wolff

Posted this at another jazz forum a few days ago. I have one title from this list. Feel free to point me in the right direction. Quite a nice batch is out for those of you of the vinyl persuasion. Vinyl.com Roy Ayers Stoned Soul Picnic Billy Cobham Crosswinds Ornette Coleman Ornette on Tenor Ornette Coleman Twins LP Ornette Coleman Art of the Improvisers Ornette Coleman Change Of The Century Ornette Coleman Change Of The Century (180 gram vinyl) Ornette Coleman Free Jazz Ornette Coleman Ornette! Ornette Coleman Ornette! (180 gram vinyl) Ornette Coleman The Shape Of Jazz To Come Ornette Coleman Shape Of Jazz To Come The Ornette Coleman Quartet This is Our Music The Ornette Coleman Quartet This is Our Music (180 gram vinyl) John Coltrane & Don Cherry The Avant-Garde John Coltrane Coltrane Jazz John Coltrane & Don Cherry The Avant-Garde (180 Gram Vinyl) John Coltrane Coltrane Jazz (180 Gram Vinyl) Ted Curson The New Thing & The Blue Thing Eugene McDaniels Outlaw The Freedom Sounds featuring Wayne Henderson People Get Ready The Freedom Sounds featuring Wayne Henderson Soul Sound System Rufus Harley A Tribute To Courage Joe Harriott Double Quintet Indo-Jazz Suite Eddie Harris Is It In LP Limited Freddie Hubbard A Soul Experiment Rahsaan Roland Kirk Bright Moments (2 LP's) Rahsaan Roland Kirk Blacknuss Rahsaan Roland Kirk Natural Black Inventions: Root Strata LP Available Roland Kirk Here Comes The Whistleman Roland Kirk Left & Right Roland Kirk The Inflated Tear Roland Kirk Volunteered Slavery Lee Konitz Inside Hi-Fi Lee Konitz with Warne Marsh Lee Konitz with Warne Marsh Lee Konitz The Real Lee Konitz(180 gram vinyl) Lee Konitz The Real Lee Konitz Yuseef Lateef Detroit Latitude42°30' Longitude 83° Yusef Lateef The Complete Yusef Lateef Eugene McDaniels Headless Heroes of the Apocalypse Brother Jack McDuff A Change Is Gonna Come Charles Mingus Pithecanthropus Erectus Charles Mingus Pithecanthropus Erectus (180 gram vinyl) Charlie Mingus Blues & Roots Charlie Mingus Blues & Roots (180 gram vinyl) Charlie Mingus Oh Yeah Charlie Mingus The Clown Charlie Mingus The Clown (180 gram vinyl) Charlie Mingus Tonight At Noon Charles Mingus Mingus At Antibes (2 LP's) Grassella Oliphant The Grass Is Greener Mongo Santamaria Mongo '70

Heifetz/Hendl: Romantic Fantasy Brahms: Violin Concerto (Heifetz, Reiner CSO) Lester Young, Roy Eldridge, & Harry Edison:Laughin' To Keep From Cryin' Stravinsky: The Firebird (Dorati, LSO)

Nothing first hand, except I really like the mono BN titles I have from Classic(Mobley and Griffin) and would probably opt for the mono if I did not have a nice mono NY already. They did a good job on the stereo titles, also. I have Cool Struttin', On the Spur of the Moment and Undercurrent and think they are very good. I know I play the mono's more, not for the sound, but I like the music more. I think there was a discussion on Hoffman's site regarding the Blue Train tapes(both mono and stereo) Grundman had to work with. Very interesting info.

Back to the Tracks Good luck!! Looks like the Classic True Blue is sold out.

Wolff, thanks for posting a link to that article. Very interesting and quite illuminating. You are welcome. There are quite a few other interesting articles on the site, also. There is a high degree of integrity and dedication to Hobson's work that is very admirable. Even though the prices can be high, 9 times out of 10 I feel like I got my monies worth. Cooder's 'Buena Vista Social Club' is an example. Analog sound at it's finest. And if you don't listen to Cooder's fumbles the music is great, too.

I have a few LP's that do this, just not Blue Note's. The Classic mono's do a very good job. What Steve Hoffman did with "Ray Charles and Betty Carter" and "Elvis is Back", along with what Kevin Gray did on "Buddy Holly" gives me hope that one day soon..............

How's the music on this one? Always been intrigued since it's a BN vocal.

I may actually like the stereo's slightly more, overall. I have a few more stereo's than mono's. I probably have 4 or 5 in both stereo and mono. I have 'Two Souls in One' and 'Sidewinder' in mono and I think they are very good. My original mono 'Rumproller' is one that sounds just ok, IMO. Same with my mono 'Cornbread'. My stereo 'Stick Up' is a nice one that gets a lot of play. I probably would not trade my mono 'Right Now!' . McLean's tone is perfect for the BN sound and it sounds real on this one.

Nice!!!!!

Here ya' go Big Al!!!.........F4OD31 60% off and free S/H. Through July 4th I believe. This works out cheaper than the Buy 1 get rest at $1.99 in a few cases.

