The Audiophile Collector: New Jazz & Rock Re-issues On Vinyl
Brian Hartsell

Seldom do box set re-issues or compilations of an important or influential artist come along that can truly be called definitive. This re-issue of the entire recorded legacy of John Coltrane during his brief but seminal Atlantic Records recording career is just that. This re-issue not only contains all of Coltrane’s original studio LP’s complete with the original jackets and record labels, but in addition contains all of the Atlantic sessions outakes and alternate tracks that never made it onto a commercial release until now.

Both the CD and the vinyl box sets also contain a 35 page color libretto which includes a complete Atlantic Records sessionography of all the Atlantic Coltrane recording dates. The libretto also contains a wealth of pictures and written thoughts from a number of his contemporaries, many who played on the very sessions that are represented in this box set. This is a case where whether you prefer the LP or the CD format really does matter, since the LP box set libretto is 12" x 12" while the CD is obviously much smaller.

Rhino has licensed from Atlantic the rights not only for the CD box set but has also released a limited run of 3000 LP box sets. All of the box sets are numbered, and by the time you read this few will be left (so in other words, don’t jerk around too long or they will be gone).

Unlike many vinyl issues that are done in the CD format concurrently, the Rhino box set (catalog no. R1-71984) was done completely in analogue from the original stereo master tapes. Unless you already own original pressings of the complete Coltrane catalog from Atlantic, this set is a must for any student of jazz. From the first notes of Giant Steps on Coltrane’s seminal debut LP for Atlantic through the entire catalog, it is apparent that Coltrane came into his own as a leader and as a true giant in the history of Jazz.

The Atlantic recording contract gave John Coltrane the freedom to play and arrange his own compositions. Indeed, beginning with Giant Steps much of the material was his own. His arrival at Atlantic Records in 1959 coincided with his recent departure from the seminal Miles Davis Quintet for the final time. The Atlantic recordings show a spiritually reawakened Coltrane who had left many of his personal demons behind (especially his long battle with a drug addiction). Coltrane’s Atlantic period took jazz in directions never before explored.

As I mentioned, Rhino has used the original stereo two track recordings for the mastering of this project. All of the Coltrane LP’s released in stereo from Atlantic were also originally available in mono. Rhino has chosen to release these records only in stereo at this time (but might be convinced to issue and master a mono box if enough interest is expressed by the marketplace). Unfortunately, while the stereo records are tonally very close to the original mono issues, there is a very unnatural left/right feel to these records. This is not unusual; many early stereo jazz releases (and rock, too, for that matter) suffer from the same "exaggerated stereo" effect. Nevertheless, the somewhat artificial feel of the recording should not discourage you from enjoying the artistry of a great jazz legend.

This is a collection that any serious student of jazz (or of great music) should own, period.

With the current boon in vinyl re-issues, several recent titles have received faint praise or commentary, a situation that I want to correct. The rush to the record buying altar with many of the RCA and Decca classical re-issues may have led many to either miss or be unaware of several very fine female jazz vocal LP’s that have come our way.

Billie Holliday — Body And Soul
MFSL-1-247

Lady Day’s remarkable vocal style is fully on display here. Billie Holliday was never a classically gifted vocalist. She neither had the range or scale of voice that many of her contemporaries did. What Lady Day did have was the all too rare ability to make each song her own. Her soulful and unique interpretations laid bare her very soul. Having said that, I have to say that never before have I heard the pain and despair that seems to cling to each note on this record.

Originally recorded and released in mono only as Verve Records catalog no. MGV-8197, these sessions took place during late 1956 and parts of 1957. Body and Soul is a fitting testament to a truly unique artist. With instrumental backing from such greats as Ben Webster, Barney Kessel, Harry ‘Sweets’ Edison and Alvin Stoller, Lady Day is given an atmosphere to allow her unique talent to be heard. By the time of this recording, Billie was nearing the losing end of her lifelong battle with drugs and alcoholism. And yet her tired, worn body still allowed for this great recording to be made.

With songs such as "Body and Soul," "Gee Baby, Ain’t I good To You" and "Moonlight In Vermont" to name just a few, Lady Day takes the listener on an intimate ride through her world weary view of love and loneliness. Billie’s vocal presence is "up front," with subtle instrumental backing that allows her to make each song her own. Barney Kessel’s guitar and Ben Webster’s saxophone in particular are especially well captured, with a sense of body and tone seldom heard on recordings.

Like all of Mobile Fidelity’s recent series of 200 gram Anadisq vinyl pressings, this record arrived in flawless condition. MFSL also provides the listener with a gatefold cover with additional artwork inside (in this case two additional portraits of Lady Day not available on the original release). Herb Belkin, Joe Bermudez, and the rest of the folks at Mobile Fidelity have created (or, in actuality, restored) a modern masterpiece with this re-issue. No one should miss this record while it’s available; it’s that good.

Billie Holliday — Songs For Distingué Lovers
Classic Records/Verve MG VS-6021

This set captures several of Billie’s last recording sessions for Verve prior to her death in 1958 from chronic alcoholism and drug abuse. Like Body and Soul reviewed above, Lady Day’s unique approach allowed her to make each of these songs her own. And like the sessions for Body and Soul that were recorded earlier in the year, Songs For Distingué Lovers captures all the emotion and despair that Lady Day could put into a song.

