Art Blakey At The Jazz Corner of the World Vol 2 (1959) no ear



Track Selection 1:  M & M (Mobley) from Jazz Corner Vol2  no ear, mono:

Pressing quality comparison:

Track Selection 2 :Hipsippy Blues from Jazz Corner Vol1  original Blue Note DG and ear, pressing stereo (shown below)

Mono or Stereo? Liberty reissue or Blue Note second pressing? It’s all too much. You decide


Lee Morgan (tp) Hank Mobley (ts) Bobby Timmons (p) Jymie Merritt (b) Art Blakey (d) Pee Wee Marquette (ann) “Birdland”, NYC, April 15, 1959


Great Art Blakey line up – Mobley and Morgan – published in two volumes.

Live performance, great atmosphere, great playing. Great! Introductions by Pee Wee Marquette, the voice of Birdland. “Art Blay-keeeey, everybody, Mister Art Blay-keeeey!”  Great too!

Vinyl: Vol2 BN 4016 mono, RVG, 47 West 63rd labels, no DG, no ear

Weight 135gm vinyl instead of the regular 180gm of an original  Blue Note. A reissue pressing for Liberty circa 1966 using up old stock original Blue Note labels and original laminated cover. Same great music, slightly different EQ compared to an original  Blue Note.

The Matrix:

RVG stamp but no ear. It’s a right Liberty missus, but the cover is an  original.

Back Cover:

There is something about that large font catalogue number at the top right on the back of Blue Note originals. It always cheers me up when I see it, even if, as in this case, the record inside is a 1966 reissue for Liberty Records. It is a proud statement. This is our Catalogue, I am 4016. I am proud to be that number. What’s more, I don’t start with an “8” – I am not that kind of record. Proud to be Mono.


Collectors Corner

Source: West London Record Store Vinyl Adoption Agency

The curious case of the record that wasn’t

I keep a computerised database ( in Excel) of my record collection with all the definitive markings recorded – ear, label, run-out etchings, cover address, catalogue number, year recorded, year of pressing, country of pressing, and of course price paid and date.. Its a chore, and I sometimes put off adding the latest acquisitions in a timely way, but I know it is the right thing to do. It stops me accidentally buying the same record twice (go on, tell me you have never done it), acts as a filing index, and serves as a timely reminder that I have too many records and proof I have spent too much on them. Exactly how much too much.

When I saw the Jazz Corner Volume 2 up for adoption on the wall, there was something strangely unfamiliar about the cover. I recognised the distinctive blurred black and white urban night scene but the catalog number “experimental label design” was… yellow. I distinctly remembered it being red. Consulting the database “book” I carry, it seems  there were two volumes, and  I already had them both. Or so the line entry said, how much I paid, original status, everything there in black and white says I own an original pressing. Except I had no recollection of that yellow. I shrugged off the doubts, the book never lies.

Back at Chateau LJC, I thumbed through the record shelf under B for Blakey. Volume one was there, but no original Volume 2, contradicting the database. Then flicked  through the online Flickr set of my Blue Notes – no volume 2 pictured. Then all the records out of order waiting refiling after playing, photo-ing, cleaning, no Volume 2. Database says I have got it, every detail, you couldn’t make up. Check archive copies of the database, going back two, three years, damn, it is in there in the dataset. I own this record. Except I don’t.

A check of other Blakey’ records, of which I have many –  eventually yielded up the true identity of the non-existent BN 4016  At the Jazz Corner of the World Vol 2 , which fitted the description of my copy of BN 4055 Meet You At The Jazz Corner of the World Vol 2. Who would expect there to be two different records by the same artist with virtually identical titles?

If there is a moral to all this, I am damned if I know what it is. On the whole, I  still put my trust in computers – it’s people that make mistakes.Three years ago I filled the details against a very similarly titled but different record. But instinct was right. The reaction to the “yellow flag” proved more accurate than the database with all its convincing but inaccurate detail.

Glad to have sorted that out, I went up town and adopted the earless mutt. How many more mistakes are there hiding in the database?  There are bound to be more. Stands to reason. I always liked the line of Peter Lorre in an old movie. “We all make mistakes. That’s why they put the rubber on the end of pencils”

10 thoughts on “Art Blakey At The Jazz Corner of the World Vol 2 (1959) no ear

  1. Dear LJC,

    need some help with this one here. As usual you are my go to. There is a stereo copy of volume 2 of at the jazz corner of the world here locally. The problem is I have some questions about pressing.

    It has the P on both sides. That’s the good news. Label is correct on both sides. Whats throws me off is that there is only DG on one side, and the vinyl feels light. More like 135g than 180g.

    I cant remember if it is red or yellow. My feeling is that the cover has the yellow rectangle.




    • Art Blakey 84016, right? The timeline is what is important here.
      Mono 4016 was released October 1960, the stereo soon after in January 1961. These are release dates, which are linked to when the record was actually manufactured, not recording session date, which was April 1959.
      All Blue Notes up to 4059, released in May 1961, are deep groove both sides. (4059 was the first title where the new non-DG dies began to appear, and thereafter, releases are “randomly” DG both sides, DG one side or the other, or no DG both sides)
      A copy of 84016 with DG only one side is not from the first pressing batch, but likely manufactured some time later, a repressing. How much later may be deduced only from the inner sleeve, if present. The 36 covers inner sleeve was introduced with 4050, released in January 1961, the same month 84016 was released. The inner sleeve present would tell you roughly when it was manufactured, which could be any time up to 1966.The vinyl weight would suggest towards the end of that period rather than the beginning.
      That’s about as much as we know.


  2. First time I comment on this awesome blog that I have followed some time. I have the part 1 of this record with all artifact (R, NY address, laminated cover mono etc) right except that is have a R on one side. looked at Discogs but there is not a similar release? When did BN started with the R? Is this an early second press?


  3. I’ve only become a regular reader of this site in the past couple of months as my taste has swayed more firmly towards jazz. I know that I’m not an audiophile but I can’t decide if I’m a collector or at least a collector in the same way as you seem to be. Certainly I’ve learnt a lot about about how vinyl is created from your site and it appears blindingly obvious now that it doesn’t matter how good a recording or a performance is if the reproduction is poor.
    But I was sucked in by all this talk of ears and deep grooves and the magic (or perhaps artistry) of Mr RVG and decided to see what all of the fuss is about.
    I purchased what was billed as a slightly battered copy of BLP 4016 mono with a deep groove, an ear and RVG stamped in the run out for £30 from a Swedish dealer. It arrived this morning. s well as a Swedish name, someone has drawn a small inverted bottle on the back cover and written “THE EMPTY BOTTLES” underneath it. I think it adds to rather than detracts from the object, after all the damn thing is 2 years older than I am so it should feel “lived in”.
    The hairline scratch on side 1 really is very faint and drowned out by the music as was described – faith in human nature hovering into glass half full territory.
    The sound sizzles from my speakers and each of the performers has equal billings in the mix. So much for RVG and pianos, Timmons had me scuttling for the cover to discover who was playing piano. It seems 15-20% louder than a normal pressing.
    Not sure I’ll be buying anymore of these old pressings, I’m getting just as much pleasure from RVGs 1980’s work for Muse. But I’m very happy that I have this record.


  4. Aha, now volume 1 and 2, complete. Congrats. The confusion with the title also happened to me when I wanted to complete both “Jazz Corners” on CD and bumped into the same problem you encountered until I got home and found out that I, too, forgot about the “Meet You” of 4055…


  5. Nice score. I have this in original first Stereo pressing. One of my favourites.

    p.s. thats a very nice Blakey collection you have there!


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s