Jerome Sabbagh – Stand Up (Analog Tone Factory, 2025)

Analog Tone Factory has quietly become one of the most exciting boutique labels in contemporary jazz and high-end audio. Any imprint dedicated to recording new music direct to analog tape will get my attention — but the fact that the records are filled with superbly performed, original compositions is what truly sets this label apart.

My introduction to Analog Tone Factory came through Keepers of the Eastern Door by saxophonist Chris Cheek, a release that impressed me enough to review it on my YouTube channel, The Pressing Matters. That review led me to Jerome Sabbagh: founder of the label, producer, and a formidable artist in his own right. His previous two releases on the label, Vintage and Heart, earned wide praise from both audiophile circles and the mainstream jazz press. Stand Up marks his third album as leader for the imprint — and his strongest artistic and sonic statement to date.

The Band

Sabbagh leads a deeply intuitive quartet:

• Jerome Sabbagh – tenor saxophone

• Ben Monder – guitar

• Joe Martin – bass

• Nasheet Waits – drums

The eight new Sabbagh compositions were recorded live to ½-inch analog tape by James Farber at The Power Station. The album was produced by Jerome Sabbagh and Pete Rende, a partnership that has become central to the label’s sonic identity. Bernie Grundman handled mastering and lacquer cutting. As with past Analog Tone Factory releases, Stand Up is available as a traditional three-step LP, a One-Step pressing, CD, and reel-to-reel tape. My listening was done with the One-Step LP.

Jerome Sabbagh

A Purist Recording Philosophy

One of the pleasures of Analog Tone Factory releases is how effortlessly they invite deep listening. Much of my channel’s work involves comparing various pressings of legacy recordings; it’s refreshing to sit with brand-new music where the only sonic comparison worth making is to live, unamplified instruments in an actual room.

And on Stand Up, the illusion of “band in the next room” realism is convincing. Sabbagh favors a purist approach: the quartet performing together in one room, no overdubs, no studio trickery. Short of a direct-to-disc session, this is as close to a live recording as one can get — but with none of the pressure that can hamper a D2D performance. If one word describes the sonic character of this album, it’s relaxed.

Listening Notes

The opening track, “Lone Jack,” sets the tone. At first spin I found myself so struck by the unhurried groove that I checked the sleeve to confirm it wasn’t cut at 45 RPM. Once the pace revealed itself to be intentional, the track unfolded beautifully: Sabbagh’s tenor is captured with clarity, warmth, and presence. His tone is full yet never overstated.

Ben Monder’s muted electric guitar solo is a standout moment. His sound occupies its own atmospheric space — a soft halo that’s suddenly punctured by Sabbagh’s languid, vocal-like phrasing. Joe Martin and Nasheet Waits provide a supple, gently propulsive foundation, anchoring the dreamlike pace with realism and touch.

Across the album, the overriding sonic signature is one of smooth clarity. Nothing feels aggressive or forward, yet transients on cymbals and sax retain crisp, natural edges. At realistic playback levels, the soundstage holds together effortlessly. This is a record that rewards dialing in the volume until the presentation “opens up” into something uncannily lifelike.

Musically, the session remains engaging across all eight tracks, shifting tempos and moving between complex arrangements and deceptively simple motifs. The overall atmosphere is relaxed, but there is always something to latch onto — a melodic fragment, a rhythmic detail, a harmonic twist. The fidelity enhances the music’s sense of calm, allowing its subtleties to bloom.

Packaging & Presentation

Analog Tone Factory’s visual identity is minimalist and elegant, and Stand Up continues that aesthetic. The jacket follows the label’s familiar white card layout, but this release features especially striking artwork: a vivid abstract photograph in blue, black, and red that feels more like a painting than a picture. The back cover is equally compelling — a black-and-white image of a small human figure dwarfed by a vast concrete wall. The effect is almost brutalist, and it complements the introspective atmosphere of the music.

Pressing Quality

The pressing itself deserves special recognition. Manufactured by Gotta Groove Records, the LP is exceptionally quiet, flat, and beautifully finished. Gotta Groove has been steadily rising into the top tier of North American pressing plants, and this release is further proof of their consistency and attention to detail. The silent surfaces and clean execution make it even easier to appreciate the purity of the recording and the dynamics captured on tape.

Final Thoughts

Stand Up is a triumph for Jerome Sabbagh and for Analog Tone Factory. It combines expressive, thoughtful jazz writing with a recording philosophy that honors the purity of acoustic performance. For audiophiles, it offers a rare chance to hear contemporary jazz captured with true-to-life realism. For music fans, it’s a richly satisfying listen from a quartet of exceptional players.

Highly recommended in any format — but if you can, hear it on the One-Step LP.

Analog Tone Factory