Classic Records has re-issued this record in stereo (it was originally released in both mono and stereo; catalog no. MGVS-6201 in stereo, MGV-8257 in mono). Interestingly enough the original mono release occurred in 1958, while the stereo release of this record didn’t happen until 1960.

So while these sessions were, historically, the only sessions that Billie recorded in stereo for Verve Records, they suffer from the typical problems that many of the early stereo jazz records do. Lady Day is centrally located between the speakers, with the drums and the piano hard left, and Harry ‘Sweets’ Edison’s trumpet solos located hard right While many will enjoy this record in stereo, I can’t help but wish that Classic would have released this particular title in mono.

Bernie Grundman proves that all those years at Contemporary Records mastering sessions for Lester Koenig has given him the sensitivity and knowledge to master a great jazz record. The Classic Records re-issue is easily cleaner, more extended and lifelike than my original Verve. The 180 gram RTI’s pressings were immaculate, with no surface noise or defects.

Classic Records has in addition used a white label promo label for the record, or a release that I’m not familiar with, instead of the original black label with silver lettering that all the commercially available Verve Records from this era that I have seen came with.

Consider this record another view of the truly original artist that Billie Holliday was. This is a recording that any music lover should own.

Ella Fitzgerald — Clap Hands, Here Comes Charlie
Classic Records/Verve MGV V6-4053

Since its discovery by several reviewers in TAS a few years back, this record has quickly become one of the most sought after jazz vocal records by audiophiles. Originally released by Verve Records in 1962 (catalog no. V6-4053 in stereo, V-4053 in mono) Clap Hands places Ella in a spacious yet intimate setting, with only a small ensemble backing her.

Clap Hands, Here Comes Charlie is probably one of the greatest jazz vocal and small ensemble recordings to come from the tail end of the golden age of jazz. It captures Ella covering jazz standards such as "Stella By Starlight," Monk’s "Round Midnite" (which was later made famous by the Clint Eastwood-directed movie with Dexter Gordon performing this song) and "Night In Tunisia" (the signature tune of Art Blakey’s Jazz Messengers for many years).

Like all of Classic Records’ Verve re-issues, the re-issue of Clap Hands is considerably more extended in the frequency extremes. Individual soloists do have a slight lack of air that the original Verve possesses. Ella’s voice also seems to be slightly whiter and less full when compared directly to the original. These are minor nits, however; the final product is quite satisfying. And since this record is exceedingly hard to find in mint condition, and expensive, too (can you say 100 clams minimum?), the Classic Records re-issue is a reasonable substitute for those that desire to hear what one of the great jazz records sounds like without breaking the bank.

Ella Fitzgerald — Let No Man Write My Epitaph
Classic Records/Verve MGV V6-4043

Another of the great sounding Ella/Verve recordings from the late 1950s through the early 1960’s. Originally released as a soundtrack for the movie of the same name, Let No Man Write My Epitaph captures Ella accompanied only by Paul Smith on piano. Intimate and personal, Ella’s cool, clear soprano is given plenty of room to bloom.

Originally recorded and released in 1960 on Verve Records (catalog no. V6-4043 in stereo, MGV-4043 in mono), Let No Man Write My Epitaph contains several songs used on the movie of the same title, as well as several songs not found on the movie. Ella’s velvety cool soprano can be found covering such standards as "Misty," "Black Coffee," and "Who’s Sorry Now" (made famous by Brenda Lee) to name just a few.

The original Verve Records release has always had a very intimate, warm, robust sound, partly due to the decision by Verve to filter off all information above 12k and below 55 cycles. The Classic Records re-issue is much more extended and clean. Bernie Grundman’s very fine mastering work provides the listener much more of Paul Smith’s piano. Ella’s voice does lose a very slight bit of warmth and sense of body, which could be attributed to the original mastering chain, or to the fact that the tapes are over 35 years old.

Overall, a fine job by the folks at Classic Records. And since an original mint stereo original will set you back around 60 bucks (once again, this is if you can find one in mint condition at all), the Classic Records is recommended.

Ella and Louis Again
MFSL-2-248

The second classic reunion album from Ella and Satchmo. Ella and Louie captures a spirit of playfulness and fun that these two obviously had while making this two record set, with Ella’s cool soprano vocal styling trading lines with Louie throughout.

Originally recorded in 1957 in mono only, and produced by Norman Granz, this recording was made in the same Verve studios as several of the previous records reviewed above were. Ella and Louie are backed by a small ensemble that allows both the freedom to roam. Throughout this record Ella’s then-developing scat style of singing is offset by Louie’s trumpet playing and unique singing style.

The differences in mood on this record when compared to Body And Soul, for instance, are easily heard when listening to the vastly different versions of "Gee Baby, Ain’t I Good To You." With Billie Holiday this song is a desperate late-night plea for answers; with Ella and Louie it’s a playful romp, with both trading verses and innuendoes.

Mobile Fidelity has thoughtfully released this record in its original mono format, with much greater frequency extension, instrumental weight, and focus than the Verve Records’ original. Mobile Fidelity’s pressing and packaging is up to their usual exceptionally high standards.

Ella and Louis Again can best be summed up as two pros enjoying each other’s company immensely, and having a hell of a good time. And we are there….

