Thanks to ground-breaking technology of Additive Manufacturing, the new process of making three dimensional solid objects from a digital file, in conjuction the LJC exclusive hybrid Analogue Conversion Vinyl Pump™, real home-downloadable vinyl is just a few clicks away. Just connect the LJC vinyl pump to a standard 3D printer and an internet connection, and start downloading your very own genuine vintage vinyl collection – at home! Good bye Ebay, goodbye The Evil Silver Disc™, now everyone can afford authentic original-sounding vinyl.
Introducing the Blue Note Home Download Vinyl Collection™.
In conjunction with WordPress, I-Tunes and Music Matters Jazz, all 350 original Blue Note titles are yours to download at home on real vinyl. Get started today with your free* introductory title, with the exclusive LJC Home Vinyl Download App™ (*Today only, offer ends noon Wednesday 1st April. Will be $1,999 annual subscription thereafter)
Download your first real Blue Note for free!
STEP 1: Select Etchings
First choose your Blue Note run-out groove etchings: Don’t forget to check the Plastylite Ear Option to get the best possible pressing. And of course the signature master engineer stamp of authenticity.
(Note: authentic 9M etching option requires Pro Deluxe Edition)
STEP 2: Select Label
Now select your preferred Blue Note label detail: label options are fully customisable. Don’t forget, to hear that authentic Blue Note sound, you need to choose the correct options! If in doubt, consult the LJC Guide to 1st Pressings.
(Note: New York 23 option available only with Pro DJ Deluxe Edition)
STEP 3: Select audio format and speed
Select preferred audio format for your vinyl, monaural, stereo or for total immersion 5.1 surround sound. For even higher quality you can opt for standard 33rpm, audiophile 45 rm, or super high-definition 78 rpm.
STEP 4: Select vinyl weight
Next, choose you vinyl weight. LJC Home Vinyl Download™ is fully customisable, from a thrifty 140 grams through to no expense spared ultra-audiophile 220 grams Depending on connection speed and vinyl weight selected, downloading the full vinyl LP may take from just a few minutes to several hours. For best quality, choose 180 grams or higher.
(Note: 220 gram available only in Pro DJ Deluxe Edition)
Now you are ready to down load your first Authentic Blue Note.
FINAL STEP: Down load vinyl!
Alternative download connection (recommended in the event of bandwidth congestion, which can occur when many DJ heavy users are online)
Note: The printing of accompanying original Blue Note covers requires the Ultra Pro DJ Deluxe application which is still in beta. Early results are encouraging, fully tested application should be available by April 1, 2016.
Guide to your Free Trial Blue Note Title:
(Note: beyond here, the LJC record review is entirely straight-faced, April 1 has been and gone)
Blue Note BLP 1537 Lou Donaldson Quartet Quintet Sextet
Selection 1: Roccus (1952, Quartet)
Artists: Lou Donaldson (alto saxophone) Horace Silver (piano) Gene Ramey (bass) Art Taylor (drums) recorded WOR Studios, NYC, June 20, 1952
Selection 2: The Stroller (1954, Sextet)
Artists: Kenny Dorham (trumpet) Matthew Gee (trombone) Lou Donaldson (alto saxophone) Elmo Hope (piano) Percy Heath (bass) Art Blakey (drums) recorded Rudy Van Gelder Studio, Hackensack, NJ, August 22, 1954
The Quartet tracks recorded 1952 introduce Donaldson at age 26, as fleet an alto as you will hear in the Parker/ Stitt mould, but infectiously more bluesy. This is mainstream bop of the early ’50s, no dark corners, atonal dissonance or further out directions, that was all to come. The ’54 Hackensack recordings betray their finer engineering provenance, brighter and richer, Rudy at the mixing desk, mom Van Gelder bringing in the lemonade and canapés.
Donaldson dips into the blues heritage, just varying the pace, and picking up on the increasingly popular Latin flavours of the day. Boys returning as Men from the War in the Pacific didn’t really want to go soul-searching. Rather happy they survived, they wanted happy music and familiar home territory. Later, a decade out, safe and secure, they would find an appetite for more adventure, even outer-space.
Vinyl: BLP 1537 Capitol Records (1989)
Horror of horrors! What have I done? I’ve broken every rule in the LJC book of collecting Blue Note vinyl originals! It’s a reissue, not an original, it’s late ’80s Capitol Records (EMI) Finest in Jazz Since 1939 label, which I say avoid avoid!, it’s a digital transfer, it’s mastered by the improbably-named Ron McMaster (Bless me Rudy, for I have sinned) , it’s got a bar code for God’s sake, and it even claims to be “Stereo” – a recording that was only ever recorded in mono, and the catalogue number is “81537” (stereo). What’s worse – it sounds …great!
Smart-arse LJC, I’ve made a complete fool of myself. Good day for it.
How to explain it? As with all rules, there are exceptions. This may be one of few, or even only Capitol late ’80s that sounds like this, I’m not buying them all to find out. It’s hard to fault McMaster’s work here, digital or not. Perhaps it’s as Cuscuna once said of a Van Gelder recording reissue: “all you have to do is keep your hands behind your back, and not fuck it up“. The end result is the only test, a satisfying listen.
I have to cut Capitol some slack. Despite claiming it is Stereo (an ’80s marketing department given) and the stereo 8-series catalogue number, they have left the mono tapes faithful, untouched, no fake-stereo electronic reprocessing for stereo, just fake marketing (pokes tongue out at the boys from Marketing, noting on the cover “This is a mono recording“). Bravo.
For a record which contains all the avoid signals, I went ahead and bought this last week, because it’s one Donaldson album I don’t have in any reissue edition of, not even Japanese, and I’ve little chance of securing a sensibly priced original. Not that Lou’s records are in the premier price division, but I was intrigued by the Van Gelder/Hackensack provenance of some of the tracks, and some top drop bop players. Always love Kenny Dorham and Blue Mitchel on horns, the tragic Elmo Hope or swingingest Horace Silver on piano.
Mounting it on the turntable was a most pleasant surprise. It sounded unexpectedly sweet and open, clean and dynamic for 1952-4 recordings, not all of which are Van Gelder. A lot of late ’40s early ’50s pre-date the microphone advances of the years following. The Van Gelder 1954 Hackensack tracks sound better than the 1952 WOR ones, but all in all a nice album, and priced at small change compared with more blue-blood issues.
What lesson can be learned from this?
Take no-ones word for anything, certainly not what 97% say, and especially not yourself. You can look to well-founded rules, it can improve outcomes, but always, once in a while, put those rules to the test. Observe what you find, not what you expect to find. Whatever happens, you get to find something out, be it positive, negative, or inconclusive.
The search for knowledge never sleeps. The worst that can happen is you make a fool of yourself. And at the beginning of the month of April, how bad is that?
Previous special April 1 Editions:
April 1, 2014 the Blue Note missing over fifty years
April 1, 2013 Bargain on Ebay, look
LJC also recommends: Travellers Guide To San Seriffe