Atlantic mono pressings

[Daniel A]

What is the general perception about the sound quality of mono pressings of Atlantic albums in general, and late mono albums in particular? Many Atlantic albums never sounded great in the first place from what I've heard, but I've never heard anyone comment on the mono/stereo pressing issue. Was there a point from which mono pressings were "fold-downs" of stereo masters, or were they done that way from the beginning of the stereo era already? I can see that there's a point of getting mono pressings anyway, since the stereo image of 60s Atlantic sessions is kind of artificial anyway.

(I've recently spotted a mono copy of Joe Zawinul's 'Money in the Pocket', recorded in 1966. I also happen to know that CD reissue does not sound good at all, so I'm a bit tempted to go for the LP. On a sidenote: it has catalog no SD 3004, for some reason one of only eight titles in the Atlantic 3000 series, which incidentally included both of Duke Pearson's Atlantic albums)

[Chuck Nessa]

By 1966 the master tapes would be multitrack so the mono pressings would be "fold downs". It is extremely unlikely any company would run a mono machine in this era.

[Daniel A]

Thanks for replying, Chuck. In any case, the fold-downs could possibly be preferred to listening to CD reissues with the mono button on. To avoid the heavy stereo separation of Chick Corea's "Tones for Joan's Bones" (nominally on Vortex) when listening through headphones I tried to use the mono button on the amp, but due to phase problems this introduced heavy distorsion on the piano.

[Peter A]

Indeed, generally speaking Atlantic albums do not sound great. However, even for the later titles I prefer the mono issues, "fold down" or not. I remember having a stereo issue of "The Grass is Greener"' by Grasella Oliphant (w/Patton and Green) which also had the strong stereo separation you are referring to. Later I found a mono issue which actually does sound quite good. I also have a mono copy of the Zawinul record, if you want more info on the sound quality I can give it a spin.

Peter

[Daniel A]

I also have a mono copy of the Zawinul record, if you want more info on the sound quality I can give it a spin.

Would be much appreciated, Peter!

[Peter A]

Well, yesterday I played a couple of the later Atlantic LP's. I am afraid "Money in the Pocket" is not a very good sounding record. Drums sound like cardboard boxes and there is almost no bass, although the horns sound loud and clear. But the music is quite good; two interesting line-ups, one featuring Blue Mitchell and Clifford Jordan, the other Blue Mitchell, Joe Henderson and Pepper Adams. That really can't go wrong! Also two trio tracks and one solo piano track. Sound quality is a bit comparable to the two Duke Pearson records you mentioned from the same period. Acually the Pearson LP's sound a bit better. Inspired by your remark I also played the Chick Corea Vortex album, which actually sounds MUCH better than the Atlantic's!

Regards,

Peter

[Daniel A]

Thank you, Peter!

The only Vortex LP I have is Keith Jarrett's "Life Between the Exit Signs", and from what I can remember it sounded good. Maybe the Vortex albums were produced differently, although it was an Atlantic subsidiary (or was it?). I'll probably get the Zawinul LP at some point soon anyway; even if it does not sound better than the CD it's somehow easier to accept it when you can read the liners from a nice LP cover!

[Parkertown]

I have a mono lp of Coltrane's "My Favorite Things." I think it sounds incredible, and I prefer it over the stereo version.

[JSngry]

Maybe the Vortex albums were produced differently, although it was an Atlantic subsidiary (or was it?).

Yes, it was. IIRC, both it and the later Embryo label were Herbie Mann "production" ventures. William Fischer was also involved in Embryo pretty heavily, it seems.

[Stereojack]

Maybe the Vortex albums were produced differently, although it was an Atlantic subsidiary (or was it?).

Yes, it was. IIRC, both it and the later Embryo label were Herbie Mann "production" ventures. William Fischer was also involved in Embryo pretty heavily, it seems.

Embryo was certainly Herbie Mann's baby, but I think most of the Vortex sessions were supervised by George Avakian, some by Nesuhi Ertegun, and at least one (Corea's) by Mann.