Recently GRP/Impulse, a subsidiary of M.C.A. Records, began to release analogue-mastered vinyl re-issues from the Impulse jazz catalog in limited runs. These re-issues were done to the same high standard that M.C.A. achieved (all too briefly!) with their Heavy Vinyl series that I reviewed last issue. All records were released with original gatefold covers, containing not only the original covers and artwork, but the liner notes as well.

To date M.C.A. has released eight titles on vinyl, and if the word on the grapevine is correct, these may be all that M.C.A. intends to release due to new corporate management.

Johnny Hartman/John Coltrane
Impulse GR-157

Sublime late evening music performed by one of the masters. For Johnny Hartman, who sang with many big bands during the early 1950’s, this record was his return to the public eye after several years of inactivity. John Coltrane and his quartet (McCoy Tyner, Jimmy Garrison and Elvin Jones) provide a subtle and enveloping environment for Hartman’s rich voice to take hold.

Originally recorded and released by Impulse Records in 1963 (catalog AS-40 in stereo, and A-40 in mono), this record, like many of the Impulse recordings from this period, captures Hartman and Coltrane in a very natural setting. By the early 1960’s, engineer Rudy Van Gelder had begun to understand more fully how to record in stereo effectively. Gone are the hard left and right placement of instruments that marred many of his early stereo recordings for Blue Note and Prestige Records. Perhaps the use of Bob Theile’s basement studio and its greater size, when compared to Van Gelder’s parents’ Hackensack, New Jersey "living room studio," accounts for the greater sense of space surrounding the individual players. Whatever the reason, this Impulse recording, like most of the early Impulse records, allow the individual instruments to have a sense of location and body which is very natural.

This re-issue, like all of the GRP/Impulse jazz re-issues, is ably re-mastered by Michael Cuscuna. While obviously produced with solid state electronics, as opposed to the tube mastering of the original, the sound is quite acceptable. Additionally, Cuscuna mastered this recording from the original master tapes and not from the later tapes, so some of Coltrane’s later overdubs that are present on the later vinyl issues are absent here.

A friend of mine once compared this record to an excellent single malt: smooth, warm — with a little bite to keep you interested! After many times listening to this record, I tend to agree that his description is just about perfect. So is this record. Unless you are lucky enough to already own a mint original of this record (and bubba, you can forget about finding one easily on the used record marketplace, since just about everyone else is also looking for it, too), this re-issue is not to be missed.

John Coltrane — Ballads
Impulse GR-156

This could be considered the sister record to the Johnny Hartman/John Coltrane record above, minus the vocal stylings of Johnny Hartman. Recorded with the same lineup as Johnny Hartman/John Coltrane, and with the same studio and engineer (the great Rudy Van Gelder), Ballads is Coltrane’s straight take on several traditional standards. For those who find A Love Supreme too difficult or intense, this record gives the listener the chance to hear the greatness of ‘Trane in a more traditional and mellow setting.

Originally recorded in late 1962 during ‘Trane’s first few sessions for Bob Theile’s new Impulse Records label, and after ‘Trane left Atlantic Records, this album explores the inner depths of some of the great ballads of our time. Backed by his seminal quartet of McCoy Tyner on Piano, Elvin Jones on drums, and Jimmy Garrison on bass, Coltrane explores the inner depths and beauty of some of the greatest jazz ballads ever written.

The original Impulse Records release of this record (catalog no. AS-32 in stereo, A-40 in mono) is slightly richer in tone with instrumental body than this re-issue. Like Michael Cuscuna’s work on the Connoisseur Blue Note re-issues and the Mosaic Records box sets, his work can be characterized by a slightly white, dry, and somewhat bass-shy sound when compared to the original record. Cuscuna’s work always is faithful to the original, in that he never seems to overly equalize or process the original tapes. The dead wax indicates that the record was mastered at Capitol Records. This probably accounts for the slightly less full-bodied and whiter tonal balance than the original, which is probably an artifact of the in-house solid state equipment at Capitol’s facility that was used to re-master this re-issue. MFSL has shown that all solid state mastering equipment does not have to suffer from these problems. Unfortunately, the equipment used by Cuscuna for this re-mastering project does.

The original recording by Van Gelder is gorgeous, with space and air surrounding each player, making this record a true classic, with the sound given ‘Trane’s quartet easily being matched by the quality of the music. Nevertheless, the re-issue, despite the somewhat whiter and lighter sound than the original, is still recommended. A record for jazz fans and non-fans alike. Yet another LP in the "no one should miss this record" category.

John Coltrane — Stellar Regions
Impulse IMP-169

An original release of several ‘lost’ Coltrane recordings from Feburary 15th of 1967. Recorded with his wife Alice on piano, Rashied Ali on drums, and the lone holdover from the seminal ‘great’ quartet, Jimmy Garrison. on bass, these are some of the last sessions ‘Trane made before his premature death from liver cancer in 1967.

These late period ‘Trane recordings were unlike his ever more extended live performances in their structure and length. By this time in ‘Trane’s life, his explorations of his own inner spirituality and mortality led him to explore the limits of what could be done. For this reason, the novice jazz listener will find this recording — like most of ‘Tranes late period recordings — to be rather inaccessible. Do not expect the simple beauty of Ballads or the soulful interplay that marks A Love Supreme when you essay Stellar Regions .

