I’m having a similar experience Rich. As much as I’m completely satisfied by all these great reissues, I do get a thrill when I get the chance to own and play an original. A rare opportunity down here in New Zealand..
Rich I just got around to watching this video but I must say another great topic and video. I completely agree with you on originals being a more preferred experience than reissues. I don't own many reissues and instead focus on getting original reissues (Liberty, Blue Trident, Status) for the same or lesser cost than modern reissues. That is my preference and I will be sticking to it. Looking forward to your next video Rich.
Learning about whatever makes you happy is the key. i've been too frustrated by trying to collect vintage copies over the years, bad condition, smelly jackets, crazy prices. There are so many quality brand new reissues, easily available today, I came to the conclusion that i'm not interested in the hunt for diamonds in the rough, i just want to own certain titles on quiet vinyl in a nice jacket.
I totally get it, friend. That's exactly why I also collect reissues! In the crazy event that I come across a nice, clean, and, most importantly, CHEAP OG, that's when I go for it...definitely not enough of those occasions to build my entire collection that way!
For many years Japanese reissues were "slept on" here in the states, but I think that has actually started to change in the last couple years, at least due to the scarcity of US reissues at the very least. American audiophiles stereotypically shunned them for being made from copy tapes, but when you actually listen IME the sound is almost always astonishing.
Nice to see you back regularly, Rich. I tend to agree with most of your POV here. Generally, as you say, there is "accuracy" given to the reissues from the Big Jazz Houses. Although, sometimes I feel like the newer versions are overly conspicuous, with everything up front, and the horns (especially) given a certain glowing "aura". Of course, this will vary depending on the equipment being employed, and my 2M BLK LVB 250 is very transparent on the higher end. In sum, the "originals," or "vintage," cuts often seem more cogent to me, with better overall flow. You mention RVG's style of compression and closeness of field as something you prefer. I, however, have really grown to appreciate (and search for) clean VAN GELDER stereo cuts. A lot of his late 60's and 70's real stereo mixes are beautiful examples of the medium, with crystal clear sound and wide, accurate imaging. Take care, sir, and enjoy the tunes!
Generally speaking I have found the separation to be better on reissues but I am with you in that I now often prefer the VAN GELDER STEREO cuts over the mono for stuff released in the mid '60s 😊
Hey Rich, Bob here and I’m definitely of the same mind. I always prefer OGs whenever the price keeps it within range. Otherwise, the best reissue possible is where I’ll spend my money. I like how you describe “better” with reissues vs OGs. Lastly, I’m really glad you and Ako had a great record shopping hunt recently!
One of the things I think about when getting my hands on a really old LP is where it’s been up the point it’s in my hands.. where was it originally bought.. how long the original owner had it.. who else had it? How did it end up in this record shop in the middle of nowhere? Where were all the stops this LP went?? It’s the nostalgia that kind of adds to the excitement too. I have a 6eye stereo Sketches of Spain. For the most part it’s pretty crackly and has a few minor repetitive tics, but it sounds nice even after all these years. What I really love is that a previous owner (maybe the original??) gifted it to a lady (my guess) he spent a night with and jotted down a comment on the back cover about their night together listening to the LP- And He underlined a couple of songs to maybe draw attention to the parts they must have really enjoyed. Well, that’s what I concluded from it. Anyway, I think it’s kind of interesting.. kinda ruins the cover in regards to collectability.. unless of course it was Miles Davis or Teo Macero that wrote the notes lol. Good video! Happy Labor Day :)
I think this is THE topic for most of us, as OGs clearly have an allure. Thanks for tackling this topic and giving us your take. I would like to raise a question, and sorry if this middies the waters! that is whether our “sound preferences” change over time as listeners. I don’t mean loss from aging, let me explain. I’ve been listening to jazz for a few decades, some times more intensively than others. There’s no doubt that I process it differently than when I was less familiar with this music. For me the struggle, challenge, and joy was mostly in absorbing the melodies, harmonies, and basic structure of the music. That’s where my ear went. Much later I realized the beauty in drumming and the importance of it as accompaniment, statement, and DNA of the music, and I actively listen for that when I didn’t before. My sense of harmony has developed too. So the point is that different ears on different heads at different times might have preferences for different sound signatures based on how they process the music. And that can change over time.
