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Peter A
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Posts posted by Peter A
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The "darkish green/blue drawing" was from the original issue on the Hifi label.
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Impulse was created as a division of ABC Paramount, so even the earliest pressings are identified this way. The orange label with the black border was used until 1968, when it was replaced by the black label with the red border. I believe this may have been after mono was discontinued, so your mono LP is probably an original.
Some additional info: the orange/black label exists in shiny and matt versions. Shiny labels appear to be earlier - at least for the first 99 (?) titles. Best sounding originals IMO are white label promo's.
Peter
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Just how many "coffee shops" did you hit in Amsterdam, Jimmy Boy???
It's a pity people always mention coffeeshops (=drugs) in relation to Amsterdam.
The city really has so many other things to offer...
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This is my favourite Timmons album.
Really? I think it's the WORST Lp by Bobby Timmons. I bought the LP recently and, although I am a big fan of BT, it was a major disappointment to me. I think it is mentioned in the liner notes the session was recorded with musicians BT had not met before. And that's very obvious to the listener, Bobby is struggling to find the right notes. Actually I can't understand why Prestige released it.
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benny golson - free - usa argo
dizzy gillespie - new wave - philips mono
rusty bryant - night train now - prestige blue label
I just played Night Train Now yesterday - what a killer record, must be one of Rusty's best! With Boogaloo Jones and Bernard Purdie.
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Personally, when it comes to T-Bone Walker, I don't think there is a bad one.
Well...try 'Fly Walker Airlines' on Polydor. A live session recorded in Montreux (there's even a violin in the band
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I've always been outbid on (yellow label) copies of Ronnie Matthews - Doin' the Thang! (Prestige).
Mine's a Bergenfield deep groove but looks to have a grey label !
Ever seen one of those before?
Do you mean this label?
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I've always been outbid on (yellow label) copies of Ronnie Matthews - Doin' the Thang! (Prestige).
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Another vote for T-Bone Blues on Atlantic. I also quite like his two albums on Bluesway (I think the 'miniskirt'-song J Sangrey was referring to is on one of these):
and
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"Kakubuchi" means the cardboard frame that appears on two sides (up and spine) under the paper on early covers like Blue Notes or Atlantic (on Atlantic on the three sides except opening). Like the flat edge "Kakubuchi cover" Blue Notes attracts premium prices, as it is seen as very first press/ cover. Very first 1500 have the kakubuchi orginally, and last kakubuchi is around 1547/1548/1549.
Wailing with Lou (1545) was the last BN LP issued with kakubuchi cover:
The next title, BLP 1546 (The Magnificent Thad Jones, Vol. 3), has an new type of cover: unlaminated with a "bump" (reinforcement in the middle of the top seam). Some slightly later reissues of earlier titles, for instance Introducing Johnny Griffin (1533), J.R. Monterose (1536) and Lee Morgan Indeed (1538), also have this type of cover.
For some reason Jutta Hipp Vol. 2 (BLP 1516) was never released with kakubuchi cover, but only with laminated "bump" cover. First issue laminated jackets start with 1547 (Date with Jimmy Smith, Vol. 1).
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Some additions:
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It LOOKS as if the release date may be the important point here, and maybe we could be more positive if we had a bigger sample of the issues.
Thanks for the additional info, MG. It absolutely makes sense that the release date is the key to the problem here.
Blue Note LP's have the same problem: like Prestige LP's they were not released in numerical order. That's why for instance at some point the new titles were released with NY-labels, while some later numbers - which in fact were released earlier - still had the 63rd St-labels.
Peter
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The switch from yellow to blue labels for Prestige vinyls occured in 1964.
That's correct.
Some more labeltrivia: the switch seems to be around the numbers 7300-7320, although there might even have been a transition label: a plain gold label (unfortunately don't have a picture).
My copies of 7310 (The New Boss Guitar of George Benson) 7316 (John Coltrane - Black Pearls), 7331 (The Exciting New Organ of Don Patterson) have this gold label.
On the other hand 7318 (Booker Ervin - The Song Book) and 7321 (The Rocking Tenor Sax of Eddie Chamblee) still have the yellow label, while 7315 (Kenny Burrell - Soul Call) and 7320 (Gene Ammons Velvet Soul) have blue labels.