The cover photograph probably best captures both Coltrane’s sound, and his impending death. ‘Trane is holding his tenor while looking upward with light being cast down from above. Whether you find this cover mystical, or just hokey, it captures the feeling of ‘Trane’s music during this last burst of creativity before his death.

As with all of ‘Trane’s Impulse sessions, this record was engineered masterfully by Rudy Van Gelder. Since this record has never before been released, any comparison would be pointless — there isn’t anything to compare it with. Suffice it to say that Stellar Regions belongs in any ‘Trane fan’s collection. For those less adventurous, Ballads or Johnny Hartman/John Coltrane would be a better introduction to the greatness of ‘Trane.

John Coltrane — A Love Supreme
Impulse GR-155

This is it: Coltrane’s definitive Impulse Records recording. Recorded with ‘Trane’s seminal quartet, featuring McCoy Tyner, Jimmy Garrison and Elvin Jones, A Love Supreme is one of the great recorded monuments to jazz. With the release of A Love Supreme, John Coltrane expanded jazz song structure to the point of unrecognizability. Deeply personal, introspective, and spiritual, A Love Supreme was both Coltrane’s most personal and profound work from this period, as well as his best selling. Composed as a four suite piece with a recurring theme, A Love Supreme was both ‘Trane’s most spiritual work to that point in time, and foreshadowed the more tumultuous path that his music was to follow in his later (and last) period of work.

A Love Supreme was recorded in one session on December 9th, 1964, by Rudy Van Gelder, and released to the record buying public in early 1965. As with all original Impulse Records releases, A Love Supreme was made available in both mono and stereo (catalog no. AS-77 in stereo, A-77 in mono). GRP has re-issued A Love Supreme with the original gatefold cover, as well as the poem "A Love Supreme" by ‘Trane, intact. Re-mastered with obvious care and love by Michael Cuscuna, the GRP/Impulse re-issue is faithful in sound to the Impulse original.

An original will set you back upwards of $100; given the superior quality of the work that GRP has done here, please don’t miss this re-issue.

Charles Mingus — Mingus, Mingus, Mingus, Mingus, Mingus
Impulse IMP-170

Large ensemble jazz from one of the masters. Bassist, bandleader, and composer Charles Mingus’ recording career began in 1945 with his strings and keys trio. By the time of these sessions in 1963, Mingus had expanded his ensemble to include eleven players.

Recorded at two dates in January and September 1963, these sessions involve considerably different ensembles for the two recording dates. The later ensemble, featuring Booker Ervin, Eric Dolphy and Walter Perkins — who didn’t play on the earlier sessions — are superior in sound and performance to the earlier recording.

Originally released on Impulse Records (catalog no. AS-54 in stereo, A-54 in mono) and engineered by Bob Simpson (who also engineered many of the great RCA jazz and popular series of recordings), Mingus is a very fine sounding record. Gone from this record is the early left/right sound that inhibited many of the early jazz stereo recordings. A sense of space and room is present, in large part due to the size of Bob Theile’s larger basement studio.

With a sublime cover of Duke Ellington’s Mood Indigo, along with several new Mingus compositions that would become classics, the material presented here is first rate. From the opening track "ll BS," which was entitled in large part due to Mingus’s frustration with having to name each composition (which apparently was more difficult than the act of composing the music itself), through exploring past relationships in the moody and mournful "X Love," to the tender "Theme For Lester Young" (which is actually the same composition as "Goodbye Pork Pie Hat"), Mingus, Dolphy, Ervin and the ensemble Mingus assembled for these recording sessions explored the boundaries of jazz as had seldom been done before.

How does this GRP/Impulse re-issue compare to the original, you ask? Well, I hate sounding churlish, but as good as this re-issue is, the original Impulse Records release is slightly better. The intro bass solo played by Mingus on "ll BS" is somewhat fuller and more robust on the original when compared to this re-issue. Eric Dolphy’s alto work is better placed and delineated on the original during the "Theme for Lester Young" than on the re-issue. On "Better Get Hit In Yo’ Soul," the full ensemble just seems larger and more focused on the original. This especially is apparent during the many sections where Jerome Richardson’s, Dick Hafer’s, and Charles Marino’s sax lines intertwine and play off on another.

Despite these observations, unless you have the 75 to 100 bucks that a mint original will set you back, and the patience of Job to wait for it to appear on the used marketplace, then this re-issue is a must. The GRP/Impulse is superior to all generations of this title except the original release. For sixteen bucks, the folks at GRP/Impulse have given the customer 180 grams of virgin vinyl pressed flat (no mean feat for the folks at MCA, believe me!), along with a faithful reproduction of the original Impulse gatefold cover and artwork.

Considering that this record contains some of the best work from one of the twentieth century’s greatest composers (of any genre of music), then this becomes a no-brainer. You must own this one.

Oliver Nelson — Blues And The Abstract Truth
Impulse IMP-154

One of the greatest ensemble jazz recordings ever. The group of musicians that Oliver Nelson assembled for this recording are now legendary. This record by right of being Nelson’s first recording made for Bob Theile’s new Impulse Records label along with the players assembled for this session produced one of the greatest jazz records ever made period. For this record Nelson assembled a lineup of Bill Evans on piano and Paul Chambers on bass, both of whom were members of the seminal 50’s edition of the Miles Davis Quintet, Freddie Hubbard on trumpet, Eric Dolphy on alto and flute, George Barrow on baritone sax and Roy Haynes on Drums.

