The Blue Note Thread

TCell said:
So as a thought exercise, if I only had $75 to spend on Grant Green...

Option A:
Idle Hands (SRX)
or
Option B:
Nigeria (TP) AND Sunday Mornin' (Slow Down Sounds)
or
Option C:
Green Street (AP) AND Alive! (BN80)

Context: Current Grant Green in my collection: Born to Be Blue (TP) and Idle Hands and Am I Blue (RVG CDs)
I know, I know, "Why not both?", but I only have so much money and space in the Kallax.
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Nigeria and Alive! Definitely.
 
TCell said:
So as a thought exercise, if I only had $75 to spend on Grant Green...

Option A:
Idle Hands (SRX)
or
Option B:
Nigeria (TP) AND Sunday Mornin' (Slow Down Sounds)
or
Option C:
Green Street (AP) AND Alive! (BN80)

Context: Current Grant Green in my collection: Born to Be Blue (TP) and Idle Hands and Am I Blue (RVG CDs)
I know, I know, "Why not both?", but I only have so much money and space in the Kallax.
Click to expand...
Tough question, as Idle Moments, Nigeria and Green Street are all in my top 5 Grant Green albums 😅

Could you go Nigeria and Green Street? That would seem like the best combo to me. If you get a good price on both, you should be able to get them for $75.
 
johnpisme said:
Stereo. Part of me wants to keep the SRX sealed to sell it, but a much larger part wants to open it and compare.
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mitchwagz said:
For what it’s worth, my Music Matters is the best I’ve ever heard the album. Better than the early mono even. I don’t think it will ever sound better, but then again I love the detailed MMJ sound.
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Im sure this has been talked about in the past, and I dont want to start something which could be seen as controversial, but can the MMJ pressings (or any later reissues for that matter) actually be 'better' than the original pressings? I mean from a purely technical point of view (over the opinion of "that's what the musician agreed to and therefore is most faithful" argument). I know some albums might have audible phantom sounds which could be edited out nowadays, but in terms of the actual sounds you are hearing, can these really be improved? Or is it a case of the levels being edited to obtain a clearer recording (free of background/ambient noise)?

If we take something like 'Blue Train', I have a '73 UA pressing which I always thought as being great, but I also have a '57 first press and it blows it out of the water. Now its obviously great to have a first press, but if the MMJ is somehow even better then it kind of makes more sense to hunt these down over OG's right? In terms of the audio quality at least.
Not sure if I have expressed this correctly but hopefully it makes sense?
 
Selaws said:
Im sure this has been talked about in the past, and I dont want to start something which could be seen as controversial, but can the MMJ pressings (or any later reissues for that matter) actually be 'better' than the original pressings? I mean from a purely technical point of view (over the opinion of "that's what the musician agreed to and therefore is most faithful" argument). I know some albums might have audible phantom sounds which could be edited out nowadays, but in terms of the actual sounds you are hearing, can these really be improved? Or is it a case of the levels being edited to obtain a clearer recording (free of background/ambient noise)?

If we take something like 'Blue Train', I have a '73 UA pressing which I always thought as being great, but I also have a '57 first press and it blows it out of the water. Now its obviously great to have a first press, but if the MMJ is somehow even better then it kind of makes more sense to hunt these down over OG's right? In terms of the audio quality at least.
Not sure if I have expressed this correctly but hopefully it makes sense?
Click to expand...

It’s really subjective. Some may like MMJ pressings more than originals. Others hate what MMJ did with their mastering choices. A certain YouTube jazz reviewer grump comes to mind.

MMJ went to capture the sound as if you’re in the studio when the session was recorded. RVG had to make certain adjustments to play nice with the customers’ equipment of the time. Joe Harley speaks in detail about it on an episode of the Vinyl Guide podcast. It’s definitely an interesting listen.

I personally love the MMJ pressings ...but not their pricing decisions. I’ve just come to terms that I’m not tracking down OG Blue notes for a decent price. Last one I saw in the flesh was Tina Brooks True Blue in at best VG shape for an easy $1k.
 
