Recommendations for a jazz record which demonstrates vinyl superiority over digital

Coltrane, perhaps you didn’t mean to infer that bebop is anything other than “jazz”. But if you did, I must protest. Bebop IS and was jazz after WW2, pioneered by Charley Parker, Dizzy Gillespie, Miles Davis, and many others. By the mid-50s, bebop was dominant. One of the important reasons why KOB was so noteworthy at that time (1958) was that it represented an experimental departure. But jazz musicians still play bebop style and structure to this day, just not exclusively.

Richard, I’m not sure what you’re doing with that plinth, but 301 plinth building is a vast subject. One common solution is to build a plinth out of layers of Baltic birch cut precisely to embrace the working bits as snugly as possible. I am sure you can find videos on YouTube which demonstrate the process, and you can even find the patterns for the many layers with precise measurements also on line. The chassis is not suspended over the base because the object is to soak up energy and noise from the motor and idler wheel. Food for your thought. What you describe seems not the best approach.

I would suggest Blood Sweat and Tears. It's so vanilla, relatable yet so beautifully written and produced and high quality in every sense. 

Also, I don't think vinyl is about superior quality. It's a superior experience IF vinyl is for you. If not, if you only care about sound quality, vinyl is a rabbit hole. 

@lewm That's why I should open a new thread!  There seem to be two broad approaches to 301 plinth design.  One is an open-air skeleton to let the noise out, the other is to fill the voids as much as possible.  I am experimenting with the second approach.

The SME mounting board is 18-mm chipboard, and I am infilling with 27-mm Medium Density Fibreboard (MDF) because I have it lying around.  MDF is used in many speaker cabinets because it is an excellent absorber of sound.  Garrard originally supplied springs and mountings to suspend whatever mounting board one chose. They also supplied four rubber washers to slightly de-couple the chassis from the mounting board.

My approach differs from others I have read about.  I don't have to consider the look of the internal plinth because it will be hidden inside the SME one.  The original SME dust cover will stay in place to mitigate airborne vibrations.  I can experiment by removing the Garrard-supplied suspension components, and the rubber washers.  The mounting board and every layer will simply lift out, so if need be I can experiment with different materials, including Baltic birch and the huge range of Australian hardwoods, such as red ironbark, and my favourite black-heart sassafras.  I would like to experiment with Corian for the mounting board!  I think Corian and engineered stone has just been banned in Australia because of silicosis!  Mind you there is a lot of silica in sassafras too.

@coltrane1 

"But saying you don’t like jazz, is akin to stating you don’t understand jazz"

If that is directed at me, then I resemble the remark!  I like some jazz, I don't like some.  I know so little about jazz, I cannot name the sub-genres.  This thread is helping!

Now if it were about classical, I'd be on home ground.  But even there, I dislike more than I like.  My desert island disks would be late-romantic large-scale orchestral with a dash of opera and piano!  No lute music or harpsicord, which Beecham described as sounding like two skeletons copulating on a tin roof.