The fact that this record was even made is interesting in light of the fact that at the time of this recording, Hubbard was under contract with Blue Note Records, Evans with Riverside, and Dolphy with Prestige (as well as Nelson, who still had a contractual obligation to fill with Prestige Records).

Oliver Nelson who is probably best remembered today for his arrangement for other artists proved with this record that as a tenor, he was to be considered in the same breath as the greats of his era (Coltrane and Rollins). Nelson himself pays homage to these two great players in his liner notes, while admitting that he had finally found peace with his own playing.

What makes this record special is not only the structure and strength of nelsons compositions, but the power and freedom of the playing by this great ensemble. The interplay between Dolphy and Nelson on "Hoe Down" is nothing short of spectacular. The slow blue piano introduction by Bill Evans to "Yearnin’" leads to solos by Dolphy and Hubbard that are both understated and elegant. Paul Chambers and the vastly underrated Roy Haynes provide a foundation that allows Nelson and Dolphy to propel each song forward. This record is a true classic both in composition and playing; seldom are there records that are this good.

Originally recorded in March of 1961 in Bob Theile’s basement studio, and engineered by Rudy Van Gelder (how did this guy do so many sessions?), this record sold steadily, but not in great numbers. The Impulse Records original (catalog AS-4 in stereo, A-4 in mono) is very good sounding, though it isn’t a great record. The re-issue is very faithful to the original, except for the consistent whiteness of sound that all of Cuscuna’s work I have heard seems to have. (This sound can be easily heard on Cuscuna produced re-issues for the recent Blue Note Connoisseur series as well as his work for Mosaic Records).

The folks at GRP have thoughtfully re-issued this record with its original gatefold album jacket and abstract bass photo cover artwork intact. The later second state cover of this record is fairly common, with a profile photo shot of Nelson set in a dark blue background. The first cover is extremely rare.

So what’s my take on this one? Simple: anyone who is even remotely interested in great music (jazz fans or not) should own this record.

The assemblage of players and environment that allowed this record to be made just doesn’t exist anymore. And while the original is still a slightly superior record, a mint copy will set you back upwards of $200, if you can find it. Do not pass this re-issue up — and you’d better act soon, because if my recent difficulties in getting re-stock are any indication, the cretins that run MCA (the parent company of GRP) are getting ready to delete these vinyl titles from the catalog. Makes you kinda’ wonder what the job requirements are to be an executive at MCA are — other than gross stupidity, huh?

Sonny Rollins — East Broadway Run Down
IMP-161

Expressive, painful, and filled with anger, East Broadway Run Down marked a continuing growth of Sonny Rollins as one of this century’s great saxophonists.

Essentially recorded live in the studio in one session on May 9, 1966, with no overdubs, East Broadway is filled with the tension and dreams that people held as the late 60’s unfolded. For this session Rollins enlisted the help of John Coltrane’s rhythm section of Elvin Jones on drums and Jimmy Garrison on bass, along with Freddie Hubbard (then a young rising star on the Blue Note label) on trumpet.

"East Broadway Run Down," the title track, takes up the whole of side one and lasts for all of 20 minutes and 25 seconds. Whatever Rollins originally intended for this composition to say, what we end up with is a musical tour of the sounds of a city throughout the day. From the furious interplay between Rollins and Hubbard evoking the throbbing workaday, to the still evening quiet of Jimmy Garrison’s bass solo, one that is gradually joined by Elvin Jones drum work and Rollins tenor as dawn slowly approaches and the city begins to wake up, the ebb and flow of the city is painted in powerful musical strokes.

By the time of this records release in 1966, the civil rights movement and black America’s anger at the perceived injustices in our society had taken flight in the music of many black artists of the day. Jackie MacLean’s Let Freedom Ring from two years before EBRD resounds with the rage and disillusionment of the times. The novice jazz listener looking for the easy beauty of Coltrane’s ballads, or even the simple straightforward playing that can be found on Sonny Rollins own Saxophone Colossus from the previous decade, won’t find that here.

How about the sound of this re-issue? When compared to the original Impulse Records release (catalog no. AS-9121 in stereo, A-9121 in mono), it is apparent that this re-issue is superior to the original. Not that the original is everything it could be, mind you: by the time of this recording, engineer Rudy Van Gelder and producer Bob Thiele were using early solid state recording equipment instead of the tube based system of years past. Consequently missing from this record is the sense of warmth and body so eerily present on many of the early Impulse Records from several years prior to this recording.

Since an original of this record in pristine condition will set you back in the neighborhood of 50 bucks, the GRP/Impulse is a steal. The fact that this re-issue with its better vinyl and surfaces is better sounding than my original makes this an easy recommendation.

A daring and interesting choice for re-issue by Cuscuna and GRP/Impulse, and one well worth exploring by more adventurous jazz listeners.

Archie Shepp — Fire Music
IMP-158

Fresh from his playing several club dates and recording with John Coltrane at the 1965 Newport Jazz Festival, which was released later that year as New Thing At Newport (Impulse Records catalog no. AS/A-94), Shepp recorded these sessions for Impulse.