Selaws said:
Im sure this has been talked about in the past, and I dont want to start something which could be seen as controversial, but can the MMJ pressings (or any later reissues for that matter) actually be 'better' than the original pressings? I mean from a purely technical point of view (over the opinion of "that's what the musician agreed to and therefore is most faithful" argument). I know some albums might have audible phantom sounds which could be edited out nowadays, but in terms of the actual sounds you are hearing, can these really be improved? Or is it a case of the levels being edited to obtain a clearer recording (free of background/ambient noise)?

If we take something like 'Blue Train', I have a '73 UA pressing which I always thought as being great, but I also have a '57 first press and it blows it out of the water. Now its obviously great to have a first press, but if the MMJ is somehow even better then it kind of makes more sense to hunt these down over OG's right? In terms of the audio quality at least.
Not sure if I have expressed this correctly but hopefully it makes sense?
Click to expand...
I personally like the Music Matters pressings over the originals/earlier pressings but that’s just my opinion. It is fun to hear OGs though and it’s nice to have a piece of history in your hands. They’re just different. MMJ may have technically better mastering-wise which may or may not be what Van Gelder wanted. It can also make the recordings sound clinical to some. I just think the presentation of the Music Matters is better and the sound is equal or better in most cases to me. Plus it’s a bitch to find clean Blue Notes nowadays.
 
Selaws said:
Im sure this has been talked about in the past, and I dont want to start something which could be seen as controversial, but can the MMJ pressings (or any later reissues for that matter) actually be 'better' than the original pressings? I mean from a purely technical point of view (over the opinion of "that's what the musician agreed to and therefore is most faithful" argument). I know some albums might have audible phantom sounds which could be edited out nowadays, but in terms of the actual sounds you are hearing, can these really be improved? Or is it a case of the levels being edited to obtain a clearer recording (free of background/ambient noise)?

If we take something like 'Blue Train', I have a '73 UA pressing which I always thought as being great, but I also have a '57 first press and it blows it out of the water. Now its obviously great to have a first press, but if the MMJ is somehow even better then it kind of makes more sense to hunt these down over OG's right? In terms of the audio quality at least.
Not sure if I have expressed this correctly but hopefully it makes sense?
Click to expand...
admerr said:
It’s really subjective. Some may like MMJ pressings more than originals. Others hate what MMJ did with their mastering choices. A certain YouTube jazz reviewer grump comes to mind.

MMJ went to capture the sound as if you’re in the studio when the session was recorded. RVG had to make certain adjustments to play nice with the customers’ equipment of the time. Joe Harley speaks in detail about it on an episode of the Vinyl Guide podcast. It’s definitely an interesting listen.

I personally love the MMJ pressings ...but not their pricing decisions. I’ve just come to terms that I’m not tracking down OG Blue notes for a decent price. Last one I saw in the flesh was Tina Brooks True Blue in at best VG shape for an easy $1k.
Click to expand...
They also seem to have made somewhat different mastering decisions between the 45 and 33, or so I've been told. I don't have any duplicates. Some Audiophiles prefer the 45s which I've heard sound more neutral, while the 33s are supposedly more in the vein of the originals. However, some people still don't like either and vastly prefer originals. Not something I can weigh in on as I don't have originals either.
 
admerr said:
It’s really subjective. Some may like MMJ pressings more than originals. Others hate what MMJ did with their mastering choices. A certain YouTube jazz reviewer grump comes to mind.

MMJ went to capture the sound as if you’re in the studio when the session was recorded. RVG had to make certain adjustments to play nice with the customers’ equipment of the time. Joe Harley speaks in detail about it on an episode of the Vinyl Guide podcast. It’s definitely an interesting listen.

