Rare Jazz Vinyl and A Question about Reissues
Here are some rare jazz records we are watching on eBay, starting with a few from our friends at the Jazz Record Center, including: Lester Young, The President Plays with the Oscar Peterson Trio, Norgran 1054. This is an original yellow label pressing that looks to be in M- condition for the record and the cover. This is my personal favorite out of all the Lester Young records on the Norgran and Verve labels, both musically and for the David Stone Martin cover, which looks especially nice in this photo. The bidding on this copy is in the $165 range with about four hours left in the auction as of this posting.
From the same seller is Zoot Sims in Paris, United Artists 15013. This is an original sealed copy. So far there is one bid at $100. If you get this record, do you break the seal? I do and then I put the record on my turntable. One more: Sonny Rollins With the Modern Jazz Quartet, Prestige 7029. This is an original New York yellow label that looks to be in M- condition for the record and maybe VG++ for the cover. The bidding is at $300.
Finally we have a question from our friend Daryl, who seeks help in finding the best sounding re-issues of Blue Note, Prestige or other labels from the Jazz Collector era. I will let Daryl have the last words:
“I need your wisdom, first-edition, deep-groove-seeking, BN/Prestige friends. Absent the young ears and high-end equipment to fully display the beauty of those spendy gems, which versions of the jazz lp canon should I pursue? Let me explain…
Let’s suppose that I seek a great sounding copy of Swing, Swang, Swingin’ by Jackie McLean on Blue Note. As I am not pursuing the Holy Grail, I am lost in the wilderness of reissues. Help me find my way out! Discogs, for example, shows 15 lp versions of that recording. Do I pursue a1967 Blue Note re-issue(BST 84024)? How about a 1978 Japanese reissue(GXK 8081, BST 84024)? In 2009, Music Matters issued the “Definitive 45 RPM Reissue” of the record. What is a budget-conscious audiophile (wannabe), hard-bop-lover to do?
This example is the crux of advice that I seek. I ask that you reflect on your collection. Those places that you fill with a non-first-press, what do you hold it with? I’ve been around JC enough to know that while a few of you may have a “VG-“ copy as a placeholder, you cannot play that tripe on your turntable. Which reissue do you listen to when you do not possess the first edition that you seek? Do you go with decades-later Japanese reissues? Do you pay for the Mobile Fidelity Sound Lab updated model? How about the third press from the original label? Do I need 180 grams in my vinyl reissue! Direct Metal Mastering (DMM)?
Conclusion: I am giving you homework. I ask you to reflect on the patterns in your collection for those lp’s that are not the first presses you seek. I then ask you to consider the criteria that you use to select what will be the “next best thing” for the listener. Thanks!”
For Daryl,
Honestly, you will get plenty of advice (some good, some hogwash) regarding what versions to seek. In my personal opinion, no commercially available pressing of a record like “Swing, Swang, Swingin'” is going to disappoint you. The music is good enough and the differences subtle enough that you will be happy with just about any version. That’s my two cents.
I like Japanese reissues when it comes to BNs and other choice hard bop LPs, usually late 70s are best though I don’t mind the digital Toshibas either. My copy of Swing, Swang, Swingin’ is a King JP and it sounds great.
That Shihab on Fontana (originally on Debut Denmark) is an amazing record.
For Daryl – for Prestige, New Jazz, Riverside, and Contemporary, I think the OJC reissues are just fine, especially the early ones with the paste-on back. They aren’t expensive and sound pretty good. Original cover art and liner notes too.
Hi Daryl- I agree with all of the comments above. I try to buy the earliest version possible in the best condition. For example, BN Liberty or the early ’70s “Black B” labels that are pressed from the original stampers are fine for me and they usually sound great. The UA Mono reissues are fantastic as well.
Lastly, I prefer the Tone Poet releases to the Music Matters 33 rpm reissues. I have not had a chance to listen to the 80th Anniversary reissues yet.
Happy Hunting!
I typically prefer the Japanese pressings from King and Toshiba, for both listening and packaging. I’m pretty easy, though, having had a lot of blue label blue Notes at one time, since those were the ones on the shelves in the early 1970s and 1980s when I started collecting. I try to avoid anything labeled “Reprocessed for Stereo” or something like that. I don’t know what they did with those pressings, but the sound seems flaccid and does not appeal to these ears.
What Daryl should consider about early Blue Note recordings and their reissues is if you want to go Stereo or Mono. After april 1957 everything RVG recorded was true stereo but in the beginning hard panned. Regarding the Swing Swang record most reissues (Like King and Toshibas) are in Stereo. Personally I like this record in Stereo since it is well recorded for stereo but an original is Mono.
