• An incredible sounding copy - this early stereo pressing boasts Shootout Winning Triple Plus (A+++) sound from start to finish
• We were knocked out by the Tubey Magical midrange of this killer original, with all the saxophone's breath and bite you would expect to hear on an All Tube affair from 1958
• This is precisely what is sure to be missing from whatever reissue has been made from the tapes (or, to be clear, a modern digital master copied from who-knows-what-tapes)
• "Jump for Joy is Adderley's reinterpretation of a Duke Ellington stage musical from 1941... Hearing Adderley's often thrilling, always well-constructed alto sax improvisations over tunes like "I Got It Bad and That Ain't Good" is reason enough for the album to exist..."

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• With outstanding Double Plus (A++) sound from start to finish, this was one of the better copies we played in our recent shootout - exceptionally quiet vinyl too
• Big, rich, smooth, open, natural, with plenty of tight bass - what's not to like? This copy is killin' it
• Some of the best jazz guys of the day back up Chet on this one: Zoot Sims, Pepper Adams, Bill Evans, Herbie Mann and more
• "...the timelessness of the melodies, coupled with the assembled backing aggregate, make Chet Baker Plays the Best of Lerner and Loewe (1959) a memorable concept album."

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• With incredible Triple Plus (A+++) sound or close to it from start to finish, this was the best copy we played in our recent shootout - exceptionally quiet vinyl too
• Big, rich, smooth, open, natural, with plenty of tight bass - what's not to like? This copy is killin' it
• Some of the best jazz guys of the day back up Chet on this one: Zoot Sims, Pepper Adams, Bill Evans, Herbie Mann and more
• "...the timelessness of the melodies, coupled with the assembled backing aggregate, make Chet Baker Plays the Best of Lerner and Loewe (1959) a memorable concept album."

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• An excellent original pressing of this classic collaboration. boasting outstanding Double Plus (A++) grades on both sides
• When heard on our better Hot Stamper pressings (like this one), the album clearly ranks near the top of the Greatest Male Vocal Recordings of All Time
• Waltz for Debby is the best thing here. Want to hear the Bennett-Evans Magic? Go right to that track
• 4 1/2 stars: "... one of the best albums of either's career... an excellent jazz-pop hybrid in which both musicians were shown off to advantage."

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• With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout
• With its presence, clarity, space and timbral accuracy, this is sure to be one of the best sounding jazz records you've heard
• Not quite as 'out there' as some others - those of you with a taste for adventurous jazz will still find much to love
• 4 1/2 stars:"... the most important thing about Something Else! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene."

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• A Shootout Winning copy with KILLER Triple Plus (A+++) sound or close to it - fairly quiet vinyl too
• The embodiment of the big-as-life, spacious and timbrally accurate 30th Street Studio Sound Fred Plaut was justly famous for
• Space, clarity, transparency, and in-the-room immediacy are some of the qualities to be found on this pressing - it's guaranteed to beat any copy you've ever heard
• 5 stars: "KOB isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence."

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• You'll find very good Hot Stamper grades on both sides of this 1959 classic by the great Miles Davis
• KOB is the purest embodiment of the big-as-life, spacious and timbrally accurate 30th Street Studio Sound Fred Plaut was justly famous for
• Clarity and transparency, correct tonality, and in-the-room immediacy are a few of the many qualities to be found on the better copies we offer
• 5 stars: "Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence."

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• An outstanding pressing with solid Double Plus (A++) sound on both sides - reasonably quiet vinyl (for this album anyway)
• The pure embodiment of the big-as-life, spacious and timbrally accurate 30th Street Studio Sound Fred Plaut was justly famous for
• Space, clarity, transparency, and in-the-room immediacy are some of the qualities to be found on this pressing - it's guaranteed to beat any copy you've ever heard
• 5 stars: "KOB isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence."