Duh! Do you think I don't know anything? Please tell me your experiences. What are you talking about? I had no thought of you or what you know as I posted this informative link for others to read. I post this link quite often. Sorry, if you thought it was connected to you or what you know in any way.

How to reissue a record

Cool.. I became a firm believer in current LP remasterings when the original got too expensive. Many of the original Living Stereos are more affordable now, so maybe you can compare the two. I would highly recommend Classics Royal Ballet/Gala Perfomances for a start.

Interesting. If true, it would explain it. I just can't imagine same stamper being used from 1957 until 1967 or so when the mother could produce another new one. I just assumed from info in dead wax that a few re-masterings were done over the years 1956-1969 or so. Most notably, the change from handwritten RVG to stamped RVG to stampoed van Gelder in dead wax would indicate new mastering. I could be wrong. Anyway, thanks for info. Too bad the Blue Note recording engineer does not explain it, like the guys at RCA and Mercury did.

You are probably right about the new/old stamper effect. that's why many people covet test pressings, also. That being said, a change in mastering can make huge a difference from pressing to pressing. Just listen to an original Contemporary, Prestige or New Jazz LP, then to an OJC re-issue remastered using totally different methods. Never thought of a system that exposed these differences as being too good, but I know what you mean. If a system brings these details out, but leaves the music and emotion behind, then it's too good. There are many systems that can be very revealing, yet completely musical. Edit: Too bad BN's do not have stamper numbers like RCA Living Stereo's and other labels. Things would get even more anal.

That's why I started this thread; to get some first hand feedback other than my own experiences. Thank you, Brownie. and Sidewinder. What Brownie heard is exactly what I noticed. Anyone else lucky enough to be able compare orignal w63rd's to their later re-issues.

Sounds good to me , too.

I own 75+ Classic Records LP's. Everything from Classical to Hendrix. Many of them are the LP's I reach for most often because of the music and analog sweet sound. Of course, the sound varies- so do the master tapes.

It's also available at Acousticsounds.com for $35.

The sound quality improves very much. I have "Kind of Blue", "Blues In Orbit" and Brahms: Concerto No. 1 RCA LSC 1831. Some of the best sound available. Are they worth it? Try a couple and let your ears and pocket book decide. You will also get more excercise. From Classic Records: Well, a 45 rpm cut sounds better than the 33 rpm primarily because a phono cartridge can more accurately track a 45 rpm groove than a 33 rpm groove. That is, there is less "tracking distortion" at 45 rpm. The groove modulations are exactly the same at either speed but at 45 rpm they are stretched out over a distance 50% longer than on a disk at 33 rpm. The net result of the same modulation over a longer distance is that the groove modulations or "changes" are easier for the cartridge to follow (track). The benefits of the increased tracking ability are most evident when the music is complex or the cut is "hot" - cut at a high level so that the groove modulations are more radical. Low level detail is greatly improved on 45 rpm cuts as well as the solidity of the image and soundstage. High frequency information as well as bass response is improved and the music seems more realistic overall. The tradeoff is that generally, the entire program will not fit onto an LP side at 45 rpm and will at 33 rpm. You must make the trade off between convenience (number of side changes) and replay quality - a familiar problem.

I'll say e-mail is working. Just got 197.

Make sure to get one that comes with a trial period. I have gotten rid of my power conditioners and I have tube kit. I felt they made the sound worse. Never tried the PS Audio models, but have heard good things about them.

Frankly, Mr. Nessa, you sound like the one with prejudices. I believe you have met and worked with the Blue Note recording engineer. Sorry, if this rubs you the wrong way. I just hear what I hear. I never implied any of this was fact or objective, unless you consider differences in hearing objective. I said, "probably caused by...", all of this is just my opinion. If you want to read what the Blue Note recording engineer actually did to the tapes go to Hoffman's site. Quick example: Silver's Blowin the Blues Away- original W 63rd. Very pure tone on the sax and trumpet. New York copy: that tone and presense is changed to one that is less real or accurate. For differences this big, IMO something changed in mastering process. What? Console, monitors, amps...I have no idea. Many people here disect sound differences between different Blue Note CD mastering jobs(Japanese, Conn's, RVG's) and they hear a difference. Do you know for a fact none of the Blue Notes recording engineers equipment and techniques changed over the years. In an earlier post I mentioned I do hear a certain consistancy to most Blue Notes, but the sound from my few W 63rd's was so much better I was compelled to question why or if anyone else had noticed.

"Bout you time you showed up. I know you hate this shit and expected your comments much sooner. I'm in the minority in thinking a lot of Blue Notes do not sound that great when compared to some other LP's I have from this era. Most notably, Contemporary Records. To me, even the good sounding ones sound distorted, etc.. When I noticed an absense of this on some original W 63rd's it lead me to start this thread. I just wanted to get some feedback on sound differences (probably resulting from engineering and mastering changes) people had noticed between 47 W 63rd's, NY USA and Liberty's. I've read Steve Hoffman's thoughts on Blue Note engineering/mastering. Now, I'd like to hear what Bernie Grundman has to say, as he's been working with the tapes for the last 3 or 4 years.

"Too Darn Hot" is great. Love the trumpet solo/backing. "Don't Fence In" is another fav. Great recording. I wish other engineers could get the voice/band mix this perfect.