I personally love the MMJ pressings ...but not their pricing decisions. I’ve just come to terms that I’m not tracking down OG Blue notes for a decent price. Last one I saw in the flesh was Tina Brooks True Blue in at best VG shape for an easy $1k.
Click to expand...
mitchwagz said:
I personally like the Music Matters pressings over the originals/earlier pressings but that’s just my opinion. It is fun to hear OGs though and it’s nice to have a piece of history in your hands. They’re just different. MMJ may have technically better mastering-wise which may or may not be what Van Gelder wanted. It can also make the recordings sound clinical to some. I just think the presentation of the Music Matters is better and the sound is equal or better in most cases to me. Plus it’s a bitch to find clean Blue Notes nowadays.
Click to expand...
dhodo said:
They also seem to have made somewhat different mastering decisions between the 45 and 33, or so I've been told. I don't have any duplicates. Some Audiophiles prefer the 45s which I've heard sound more neutral, while the 33s are supposedly more in the vein of the originals. However, some people still don't like either and vastly prefer originals. Not something I can weigh in on as I don't have originals either.
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Cheers guys, cleared that up for me for sure! I have actually listened to that Vinyl Guide podcast @admerr but its such a while ago now that I might revisit it.

With the MMJ's being so tricky to get over here in the UK it's basically just as easy to find OG pressings (if you are patient enough) and if your lucky enough they might not even be that much different in price. For the past year (maybe 2) I have tried (emphasis on tried) to pick up mainly OG pressings over reissues, saving for certain record by not buying a load of 70's/80's pressings. So basically where I used to buy 3-4 reissues at £25 each, I now save that and aim for 1 more expensive OG. I guess if I was in the US then I would likely go for the MMJ's, the Tone Poets are really easy to get hold of over here and they are stellar imo.
 
Always forget there is a Midcentury furniture store near my apartment that has a bit of a hidden record store in the back. Never crosses my mind to go in because the antiques part is an insane ripoff...they don’t have prices on most things and take a look at you and come up with prices on the spot...

But walked in today and forgot how crazy their selection of records are, particularly jazz and BN. Prices are all over the place, but tons of early pressings. They had a Japanese pressing of Our Man In Paris for $25 in mint condition which I would have jumped on if I hadn’t already gotten the MMJ on eBay .

Sadly I forgot that I had my fiancées keys in my pocket so I had to take off after only a little bit...but snagged a two record set of Bill Evans with a trio and duo with Jim Hall and an Otis Redding record but a lot of the BN stuff was grabbing my eye for next time...
 
MikeH said:
Always forget there is a Midcentury furniture store near my apartment that has a bit of a hidden record store in the back. Never crosses my mind to go in because the antiques part is an insane ripoff...they don’t have prices on most things and take a look at you and come up with prices on the spot...

But walked in today and forgot how crazy their selection of records are, particularly jazz and BN. Prices are all over the place, but tons of early pressings. They had a Japanese pressing of Our Man In Paris for $25 in mint condition which I would have jumped on if I hadn’t already gotten the MMJ on eBay .

Sadly I forgot that I had my fiancées keys in my pocket so I had to take off after only a little bit...but snagged a two record set of Bill Evans with a trio and duo with Jim Hall and an Otis Redding record but a lot of the BN stuff was grabbing my eye for next time...
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Was Our Man In Paris a King press?
 
admerr said:
You won’t regret it. I know people are unhappy with the prices and rightly so, but these things are far cheaper than tracking down beat up original pressings at the same price point....and they’ll be as quiet as you can imagine.
I’ve been going through my MMJ 33 collection to make sure my copies are flawless for peace of mind. Today was a massive reminder of just how incredible these pressings are. I’m missing 4 of the upcoming titles and there’s no way I’m letting them slip by. Especially Maiden Voyage. My blue label is in desperate need of an upgrade.
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Very true,the local shop near me sold a beat up OG Blue Train for $60. I think the disc was G at best.

I figured the SRX would be better than waiting to find a nice OG and having to fork out a couple hundred bucks
 
Just bought the Duke Pearson reissue on WallenBink. Won't be home to listen to it until the weekend, but it'd be nice if they could do more Blue Note reissues.