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• Bill Evans' 1980 release makes its Hot Stamper debut with outstanding Double Plus (A++) sound from first note to last
• These sides are doing just about everything right -- big, full-bodied, lively and dynamic with tight punchy bass
• Rich, smooth, sweet, and wonderfully natural, this is the sound that impresses us here at Better Records
• 4 stars: "For his final Fantasy album, Evans, bassist Eddie Gómez, and drummer Eliot Zigmund perform memorable renditions of such songs as Herbie Hancock's "Dolphin Dance"... Fine post-bop music from an influential piano giant.

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• This epic live jazz recording finally returns to the site with two excellent Double Plus (A++) sides - exceptionally quiet vinyl too
• A killer pressing, with a very strong bottom end, lovely richness and warmth, real space and separation between the instruments and wonderful immediacy throughout
• Recorded at the Montreux Jazz Festival in Switzerland, this 1970 release showcases Evans stylings alongside the brilliant talents of Eddie Gomez and Marty Morell
• "Bill Evans' second recording at the Montreux Jazz Festival in 1970 was a highly anticipated concert, finding the pianist in peak form, accompanied by bassist Eddie Gómez and drummer Marty Morell. "

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• Evan's Classic Live album from the Montreux Jazz Festival returns to the site with outstanding Double Plus (A++) sound or BETTER from first note to last
• A killer Verve stereo pressing, with lovely richness and warmth, real space and wonderful immediacy throughout
• Recorded live in 1968, this superb release pairs Evans' unique piano improvisations with bandmates Eddie Gomez and Jack DeJohnette
• 4 stars: "Evans, famous for a soft-spoken pianistic touch, seems driven to new vistas on this album. He experiments more with harmonic dissonance and striking rhythmical contrasts, making this his most extroverted playing since his freshman release, New Jazz Conceptions."

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Not in our experience. We think that's just another Record Myth.

Some of you may have discovered that the original Bill Evans records on Riverside are mostly awful sounding -- I can't recall ever hearing a good one -- so we are not the least bit worried that this OJC won't beat the pants off of the original, as well as any other reissue you may have, and even the new Analogue Productions 45.

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• An outstanding copy of this live album, with solid Double Plus (A++) sound from first note to last - reasonably quiet vinyl for this kind of quiet piano music
• These sides are doing pretty much everything right - as befits a live concert, there's an overall unprocessed quality to the sound and good space around all three players
• 4 1/2 stars: "With bassist Marc Johnson and drummer Joe La Barbera, Evans had one of the strongest trios of his career... The close communication between the players is reminiscent of Evans' 1961 unit with Scott LaFaro and Paul Motian."

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• Outstanding Double Plus (A++) sound can be found on both sides of this wonderful Bill Evans album - a Better Records favorite
• Evans is joined here by an all-star lineup of Harold Land, Kenny Burrell, Ray Brown and the great Philly Joe Jones
• Sonic highlights include a breathy, full sax; a big, solid piano; well-defined acoustic bass; and guitar tone that's tubey and warm
• "Most of pianist Bill Evans' recordings were in a trio format, making this quintet date a nice change of pace... the results are quite tasteful and explorative in a subtle way."

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A stereo recording reissued in mono for no apparent reason? What were they smoking over there at Milestone?

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• Superb Double Plus (A++) sound or BETTER on both sides and only the second copy to ever hit the site
• A shockingly well recorded album, with Oliver Nelson's arrangements exploding from the speakers with all the brilliant energy and color we've come to expect from the man
• "For this date, the group decided to emphasize its pop side, recording the record with the lush Oliver Nelson Orchestra and choosing to cover such pop hits as "The Look of Love" and "Last Train to Clarksville"... the glossy production has its appealing moments..."

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Liner Notes for the Remix by Richard Barnes

In 1966, three years before the original release of this album, Pete Townshend played a tape of a spoof song called 'Gratis Amatis' to Who manager Kit Lambert. The 10-minute aria consisted of high-pitched Goon Show voices singing 'Gratis Amatis' over and over for what seemed like an hour. As they fell about laughing, a friend said, "It's a rock opera", which caused more laughter. Suddenly Lambert stopped laughing and looked thoughtful. "Now there's an idea," he said.

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