Recorded in two separate takes during early 1965, Shepp experimented with different tempos and tone throughout this record. Like East Broadway Run Down reviewed above, Fire Music draws heavily on Shepp’s avant-garde musical leanings and his emerging black militancy. With compositions dedicated to the recently assassinated Malcolm X ("Malcolm Malcolm — Semper Malcolm") to compositions like "Los Olivadados," which was loosely based on Shepp’s own experiences in social work, Fire Music is a journey through troubling times as seen from Shepp’s perspective.

In addition to his own original compositions, Shepp covers Duke Ellington’s soulful ballad "Prelude To A Kiss" as well as reworking the Bossa Nova standard "The Girl From Ipanema." On "Prelude To A Kiss," which was the only track represented here from the later March 9th 1965 recording sessions, Shepp is joined only by David Izenzon on bass and J.C. Moses on drums. For all other tracks Shepp is joined by Ted Curson on trumpet, Joseph Orange on trombone, Marion Brown on Alto sax, Reggie Johnson on bass, and Joe Chambers on drums.

Like EBRD, Fire Music was engineered by Rudy Van Gelder; unlike EBRD, Fire Music is one of the great sounding Impulse recordings. Also unlike EBRD, Fire Music, with its dense, layered sound, is anything but live in the studio. Shepp’s tenor playing here is heavily influenced by his association with ‘Trane. Like the previous year’s release Four By ‘Trane (catalog no. AS/A-71), Shepp continues to explore the avant-garde side of jazz, pioneered by ‘Trane and Ornette Coleman.

I said that this album is great sounding. Just to be clear to audiophiles reading this review: neither the original Impulse release (catalog no. AS/A-86) nor this re-issue have what a typical high-ender would call "exceptional sound." Be warned: this recording is dense, emotional, and at times grating. Above all else it is not an easy journey that Shepp takes the listener on.

All of Shepp’s anger and disillusionment at society are expressed by his playing on this recording. Just as the recent Impulse re-issues of John Coltrane Ballads and the Johnny Hartmen/John Coltrane share a common musical thread of simple beauty, so too does Fire Music and EBRD, although the thread connecting these two recordings is much more unnerving and bare. Recommended only for those who have an experimental bent.

This is for my dad, and his favorite scream slash greeting to me when he got home from work when I was a kid. Since my son is 9 and rapidly approaching the age of testosterone-driven angst, it’s time to begin looking at music that is anything but audiophile in content and sound. (Hey, Tyll Hertsens — you still around?! Where’s that "Twisted Disc" of yours?!)

For those that consider great classical music Jimi Hendrix or Link Wray, and the only Mercury you knew about as a kid was named Freddie, these next records may be just the thing for you:

Webb Wilder & The Beatniks — It Came From Nashville
Landslide Records LDCD-1013

Tired of Sara K.? Does the thought of having to listen to another audiophile-approved female singer warbling off key make you wish for premature deafness? Well, dudes, this is my miracle cure. This record may be titled It Came From Nashville, but it sure the hell ain’t your typical Nashville country music. What Webb Wilder and the Beatniks are can best be described as a blending of equal parts Creedence Clearwater Revival, The Blasters, Link Wray, and a case of Hop-N-Gator1 mixed in.

Unless you had the good fortune to catch the 30 minute film short Webb Wilder — Private Eye as I did one late night while channel surfing, this record probably slipped past you, since it very likely never made an appearance on your local radio. I almost feel sorry for the poor corporate weenies who were presented with this record and told to market it or fit it into a musical niche to be hyped and sold — which is the typical approach these days. I gotta’ tell you: marketing and promotional hype is not needed for records like this one. Just plop this on your deck and get ready for a loud, raunchy, greasy, groovin’, rollickin’ hour of some of the best music to hit your ears in quite a while. If your feet ain’t tappin’ after five minutes, I would seriously suggest you get professional help quick (or check your pulse, ‘cause you’re probably already dead). As Webb sings "Come on, dance with Daddy, all night long," you just might.

This record was originally available on vinyl from Landslide Records, with the live tracks available as a separate 12"EP, both of which are now sadly out-of-print. The CD is still in print, and while not easy to find, can generally turn up at Tower and other large retail stores.

The Astromen — Destroy All Astromen
Estrus Records ES-1215

The kings of 90’s surf music return. This is The Astromen’s third record for the small, independent Seattle-based label, Estrus.

With instrumental songs titled "Gargantua’s Last Stand," "A Mouthful Of Exhaust," and the immortal "Mystery Science Theatre 3000 Love Theme," how can you go wrong? Simple, short, no frills instrumentals with little or no overdubbing, with more hooks than the proverbial tackle box, you’ll soon be playing air guitar and dancing the frug.

Suprisingly well recorded, (according to the liner notes this was recorded live in the studio), The Astromen take surf music into the great beyond. With a blending equal parts Dick Dale, the Surfari’s, and a touch of the psychedelic ‘60s, the Astromen take surf music where it’s never gone before. Who’s in the band you ask? Well, if you read the liner notes these characters are called Birdstuff, Coco The Electronic Monkey Wizard, Star Crunch, and my personal favorite, Dr. Deleto And His Invisible Vaportron. These guys obviously read too much bad science fiction growing up, but what the hell — the record sure sounds good!

The record label’s motto, "Estrus — The Center Of The Recording Universe," may not be altogether true, but this sure sounds good in the car on a summer day. (Hey, this is coming from California, where sun, surf, and convertibles is a religion.) As the kid Mikie said on the commercial, "Try It You’ll Like It!"2 You just might; I sure did.

