http://microgroove.jp/bluenote-jpn/1968-1977.html. I have learned quite a bit about my favourit record label! Check you Timely! It’s interesting that despite these being a Kevin Gray – US product , these appear to only be available from Japanese sellers on eBay. On the upside, Japanese stereo is good and the vinyl silent and immaculate. “Japanese reproduction reissues on 180 gram vinyl, released by label Universal Music LLC. 1. ( Log Out /  The brainchild of Tokyo-based record retailer Disk Union and EMI Music Japan, limited editions of 1,000, all mono, mastered in the US by Kevin Gray, from the original Blue Note tapes, and pressed on 200gm vinyl at Chad Kassam’s QRP in Kansas. Sorry, no personal experience of these issues.. What is the quality of the VINYL pressing as well as the SOUND of the “Hits of Blue Note” part 2 from Toshiba-EMI made in Japan? I don’t have any in this series, as I have mostly the originals but I have a good number of Toshiba pressings. None of the vintage Japanese Blue Note reissues – Toshiba or King – attempted to replicate the deep groove pressing mark. Shipping is calculated automatically. What do you know about a promo white label sample copy of a king pressing LP?? IMO, the pre-king japanese pressings I own do not come close to KING pressings and Toshiba pressings from early post-King era. Even the round OBI is the same. The first run of King records (the limited run in late 70s..) Blue Note-when they were celebrating releasing the BN catalog for the first time..How would you stack one of those early issues up against a mid/late 60s BN Division of Liberty (w Van Gelder in deadwax).. Nice touch. DGMono’s guest-post on the transition from mono to stereo includes acknowledgement : “Special thanks to Michael Cuscuna, Kevin Gray, and Frederick Cohen for their contributions” so this was released with 2 different obi stickers? The evidence is there for anyone to see who examines the original master tapes. They sound too smooth and soft. I would hazard nothing has been done with the sound except a generous sprinkling of marketing hype (like King could say to the engineers: Hey guys, special job, make this one sound better than usual, you know, “like the original”. wow.. really? reminds me of someone on SH forums who mentioned that kings are equal and sometimes even better than the originals. The consensus seems to be :King over Toshiba, and earlier Van Gelder stamped Liberty over both.. also visited microgroove website and it says Oct. 21, 1984 “Blue Note BLP 1500” Series Part 7. im just wondering. -J, hi LJC, I suspect the winner will be the king pressing. Everything before that was recorded in both mono and stereo or mono only. When Kevin Gray, Ron Rambach and I began our first mastering session with our first six Blue Note masters we couldn’t help noticing the clearly marked (by Alfred Lion) notations indicating “monaural masters made 50/50 from stereo master” on the master tape boxes. The truth is the Music Matters press release is the number one reason I delved so deeply into this issue and took it upon myself to become an expert on it. How do the Japanese king pressings fair in terms of highs and detail, will the horns be muffled or drums not as present? Thanks for the info. Also, the whole UA thing going on on the Open Sesame thread is further evidence that they prefer mono. Japanese is like a foreign language to me. Thanks. No Van Gelder/RVG stamp where you would expect one is usually a bad sign. Seems a point of detail overlooked by most Ebay sellers – true or fake stereo. It was a lot of work to do the research and compile all of this, and since we all rely on his expertise so much, Kohji-san deserves a shout-out, don’t you think? Finally, after 1983, EMI/Capitol moved licensing back to  their own subsidiary in Japan, Toshiba-EMI , which relationship continues to this day. Add to Wishlist. I agree wholeheartedly regarding the immense importance of sound over explanation. To me there are records that if you don’t listen in stereo, you cannot get the greatness of an artists intentions, and I know this personal opinion. King had already reissued these previously so they are basically “normal” King pressings in alternative covers. 1983, last year of King Records before EMI/Toshiba and they were churning out loads of Special Limited Editions. ART BLAKEY & JAZZ MESSENGERS NIGHT IN TUNISIA PHILIPS 30PJ-9 Japan OBI VINYL LP Soft, some rolled off at the top end, and lacking the punch of originals. I continue to buy Japanese pressings quite happily, where they are an affordable alternative to originals, or where they are the only source, for example the Japan-only releases of some Blue Note recordings. They generally have more punch, and a more forward presentation that is closer to the original than Japanese pressings, which are more restrained, though pleasant enough. My GXK copy of Cool Struttin’ sounds really nice but my Freddie Hubbard Goin Up and Horace Silver 1518 both sound fairly dull, not much life in the drums and cymbals. The U.S. State Department selected him to be an inaugural member of their Jazz World Ambassador Program in 1956. Change ), You are commenting using your Google account. Musical jazz fusion waves. Available from Ebay sellers in Japan priced mostly between $50 and $100, the  white label are thought to be more desirable