I'm sure the Music Matters licenses are for America, it would be great if Wallen Bink could start to replicate what they do, but in a much more affordable way for those of us in Europe.
 
Andy said:
Just bought the Duke Pearson reissue on WallenBink. Won't be home to listen to it until the weekend, but it'd be nice if they could do more Blue Note reissues.

I'm sure the Music Matters licenses are for America, it would be great if Wallen Bink could start to replicate what they do, but in a much more affordable way for those of us in Europe.
Click to expand...
I keep procrastinating getting that one since I have to import it to the States. Is there any news if they are doing more reissues soon?
 
Selaws said:
Im sure this has been talked about in the past, and I dont want to start something which could be seen as controversial, but can the MMJ pressings (or any later reissues for that matter) actually be 'better' than the original pressings? I mean from a purely technical point of view (over the opinion of "that's what the musician agreed to and therefore is most faithful" argument). I know some albums might have audible phantom sounds which could be edited out nowadays, but in terms of the actual sounds you are hearing, can these really be improved? Or is it a case of the levels being edited to obtain a clearer recording (free of background/ambient noise)?

If we take something like 'Blue Train', I have a '73 UA pressing which I always thought as being great, but I also have a '57 first press and it blows it out of the water. Now its obviously great to have a first press, but if the MMJ is somehow even better then it kind of makes more sense to hunt these down over OG's right? In terms of the audio quality at least.
Not sure if I have expressed this correctly but hopefully it makes sense?
Click to expand...
I can not speak to all MMJ titles, but for "Blue Train" specifically I have had a stereo Liberty, an OG mono, an NY mono, and the MMJ. I think the MMJ lacks the punch of the originals. The bass is a little softer and the trombone seems to be missing a little something. All of these pressings sound great, but to me there was something missing in the low register of the MMJ when compared to the RVG plates.
 
from_my_stacks said:
I can not speak to all MMJ titles, but for "Blue Train" specifically I have had a stereo Liberty, an OG mono, an NY mono, and the MMJ. I think the MMJ lacks the punch of the originals. The bass is a little softer and the trombone seems to be missing a little something. All of these pressings sound great, but to me there was something missing in the low register of the MMJ when compared to the RVG plates.
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Absolutely fantastic, thanks for this @from_my_stacks! This was the exact kind of comparison I was hoping for!
 
I’ve said it here before and I don’t know why the world sleeps on this record. But for me the top Grant Green record is Feelin The Spirit. It’s a god dam crime that record has not been reissued. Idle Moments is a close second.

TCell said:
So as a thought exercise, if I only had $75 to spend on Grant Green...

Option A:
Idle Hands (SRX)
or
Option B:
Nigeria (TP) AND Sunday Mornin' (Slow Down Sounds)
or
Option C:
Green Street (AP) AND Alive! (BN80)

Context: Current Grant Green in my collection: Born to Be Blue (TP) and Idle Hands and Am I Blue (RVG CDs)
I know, I know, "Why not both?", but I only have so much money and space in the Kallax.
Click to expand...
johnpisme said:
Nigeria and Alive! Definitely.
Click to expand...
Speedracer said:
Tough question, as Idle Moments, Nigeria and Green Street are all in my top 5 Grant Green albums 😅

Could you go Nigeria and Green Street? That would seem like the best combo to me. If you get a good price on both, you should be able to get them for $75.
Click to expand...
 
Dtknuckles said:
I’ve said it here before and I don’t know why the world sleeps on this record. But for me the top Grant Green record is Feelin The Spirit. It’s a god dam crime that record has not been reissued. Idle Moments is a close second.
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I bet you Tone Poet will in 2021 or 2022. At least I’m hoping, checked out that album after reading similar comments looking up Grant Green albums and it is pretty stellar.

EDIT - Also, On the topic of Grant Green, did anyone pick up the Sunday Mornin’ repress by Colemine recently? And if so, would you please share some comments on the quality?
 
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