Sam Cooke — Nightbeat
Abkco 1124-1

Fabulous soulful singing from one of the legends of our past. While best known for his string of popular hits in the late ‘50s through the early ‘60s, Sam Cooke was much more than a pop balladeer. Nightbeat was an intensely personal recording, influenced by Cooke’s early formative work as the lead singer in the Soul Stirrers in the late 1950’s.

Originally recorded in the fall of 1963 at RCA studios in Hollywood Ca, and engineered by Hugo and Luigi, Nightbeat was actually originally released by Tracey Limited (instead of RCA) later in the year. Nigthbeat covers music from Cooke’s chitlin’ circuit beginnings on through to a heavy dose of gospel and blues. For these sessions, Cooke was joined by Barney Kessel on guitar, Billy Preston on organ (yes, the same Billy Preston who later played on several of The Beatles records), Clif White, René Hall, and a host of others.

With covers of Willie Dixon’s "Little Red Rooster" and "Shake, Rattle and Roll" (originally made famous by Big Joe Turner well before a sanitized version was recorded by Bill Haley And His Comets several years later), Cooke used the Nightbeat sessions to explore his musical roots that many of his pop listeners were not aware of. Even the few Cooke penned originals found on this record such as "Mean Old World" were anything but Top 40 material.

Abkco re-issued this record in June of last year with very little fanfare; in fact, the first very limited pressing run was done on 180 gram vinyl by RTI, which are all long gone. Later pressings are on RTI’s standard 120 gram weight vinyl, packaged in a gatefold jacket with extensive liner notes. Abkco did have the original tapes digitally cleaned and edited for this re-issue. I know I can hear many of you groaning now, but don’t: Nightbeat remains a stunning record, despite being digitally processed, cleaned, and polished.

From the first stunning acapella notes sung by Sam Cooke at the beginning of "Lost And Lookin’" that opens side one, to the closing notes of "Shake Rattle and Roll" which closes side two, Cooke takes the listener on a soulful, moody, yet joyous journey. Despite the digital sanitizing, this is a spacious and ambient recording filled with great music that should be heard by all. Do not pass this record by; even if you’re not a Sam Cooke fan, this album must be heard3. A great re-issue by Abkco!

Bruce Springsteen — The Ghost of Tom Joad
Columbia C-67484

The Boss returns to the desolate back roads of America last traveled on Nebraska. The arena rock grandeur of Bruce and The E-Street Band’s Born In The USA period is but a distant memory. What The Ghost Of Tom Joad can best be described as is a 90’s view of characters lost, disillusioned, and on the fringes of society.

Recorded simply, with surprisingly good sound (no great feat when you consider how bad many of Springsteen’s LP’s in the past have sounded), this mostly acoustic set has only the occasional subtle synthethiser keyboard backing. And while ex E-Street Band members Garry Tallent and Danny Federici can be found playing on several tracks (as can Springsteen’s wife Patty), this is an intensely personal album, consisting mainly of Springsteen singing with only his acoustical guitar accompanying him. The lyrics are equal parts Woodie Guthrie and Warren Zevon, with Springsteen’s unique way of making each character real providing the bedrock.

For someone who is worth as much as many a small country’s GNP, some will find Springsteen’s lyrics to be more a study of a world that he left behind than a first person account of someone who still has to deal with the daily struggles of survival. No matter; each song comes alive with Springsteen’s brutally direct and intense presentation, done as few other artists can do.

At this point in his life, Springsteen seems to be more comfortable making more deeply introspective and personal records like this one (or Tunnel of Love, which chronicled the breakup of his first marriage) than in revisiting his stadium rock star past. So while this release probably made none of the honchos at Columbia Records very happy, this examination of the cynicism and despair of the have-nots of modern society deserves to be heard. It has definitely spent a considerable amount of time on my table recently.

Cream — Fresh Cream
LPZ-2015

The debut album from the ‘60s rock supergroup. Cream coined the phrase "power trio," with Eric Clapton on guitar, Jack Bruce on bass and vocals, and Ginger Baker on drums. Both Clapton and Jack Bruce had spent time in John Mayall’s Bluesbreakers, with Ginger Baker coming from the Graham Bond Organization.

Heavily influenced by American acoustic delta and electric Chicago blues, Cream’s first LP is a mixture of covers ranging from Robert Johnson’s "Delta Blues" to Muddy Waters and Willie Dixon electrified Chicago blues, all mixed in with several Bruce originals.

The classic Cream songs "I Feel Free" and "I’m So Glad" (both of which were staples of Cream’s live shows during their brief three year career together) can be found here. What Cream provided both Clapton and Bruce was control over the songs selected and how long they would be. Cream allowed Clapton’s guitar work to range far outside of the tight constraints of a 3 minute radio single format that he chafed under while a member of The Yardbirds.

This DCC re-issue uses the original domestic Atco Records (catalog no. SD 33-206) release album cover artwork, but includes two additional tracks that only could be found originally on the first UK Reaction Records single release. Additionally, there is a bonus mono version of Muddy Waters’ "Rollin’ and Tumblin’" that was recalled due to contractual difficulties, and can only be found on the first 2000 copies of this DCC re-issue.