because of the probability of being among the first pressings off the stampers in production, though with reissues, this is a less important than with originals. It would be helpful to get clarification on the matter. From what I have listened to it is virtually impossible to replicate the sound of a Plastylite Blue Note.Did they have access to original tape in the Blue Note Vaults? Any thoughts. Pre-order Now. Do you have any experience with this series? *May 14 2021: "OFF SALE" categories updated. The instrument placement is often extreme: lead horn far left, second horn far right, piano bass and drums a mix of far right or centre. Before WWII, many of the jazz kissa throughout the country had amassed a huge amount of vinyl. The BNJ-series from 84 is also great sounding and compete-able with King record. http://www.ebay.com/itm/161188198502?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649. Words & photography: Cedric Bardawil Nestled away in the Shibuya district of Tokyo is a small bar named JBS. A wealth of jazz in many styles -- bop, hardbop, soul jazz, spiritual, rare groove, modal, improvised music, funk, free jazz, fusion, avant garde, and trad! An original red vinyl Japanese pressing of The Age of Aquarius by the 5th Dimension, including the original obi. are these rarer than their reg black vinyl counterparts? It also makes it hard to comprehend why if each instrument had a mike, it is so hard to hear the piano contribution on so many of these records, unless Van Gelder arbitrarily decided to turn them down. So this looks like a Liberty export to Japan of late Sixties stock US pressing. It’s certainly true that a lot of those master tapes are two-track, and it’s true that the mono versions of those recordings were made from those two-track tapes. I (Japanese Jazz Funk & Rare Groove 1968-1980)" on Discogs. As with all King pressings, the audio quality is very good but falls short of the original pressing, which  I eventually added to my collection, though nice to have both feisty mono and silky stereo. Probably because there were no mono tapes after BLP 4003. That said, I love my Kings. Much original vinyl is found in Tokyo’s  record stores and online sellers, such as Tokyo’s Disk Union, seen below, their current wall of Blue Note and Prestige originals. ⑥ Info Sheet: a single-sided near-12" Japanese-language only info sheet. That’s what the marketing spiel says, no idea how true, but it certainly lifted performance significantly over it’s predecessor, especially when in stereo. In complete contrast, you could drive a tractor over a 220gm Lexington Blue Note and it would still play fine. “Factory Sample”  is what the three Japanese letter stamp means, I am reliably informed. Not from original tapes (lost or destroyed) it had been cloned from old vinyl with some electronic trickery to remove the surface defects. The mono vs. stereo question confronts anyone dealing with reissues of Rudy Van Gelder’s Blue Note masters. How they came to have access to them remains unclear, and a cynic might remark that every issue or reissue is derived from the original master tapes, just not mastered directly from the original tapes. I’m listening to my 63rd street Blowin’ The Blues Away and it’s sounds like the band is in my front room!! 1980-1981   “Unissued Masters Series Part 1”, 1980-1981   “Unissued Masters Series, Part 2, 1981 “Blue   Note Collectors’ Item” Series, 1983 “Blue Note Masterpiece Vol.1, 2, 3 and 4, 1983   ” Blue Note Masterpiece Special Replica 15 ” Series. to achieve that! The reissue programme consisted of a series of thematic releases in addition to various catalogue selections and special celebratory releases, such as the ” Special Replica 15 ” series. I’d appreciate any feedback on these The minimal ‘binaural’ recording technique you’re referring to (two room microphones only) was never practiced by Van Gelder, though I understand Riverside did do such a thing for their earliest stereo records. What is their preference by and large regarding mono or stereo? Also not uncommon, lack of colour fidelity, overplaying yellow to create a cream tint results in blue tilted towards green. Nothing comes close to original Blue Note – it has never happened. Japanese jazz/fusion/prog. Jazz. OK. I’ll take your word for it- you’ve certainly earned it, thank you. From the blue ink colour variation I would guess 1968-70, the years Liberty was under Transamerica prior to merger with United Artists. Unfortunately I own as many minor sounding 120-123gr pressings of that series and it is absolutely impossible to tell them apart (if you buy online). View credits, reviews, tracks and shop for the 2018 Vinyl release of "J Jazz: Deep Modern Jazz From Japan 1969-1984" on Discogs. And this from the londonjazzcollector website: But upon delving further into the issue, I discovered that the topic was more complicated than it first seemed. Do anyone have the idea on this pressings sounds? We ship worldwide via Japan Post or DHL. I re-read your article and am fascinated by the time period. Change ), You are commenting using your Twitter account. There, you didn’t know I could read Japanese did you, or it illustrates the fearsome but fallacious power of post-hoc reasoning. The Meisners sold Aladdin to Imperial Records around 1961.
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