives us a solid dose of Rollins waxing rhapsodic, sometimes backed by just bass and drums, with guitar and piano added sparingly. Exceptions are two takes (one long and one short) of "Trav'lin' Light" with Hancock, Hall, bassists Teddy Smith and David Izenson, and drummer Stu Martin. Izenson's bowed work makes each one of the performances unique and beautiful.

It all adds up to a mighty package that contains small, but ample doses of undiluted Rollins. Enjoy!

-C. Andrew Hovan