How does it sound you ask? Hmmmm — well, the DCC re-issue is superior to all issues I have heard, except for the blue label Reaction original (catalog no. 593 001). Only when compared to the original Reaction release does the slight softening and lack of focus present on the DCC become apparent. The DCC does, however, sound much better than any domestic or Japanese issue that I have heard. In fact, the DCC is also superior to my early 70’s UK Polydor issue also. Oh, and what would a mint Reaction original LP set you back? Don’t ask, ‘cause it ain’t even funny.

Oh, and don’t forget that the DCC includes those cool bonus tracks that cannot be found elsewhere without an ungodly amount of trouble. The verdict: a great re-issue by the folks at DCC. By the way, DCC is also planning to release Cream’s Wheels Of Fire with the original UK laminated foil cover sometime this summer.

Creedence Clearwater Revival — Willie And The Poor Boys
LPZ-2019

One of the greatest singles bands from the late ‘60s, CCR can best be described as swamp rock by way of Berkeley. John Fogerty, lead singer, guitarist, producer and songwriter fashioned subtle biting social commentary into tight 3 minute singles.

How subtle, you ask? Well, when I was a kid in the late 60’s, almost every year my dad and I would take a winter vacation in the Florida keys, and during the drive CCR was one of the few 8-tracks that my dad and I could agree on (The Big O being the other). [That’s ORBISON. So much for that batch of puzzled letters to ye olde Editor. Signed, Ye Olde Editor.] This from my dad, a guy who was working at the DOD during the Nixon years — heh, heh! — if only he knew . . . .

Willie and The Poor Boys was the fourth release from CCR inside of three years (not counting a record Fogerty and company made in 1964 as The Golliwogs that wasn’t released by Fantasy until much later). Originally released on Fantasy Records (catalog no. 8397), Willie contained the two top ten hits "Fortunate Son" and "Down On The Corner," along with Fogerty re-workings of traditional numbers like "Midnite Special." Also included were two instrumental tracks, the Booker T & The MG’s influenced "Side O’ The Road" and "Poorboy Shuffle."

And so, what about the sound? No, DCC does not magically transform Willie And The Poor Boys into an audiophile caliber demonstration disc — nobody could do that. What DCC has done instead is give us the best presentation of this record that I have yet heard. The DCC re-issue is easily richer, more full bodied and natural than my blue label Full Radio Stereo original. The DCC imparts a warmth to Fogerty’s voice that was missing from the original, as well as giving us a considerably fuller low bass. This is easily heard during Stu Cooks bass intro to "Don’t Look Now (It Ain’t You or Me)," where his bass now has a sense of body never present before. Likewise, Doug Clifford’s drum work throughout can be much more easily heard, as well as felt.

Any caveats, you ask? Well, this re-issue, like many of the DCCs that I have heard to date, is slightly soft in the treble. No, not really rolled, just not as extended as some of the Mobile Fidelity’s that I have heard. So while the top end is slightly soft, there is absolutely no hardness or breakup that mars many other records that are marginally more extended in the treble. So while on an absolute basis it might not be as extended in the highest frequencies, it sure as hell is very musical.

In the past year the folks at DCC have shown a willingness to choose and release great rock and jazz records from the ‘50s and ‘60s that, while not "audiophile" in stature (whatever the hell that means!), are great records that have stood the test of time. Fogerty sings on "Fortunate Son," "It ain’t me, it ain’t me, I ain’t no fortunate son; it ain’t me, it ain’t me, I ain’t no fortunate one." Maybe John was feeling unlucky, but not so for this happy camper when this record arrived at my door!

Well, folks, that’s all for this issue, but coming this summer to a Positive Feedback near you we will begin to profile the new Acoustech mastering facility set up by Chad Kassem of Acoustic Sounds/Analogue Productions and John MacInness of RTI. This mastering facility will be located on-site at RTI’s record pressing plant in Camarillo, California. This new mastering facility will use the Wilson Records Audio Research based all-tube mastering equipment, and will allow for the complete mastering, plating, and pressing of a record under one roof. The first fourteen titles mastered on this system for Analogue Productions’ Revival Series have just recently arrived. Judging from first impressions, this series of pressings from Chad and company are going to be stunning!

What should be of major interest to many of our less flush readers (which most definitely includes yours truly) is that these records will be issued on 150 gram vinyl and retail for $17.50 (about the same cost as a full-price CD or UK vinyl import).

The summer issue of Positive Feedback (Volume 6 number 4) will inaugurate an expanded music coverage, with numnuts here (finally) beginning to review the recent Speakers Corner and Alto UK/Decca re-issues. Also in the hopper is a look by Roger Hecht at the new series of EMI re-issues from both Alto and Testament. And — as usual — a host of other vinyl (and CD) surprises. So stay tuned….

1. For those who missed a true southern tradition, Hop-N-Gator was created by the same folks who brought you the Gatorade brand sports drink. This was the beer of choice for many back in the time of GTO’s and 8-tracks. Hell, for $2.98 a twelve pack how could you go wrong?!

2. And no, this is not for Michael Fremer of The Tracking Angle, although I think he would like this record as much as I do.

3. Among my circle of hosers er friends that have heard this record, everyone has been hooked after, oh, say, the first, oh, 30 seconds of this record being played . . . .

POSITIVE FEEDBACK ONLINE © 2002 - HOME