The Van Gelder Stamp
Interesting article in The Wall Street Journal on Rudy Van Gelder, New Jersey Jazz Revolution. Here’s an interesting quote about Alfred Lion that kind of summarizes why Blue Note tends to be the more collectible label versus Prestige: “Alfred was rigid about how he wanted Blue Note records to sound. But Bob Weinstock of Prestige was more easygoing, so I’d experiment on his dates and use what I learned on the Blue Note sessions.”
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nice one, also for him being rewarded!
For me he is also part of the ‘world of jazz’ i try to seek with collecting jazz-vinyl
Great article…One wonders what vinyl gems he might have stored away at his house.
I hope someone write a biography on RVG while he is still around to be interviewed. The man probably has so many stories. He has always said that he finds talking about the musicians a breach of confidence but I bet there are some great stories.
Cazoon, I bet he has more than some interesting vinyl, I imagine he has some musicians talking between takes on reel to reel. I bet it’s some fascinating stuff.
Mike F, you are right, this man is a goldmine of information on our favourite musicians who passed away, the only giant still with us being Sonny Rollins.
I wonder whether the West Coast Rudy van Gelder is still alive. I mean Roy DuNann. He did tremendous things too. There is no Contemporary album that is not a joy to listen to (I mean sound-wise).
If there was one place one would have liked to have been a fly on the wall it would have been RVG’s studios…I understand an Autobiog was underway??
Anyone shed light on this potential gem?
I read somewhere that RVGs collection of vinyl at the studio at least is very modest. He did not collect a copy of each session and I don’t think he has the master tapes there either. They are at a vault somewhere.
Regarding DuNann I think he is still alive. There was some article about some interviewer tracking him down and paying him a visit. It can surely be googled 😉
Roy DuNann
This is the article I read a few years ago, before that I had never heard of him. Honestly, I didn’t know many other audio engineers names besides RVG so it was interesting to read about him. “This is Hampton Hawes” and “Way out West” are beautifully engineered albums.
Roy DuNann
I can’t agree more with those who raise the lack of an RVG biography. It’s a little bit stunning that nobody has bothered to tell his story over the decades given the enormous role he’s played in jazz music.
I guess my greatest concern is his reticence to go into ANY detail regarding his recording techniques. While that is his right and understand the reasoning behind insistence on doing so, it will be a tragic loss for the world of music if his incredible knowledge of recording techniques vanishes when he passes on.
Also, it’s nice to see people bringing up Roy DuNann who is an even more under appreciated contributor to the legacy of jazz in America.
Mike F: fantastic reading. Thanks for undigging this article. I cannot think of a better sounding Rollins recording than “WAY OUT WEST”. “Saxophone Colossus” is an immediate second.
Rudolf, you are the only man I know with both an Esquire and Prestige origninal of “Saxophone Colossus”. I’ve heard that Esquires sound better, and are pressed better than the Prestiges numerous times(most recently seen in Roverd-90 recent auction). Is this true?
I have a stereo “Way Out West”. I dig it as a quality early stereo but I still want a Mono version.
I’m surprised that nobody links to the extensive (46 pages in PDF) interview that the National Museum of American History had with Rudy van Gelder in September last year. The full PDF file can be downloaded directly off their website; click HERE. They also have extensive interviews (even in audio – MP3 files, also downloadable) with Kenny Burrell, Dave Brubeck, Jimmy Heath, Cedar Walton, Ramsey Lewis, Phil Woods, Nancy Wilson, Randy Weston and many, many others including Jason Marsalis, who I once met in the flesh. It’s a real treat, guys. Click HERE for all that other interview goodness 😉
NICE ONE MATTYMAN!
The Smithsonian link is great. Thank you.
Most welcome, folks. You’ll be amazed to see how much superb jazz material actually is available online! 😉
it seems that Marc Myers of JazzWax is going to publish en extended interview with Rudy van Gelder.See his JazzWax blogfrom the 13th on.
Mike F: sellers of Esquire albums do everything to boost their sales. The argument of Esquires (and European pressings in general) being better than the US originals is heard over and over again. Although the pressings are excellent, for me they are not better than their original American counterparts. IMHO they are equal. What makes most Esquires (not all) interesting is the original sleeve design. Some Esquires weigh over 200 grammes. I noticed that the fidelity of those heavy ones is below the American originals.
By the way, I must correct you: apart from Esquire and Prestige NY and NJ pressings of “Saxophone Colossus”, I also own a Metronome pressing. All have the same RVG stamp and Prestige catalogue numbers in the dead wax. In the fifties Prestige was also issued in France by Barclay and in Italy by the Music label, with original sleeve art work.
Rudolf: does that mean that the metronome lp’s where pressed in the US, or the stampers went to denmark?? I also have some metronome lp’s and the deadwax is exactly the same as their american counterparts…
Thanks for your reply Rudolf. Always informative
Maarten: the stampers were sent to Denmark and the sleeves were copied. The whole production, the pressing of the records and the printing of sleeves, was Danish.
There is no info available which Metronome/Prestige have indeed been produced, the catalogue numbers remaining the same as the US counterpart and this unlike Esquire, Barclay and Music albums.
P.S. Ik houd een lijst bij van alle bekende Metronome/Prestige uitgaven. Wil je zo vriendelijk zijn mij door te geven welke Metronomes jij hebt? Bij voorbaat dank.