Katharsis

The Vinyl section may not be the right place, but you can listen to snippets of the music on different online-music-platforms. Sounded interesting indeed.

I saw your listing on jazzcollector and I wondered if you'd sell this stuff or why you`re posting it? Anyways, congratulations - sounds nice.

Sam Jones is one of my favourite bassists. I really dig his warm and huge tone, his preciseness and his lyrical ability and agility. I have a specific tie to "The Soul Society" because the Society consists of wonderful men and Jones' playing on cello is just beautiful. In the same line I'd recommend "Work Song" which features one of the best performances of Nat Adderley. "Everybody digs Bill Evans" is a special recording, because it teams Bill Evans with the more low-key-playing and more "grounded" sound of Jones. Nice contrast to the work Evans has done with LaFaro. Then Jones has been the foundation of so many great HardBop-classics like "Open Sesame", "True Blue" or "Undercurrent" and gems like the aforementioned "Heavyweight" or Harold Land's "West Coast Blues". It's really hard to not find a record where Jones instantly catches the listeners attention.

Then it should have the p/Ear in the run out groove.

Oh yes, this was a misunderstanding. I ment the Mono-Gold labels. But thank you! That's even more interesting, when there are not such ones.

Am I wrong - I see a black label (PJ2a)??

As Stereojack says, the most tracks are from 1947 and one has to count in the technical abilities and the studio equipment during these times. That makes to music sometimes sound thin and harsh, especially for the drums. Besides that, the record itself (I refer to a Lexington, DG, Flatedge-pressing)has a nice sound and I would think, that the 10"es sound worse. You should check the different sessions, because they all sound different. The sessions from 1952 have the best sound (especially "Four In One" and "Straight, no chaser", while the Trio-track from 1947 sounds the worst ("Nice work").

You're right with what you're saying. Wes has made fantastic albums as a leader and his brothers always have been ample support. And when it comes to rarity, you're right as well. It's always amazing, how many scarce Blue Notes pop up on eBay on a weekly basis. That's often ridiculous. I don't know anything about the golden labels (and I still could need a hint of the last DG-pressings), but all three posted are Stereo-pressings. Would be interesting to know, if there were mono-copies as well.

This could be due to the fact, that the Montgomery Bros. are not one of the well loved Jazz-bands of the Sixties?! And rarity is not really a thing to believe, when it comes to eBay...

Thank you very much for this interesting discussion. I was looking for something like that. I discovered a slight label variation of PJ2a. There is no High Fidelity on top of the label, but at the bottom it reads "High Fidelity Recording 33 1/3 RPM Microgroove". Side 1 and the World Pacific-logo are interchanged. Otherwise it looks the same and has a Deep Groove. There's one other question I have. Can anyone tell the last DG recording?

Nat Adderley - Work Song (Riverside; Mono DG)

The bad thing is, that Prestige has done this reissue-thing under different names some kind of regularly. This is especially annoying, because you have to double check. I remember a reissue of Doug Watkins' "Soulnik" under the name of Yusef Lateef.

First post - more to come. Hello! Three in a row: Lenny McBrowne & The 4 Souls (Pacific Jazz; Mono DG) Roy Haynes & Frank Strozier - People (Pacific Jazz; Mono) Yusef Lateef - Centaur and the Phoenic (Riverside; Mono DG)