Comments for LondonJazzCollector

Comment on Tubby Hayes: The Message from Britain (1959) Jazzland by Katharsis

Katharsis — Mon, 17 Jun 2013 21:37:54 +0000

I didn’t want to disqualify the record. I just found Jazzland to be one of the easier labels to collect. I go with you in thinking, that Orpheum used old labels, even because this was not a very sought after record in the US, I guess.
I don’t have it myself, but a quick look at popside revealed, that DG pressing existed. I don’t know, when Jazzland started to issue records without DG, I just remember Mangiones Recuerdo, which is a non-DG-pressing.
So maybe, the Jazz Couriers were heavily sought after and this is a early Jazzland/Riverside repressing?!

Comment on Art Pepper: “Smack Up” (1960) US Contemporary mono by alun severn

alun severn — Mon, 17 Jun 2013 17:49:34 +0000

Sadly, this isn’t amongst the Peppers I have (yet) — but I heartily agree on MEETS THE RHYTHM SECTION: what a great record. Yes, up there with KIND OF BLUE but a closer comparison may well be things like Gil Evans’ treatments of classics on the PACIFIC STANDARD TIME sets and maybe even the astonishing Michel Le Grand’s LE GRAND JAZZ.

Honey, I have to pop out for some Peppers. Uh, OK, get some juice and a packet of baby wipes too, will you?

Comment on Kenny Burrell At The Five Spot (1959) Blue Note by LondonJazzCollector

LondonJazzCollector — Mon, 17 Jun 2013 06:44:41 +0000

Hi gh, thanks for your kind comments, and a good suggestion about the timer. I am limited to the audio streaming app that comes embedded in WordPress. It used to have a working countdown MM:SS timer but I notice it it stays stuck on zero nowadays. I’ll raise it with WP and see if its something fixable. They are often quite helpful.

Comment on Art Pepper: “Smack Up” (1960) US Contemporary mono by LondonJazzCollector

LondonJazzCollector — Mon, 17 Jun 2013 06:25:37 +0000

To be honest I was quite taken aback by the difference between the two rips. The mono does sound a little bass-shy and a little thin compared with the stereo. I don’t remember the two sounding that way played on “big brother”. I have some listening time tomorrow – after the installation of the new valve phono stage amp – I’ll do a dedicated A:B on the various copies of “Smack Up” mono/stereo US/UK and see if there are any conclusive thoughts. bearing in mind variability of early and late stamper-wear.

Comment on Art Pepper: “Smack Up” (1960) US Contemporary mono by David Beckwith

David Beckwith — Mon, 17 Jun 2013 02:14:16 +0000

So kind of you to post both the mono and stereo version for the comparison! To my ears, it’s not really a contest as the stereo sounds so much more clear and dynamic. The mono seems somewhat distant sounding in comparison. I almost wonder if the stereo was towards the beginning of a stamper and the mono towards the end of one. Out of curiosity, is this how they sound on your system as well in terms of the overall qualities of the two?

Thanks again for the time you take to share your thoughts with us!

Comment on Kenny Burrell At The Five Spot (1959) Blue Note by gridhakuta

gridhakuta — Sun, 16 Jun 2013 21:51:47 +0000

Another great comparison. The second issue trumps the united artists issue. There is a hard-to-describe “sparkle” that is missing in the ua issue. Tried adding volume to bring the sound closer to the second issue, but it didn’t make any appreciable difference. I believe LJC commented that the second issue is sometimes the preferred for economic reasons. An interesting comparison might be a true first issue vs. the second to confirm (at least for a specific record) the actual differences between them. Inotherwords, are the “differences” such that should the “strapped for cash? jazz enthusiasts bid with the big boys (and re-finance the house) to have that original issue. Suggestion: Would it be technically possible to have a timer with the selected cuts to make it convenient when comparing them? Not terribly important, but thought I would put it out there.

Comment on Art Pepper: “Smack Up” (1960) US Contemporary mono by gridhakuta

gridhakuta — Sun, 16 Jun 2013 21:08:23 +0000

Wow! Love these comparisons. I don’t care if it’s mono vs. stereo or english pressing vs. original american, they are wonderful. In this instance, the stereo version trumps the mono. Food for thought. The stereo tone, timbre, position of the players across the soundstage comes thru beautifully on the stereo version. Keep up the incredible work you’re doing. It’s a great service to jazz lovers. With all the pundits steering us one way or the other, your site gives is providing a wonderful service to let us, conveniently, make up our own minds. KUDOS!!!

Comment on Tubby Hayes: The Message from Britain (1959) Jazzland by LondonJazzCollector

LondonJazzCollector — Sun, 16 Jun 2013 17:45:16 +0000

I hear what you say about the absence of DG. I have other Jazzlands which are DG, true. I have several Orpheums and they all say Orpheum, on the turquoise label. I can’t imagine this was a title that would go to reissue but maybe Orpheum did the old trick of using up old stock labels and covers. Uncharted waters. Or US Riverside could have farmed out the pressing, hence different die impression to DG.

I demand a recount! (If anyone has this title with a DG speak now please)

My gut instinct is that the non-DG are probably early Orpheum reissues (circa 1966) using old stock Riverside/Jazzland labels and covers, as Liberty did with Blue Note.

Comment on Tubby Hayes: The Message from Britain (1959) Jazzland by Katharsis

Katharsis — Sun, 16 Jun 2013 17:29:12 +0000

No original first pressing here, beacuse of no DG. There are some later non-DG pressings wich are no Orpheum Production pressings. Don’t know if it still was manufactured by Keepnews.
Otherwise nice Score!

Comment on Art Pepper: “Smack Up” (1960) US Contemporary mono by Andy Cronshaw

Andy Cronshaw — Sun, 16 Jun 2013 09:14:58 +0000

Hurrah for LJC. While the nipper watches Mr Tumble on Cbeebies (mummy at work) daddio gets to compare pressings on a Father’s Day morning in amongst changing nappies and other duties…solid.
I have the US stereo which I was determined to get recently after spotting it on ebay. Nice label shot and telltale wear on the stick-on cover convinced me of its provenance. Living legend, of equally impressive sonics, came in the same sale although someone outbid me on the same seller’s copy of The Trip. They are both prized possessions and I cruelly play them to people who don’t have turntables and replaced all their records with CDS.
The stereo is nice and ‘roomy’ but I’d like the mono as well. A year ago I would not have considered such things but thanks to this site I now lust after different copies of the same record.
Smack Up is a truly great thing; the well-thought-out track list a tribute to the concept of the album.
It’s interesting to compare Art’s Tears Inside to Ornette’s Tomorrow is the Question original. Art’s interpretation is tense, edgy, neurotic even. Ornette breaks the rules but his solo is expansive and happier. Both are very beautiful.