But the TPs I do have (along with some of Music Matters 33s that preceded that series), the BN Classic Vinyl series, the Decca British Jazz Explosion series, and oddities such as isolated Vocalion analogue reissues, have all found a permanent place amongst my records for two simple reason: first, I can’t afford (and generally am not interested in) originals, and second, the overall production and sound quality of TPs and Blue Note Classics seems to me unbeatable in all respects at their price. Andrew Hill, Herbie Hancock, Dexter Gordon, Bobby Hutcherson, Sam Rivers, Joe Henderson, Duke Pearson, Dolphy, Donald Byrd, Silver, McLean, Horace Parlan and Don Cherry — to name only those I can bring to mind — I bought as they came out, generally to replace 80s/90s pressings, such as Blue Note/Toshiba-era or DMM pressings. I had a lot of these and being able to replace them with new records in absolutely top-quality pressings was something I never thought would be possible.

For these reasons I would say that the past decade or whatever has been a golden age for vinyl jazz reissues, but I do now have a growing feeling that the best has been done and that increasingly the vinyl reissue marketplace has become increasingly cynical and opportunist, thriving on ‘manufactured scarcity’ and hype.