Oh my, oh my, indeed. This is a great transfer from analog tape to DSD256 from HDTT, released this past week. If you love classic jazz, you owe it to yourself to hear this transfer. It is simply outstanding.
Somethin' Else, Cannonball Adderley, Miles Davis, Hank Jones, Sam Jones, Art Blakey. HDTT in Pure DSD256. 1958, 2022 (DSD256) HERE
Bob Witrak does not say what the source tape is that he used for this transfer, but the result is something very special. I've been listening to it all morning and comparing to other copies of this album that I have in my digital library. Nothing else comes anywhere close to the air, transparency, inner detail and frequency extension Bob was able to capture in this DSD256 transfer.
This is a Pure DSD256 transfer, no DXD processing is involved. I've written previously about my huge appreciation for the superb sound quality possible with Pure DSD256 releases (HERE). This release is available from HDTT in a DXD render if that's your preference or your system can't play DSD256. In this case, though, the DXD is a render from the DSD256 master, not the other way around.
Back in my vinyl days I had several different copies of this LP on my shelves, with the Analogue Productions 45rpm reissue being clearly the best sounding version. I never owned an original Blue Note pressing of this album, but the AP 45, a transfer from the original master tapes, punched all my buttons for sound quality.
This new HDTT transfer is doing all of that for me once again in my new world of digital playback.
At this point, I've listened on my digital playback system to the CD, the HDTracks 24/192 download, the Analogue Productions SACD, the DXD render from HDTT, and the Pure DSD256 master from HDTT. Of these different copies, this DSD256 master from HDTT is clearly the most open and transparent—it is simply thrilling to hear.
I suggest to you that if you listen to vinyl and have the AP 45, you'll be very happy staying with that even though there is a certain amount of the reel-to-reel magic that it simply doesn't reproduce. That's just a function of the difference in vinyl vs. tape from my experience. They are different media with different characteristics. The DSD256 transfers from tape seem to capture more of the quality of tape than do any of the LPs in my experience. Even the 45 rpm reissues, which I treasured, must be enjoyed on their on terms and simply not compared. Of course, I'm no longer able to make a direct comparison. My beloved Walker Audio Proscenium turntable is long gone to a new home, as is all of my vinyl. So, I'm speaking here only from my recollection of a lot of very careful listening.
If you only have the CD or the HDTracks 24/192 download, you need to treat yourself to this new release to hear what is really on this album. The CD sounds horrid here by comparison. The HDTracks has lots of issues.
The Analogue Productions SACD reissue of this album is very good and comes closest in overall tonal balance and resolution to my memory of the AP 45. If you already have this SACD and are happy with it, I wouldn't egg you on to change. But, from one sound junkie to another, you will love being immersed in the sonic splendors of this new DSD256 release from HDTT.
So, that's my quick take on the different digital transfers as heard here on my system this morning. For me, no question:
Run, do not walk, to get this new DSD256 release from HDTT. You will thank yourself when the first strains of Autumn Leaves come out of your speakers (or, in my case, ear speakers).
Oh, do I need to say anything about this album by way of introduction?
Well… in that case here is some background if you're still reading along and not yet headed off to the HDTT site to get your own copy.
In a nutshell, this is one of the great Blue Note albums. It was recorded by recording engineer Rudy Van Gelder on March 9, 1958, in his studio in Hackensack, New Jersey. And by this time, Rudy was well along in getting his microphone setup optimized.
Cannonball (holding a King Super 20 'Silversonic' alto saxophone) with brother Nat Adderley in 1966 (Public Domain)
Alto saxophonist Julian "Cannonball" Adderley was at this time a regular member of Miles Davis' group. He'd joined the group in October 1957, just a few months before John Coltrane also arrived with the group. This is one of the few albums after 1955 on which Miles Davis plays as a sideman, and some of Davis's finest trumpet work is to be found here. Adderley was also able to get drummer Art Blakey, pianist Hank Jones, and bassist Sam Jones to join for this recording session. What a combination of greats! Following this album Adderley then played on the seminal Davis records Milestones and Kind of Blue.
The Penguin Guide to Jazz lists this album as part of its suggested Core Collection. It should be in the music library of every jazz aficionado.