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This may be useless trivia, but I remember being a little surprised years ago when I bought Patterson's TUNE UP! album. He was listed as "Blue Grant" on that LP as well, and it was pretty clear that it was Grant Green, but I could swear the recording had been sped up... Grant almost sounded like Pat Martino.
I wonder if the same thing occured on the LP version of DONNYBROOK (which I never owned).Grant played MUCH faster on his later (post 1969) than on his earlier (pre 1966) records, at least on some of the tracks. Try for instance Rusty Bryant Returns, Visions, Shades of Green or The Final Comedown.
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A couple of days ago the Esquire (and other) editions of Prestige LP's were discussed in the "what vinyl are you spinning" thread. Not only the sound quality of these UK pressings seems to be very good, some also appear to have interesting - different - cover art.
Here are some of the alternative jackets; feel free to post more!
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British issues of Prestige main series albums
The last Prestige to be first issued by Esquire was Jack McDuff's "Screamin'" (PR7259 - Esq 32-196)
The first Prestige to be first issued by EMI on Stateside was Jack McDuff's "Live" (PR 7274 - SL10060)
The last Prestige to be first issued by EMI on Stateside was Carol Ventura's "I love to sing" PR7405 - SL10180 (WTF? - well, it was recorded in London)
The Prestige discography table of equivalents doesn't mention the Transatlantic issues because they used PR7XXX numbers (except for the budget reissues on Xtra), so I don't know what the first one was. The earliest one I've got (or ever seen that I can remember) is Johnny "Hammond" Smith's "The stinger" - PR7408.
MG
Here in Holland the early titles - I think - were only available as imports (though on a very low scale). I have never seen any European pressings, except for some of the later titles (7400+) on the German Funckler label (nice laminated jackets and solid pressings). Some of the Swingville/Moodsville/Bluesville titles which were sold here had European jackets (Interdisc) but contained original pressings.
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Esquires usually have different artwork. I believe this one had a white cover with red and green print, and a photo of Eric.
This is the cover of the Esquire edition of 'Outward Bound'.
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You may have noticed also that 376 is often seen no DG white label, while DG version is often the regular blue label. Peter, how does sound your 376 no DG ?
Not so good, unfortunately. The vinyl is a bit noisy, which is very obvious as the music is relatively quite. I also have a stereo, black label copy (no DG), which sounds as bad as the mono. Not exactly Blue Note quality pressings (and recordings)!
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I don't have a single favorite, but these are high on my list...
(I like it way better without the "STEREO STEREO STEREO" across the top
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Here's the cover of the mono edition:
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One of my favorites:
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... just received the riverside lp wes montgomery "so much guitar". it has the blue label with the reel & mike logo on top and the bill grauer add on the bottom, BUT it has no deep groove !
Q: must this record has a deep groove to be 1st press ??
I happen to have two copies of So Much Guitar: one with and one without deep groove!
The jackets and the labels are exactly the same, but for some reason I have the feeling the dg-version is older. Soundwise there is not much difference - both copies sound so so, so you don't have to hunt for the dg version.
Like Michel said, this is a difficult part in the Riverside catalogue. My copies of 376 (Bill Evans - Sunday at the Village Vanguard), 380 (The Trio), 381 (Elmo Hope - Homecoming), 383 (Sittin' in With Dick Morgan) are all without dg. On the other hand, most of the higher numbers are again with dg!
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Have you one preferred product?
My concern is that, more often than one could think, specialized cleaning fluids leave some sort of deposit, that is the reason because with record cleaning fluid you have to rinse LP with demineralized water, after the fluid. Another problem could be that, usually the stylus is matched with cantilever with some sort of glue, maybe epossidic, so a cleaning fluid could damage the matching beteween stylus and cantilever.
I still use the bottle I bought many years ago (sorry - can't check the brand as I am at work right now).
However, I don't think the fluid leaves any deposit as it is very volatile. After I use it the stylus is almost immediately dry.
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It's not necessary to change the stylus or even the cartridge, when the stylus is a bit dirty. Bottles with stylus cleaning fluid, often supplied with a little brush, are available in specialist shops. After I have cleaned my stylus every two weeks it sounds like new again!
Wild Bill Moore on Jazzland
in Artists & Recordings
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Which one, there are two: Wild Bill's Beat (JLP 38, w/Junior Mance) and Bottom Groove (JLP 54, w/JH Smith).