The thing on BN Liberty pressings about reprocessing for stereo means that they made a “fake” stereo master from a mono tape. These are to be avoided if they are from a mono master.
The fairly new Japanese DBLP reissues by Disk Union sound pretty amazing. They are mastered by Kevin Gray, the same guy behind the Tone Poet series, and they come with an authentic look, including laminated covers and deep groove reproduction. I picked up a few at Disk Union where they were pretty cheap, including Mobley 1568 which I don’t expect to own as an original any time soon, and I’m very happy with them. Only catch, prices have gone up for these if you purchase online, usually north of $100 or more.
Much appreciation to all on the reissue feedback. I’ve got some hunting for Japanese pressings ahead!
Daryl – If you’re looking for Mono Prestige titles keep your eyes open for white label Promo two-fer 24000 series. Put out during the Green label time frame many of these are the last Mono analog mastered and RVG stamped. For example, comparing an original 50th(Prestige PRLP 7079), NJ(second)(Prestige PRLP 7079), and a promo P-24050 of Sonny Rollins Saxophone Colossus there wasn’t too much to quible about. But if you like Sax Colossus do not buy the PR 7326 Gold Label. I’ve listened to several NM copies and it’s obvious they’re pressed using the cheap recycled vinyl that Prestige used on their Status budget series. It’s really hard to find any Status pressing that isn’t noisy.
Daryl
Honestly, there are so many variables to consider; ( ie tube vs solid state equipment, interconnections, speaker wire, mono cartridges, stereo cartridges, speakers etc.). l don’t think there’s a definitive answer to your question, not without taking into account the above mentioned variables. As an example, l played original 1st edition Blue Note mono pressings with a stereo cartridge for years. Then l purchased a second tone arm, board and a mono cartridge. My table supports two arms and two cartridges (mono & stereo). The difference when l play my 1st edition Blue Note mono records with my mono cartridge can only be described as mind blowing!!! IMO playing 1st edition Blue Note mono records with a stereo cartridge is simply not ideal. Which brings me back to my original suggestion. My advice would be to consider your system as you contemplate what would sound best on your system. It’s easy for me to tell you what sounds best on my system. The “next best thing” to first editions is a trail & error, up close, and personal listening experience with late issues, re-issues and imports as you search for your ideal sound on your own system.
One thing to realise with Blue Note stereo Liberties and ‘fake stereo’ (from a rechanneled mono master) is that not all of them are properly labelled. Some which say ‘rechanneled’ on the cover are actually proper stereo (mastered from RVG’s original two track recording, though not by RVG) and some which just say ‘stereo’ are actually rechanneled. Londonjazzcollector provides a handy overview: https://londonjazzcollector.wordpress.com/record-labels-guide/labelography-2/blue-note-mono-stereo-and-pseudo-stereo/
hence why collecting blue note records is expensive. not only the records, but the equipment necessary to enjoy the full gamut of the music.
I would also recommend Classic Records mono reissues, done with deep groove. They sound amazing when played with mono cartridge
An update to my previous post: I finally had a chance to listen to a few of the BN 80th reissues and I have to say I’m impressed! I grabbed the Juta Hipp/Zoot Sims and it sounds fantastic. It’s done in mono to boot! I will gladly have this to hold me over until I’m fortunate enough to come across an original. The other two releases are in stereo (Basara and Open Sesame) and are equally impressive. Kevin Gray is has done the mastering, like the tone poet series, and the pressings are done by German based Optimal. The Sound is fantastic.
I for one welcome these reissues. They present the music the way it should be heard (a high quality production) and it’s at a price point that allows a larger audience to enjoy this great music. The world needs more jazz!
A “budget-conscious audiophile (wannabe), hard-bop-lover.” What a great description of myself! I’ve been going solid Tone Poet and have yet to be disappointed. I have several Music Matters but abandoned that route as the prices climbed. I’ve read nothing but good things about the BN 80 series and plan to do grab some of those as well.
Finally, if I’m lucky enough to find something older I want that is sealed, I always break it. Feels like a time machine.
I’d agree with Dmitri (and others) who say a mono cartridge is a good place to start. “Garbage in,garbage out” was never more true than when applied to the listening experience-hardware and software included. As for lps,I like mono Liberty’s, Japanese King and white label OJC’s for the budget conscious. BTW,one of the best sounding reissues I’ve heard is the Monk/Trane two-fer from the 24000(?)series. “Trinkle,Tinkle”,indeed.
I would agree with Clifford Allen – Japanese reissues, including the Toshibas, are the best fit for our TT’s. But don’t overlook others outside of BN’s…many great copies are affordable prices are available.
Great question and loved to read everyone’s feedback.
Ciao!