Oh well I know for sure at least for myself that my preferences change--all the time lol!! This was definitely an "of-the-moment" video haha, tomorrow I might be back reaching for the reissues on my shelf. But it's interesting that you are addressing changes in taste in jazz music, not pressings. I think my change in taste for jazz evolves more than it flat-out "changes". I have slowly gotten more into post bop, and when I first got into jazz I didn't have much of an ear for bebop, which I do now. I will never get into free jazz, I assure you! 😜
Completely agree that tastes change. I was a little cryptic and so actually was trying to say that we could over time change our tastes even in pressings too. An album can at first feel difficult and aggressive sounding, and so at that point a “gentler” pressing might sound better. Just a thought, but I know that some music used to seem borderline punishing but it can really grow on you (post bop! 😉) and perhaps pain can turn into excitement.
I love this conversation. When it comes to jazz, I mostly stay in the realm of reissues because of cost, and don't have a ton of interest in originals for that reason. A side effect of that decision has steered me toward some amazing reissues which, as you say, can have superior dynamics and be a real joy to listen to. So for the most part my focus is on simply attempting to avoid bad pressings. I really just want a nice pressing that is enjoyable to listen to and as close to it's original source as possible. But even "original source" is a nuance for me that I have some flexibility with. I'm not a stickler there either. Especially since the original source isn't always the best mix, in my opinion. Give me a nicely mixed and mastered record that doesn't have any glaring sonic deficiencies or quality control issues, and I'm a happy camper. That alone seems to be a real challenge for a lot of pressings. That said, I will never steer away from old bop recordings of Charlie Parker or Dizzy because they suffer from inferior recording technology. Some of the best music ever is contained in those records. Great video!
Yes agreed, collecting reissues has its own set of challenges when compared to originals. Kind of crazy/lame to think that when buying a brand new record we can't be certain that it will satisfy us due to so many QC issues with the manufacturing process!
Always love the collecting videos you make. I sway back and forth on the topic, but of course OG's or vintage pressings are more special and will always be more collectable. A few important positives about buying the reissue besides sound: some of the family/estate will make some money off the selling of the new reissue and it puts more copies from the master tape out into the world for future listeners. Who knows how long master tapes will be around, and when you think of 50 years down the road, maybe no one will care and there will be plenty of copies, but maybe not. Just some thoughts. I love old pressings and prefer them. But i'm also picky about condition and can't afford $300 per. Thanks Rich
I totally go back and forth too 😊 I hadn't thought about the estates, good point, I guess the estate might get publishing residuals, assuming they still own the publishing, is that right? (In some cases, I'm sure the publishing has been sold.) Copyright, no, these guys got paid a flat fee for recording these albums so they wouldn't have anything resembling the "points" deals between labels and artists today, which is connected to who owns the copyright (the label).
Great episode Richard I really dig originals when I’m out digging I look for originals all the time and if it’s an early press 9 times out of 10 they use the same metal work and i definitely look for the deals vintage jazz press is insanely expensive I found some grails over the years I do have reissues in my collection I like also like you there is something about the sound of the RVG pressing IMO. My example I have Dexter Gordon GO in Music Matters last year I ran across an OG mono in beautiful shape I traded a lot of records to get it man to me the OG sounds way better than the Music Matters some just do understand the Original are awesome but that price will discourage you I believe there are still deals but it way tough now. Awesome break down Richard your descriptions are dead on loved it . Lovellandrew
No I'm pretty sure these were never pressed from original metal. I don't know much about the double albums from the '70s, that might be possible. But the single LPs from the '80s I'm certain those are all remasters.
Micallif gets paid to promote re-pressings he dont make scratch from you buying an original (unless hes selling one of course) which is worth considering right?
Both Kevin Gray and originals are great even though can sound so different (discounting reissues from other engineers) Both have lots of detail but presented with a different sound signature. I prefer to spend my budget on the reissues because I like how they sound better. However I don’t think there’s right or wrong on this topic And I will continue to buy originals only from the ones I like the most
That's a great approach, I pretty much do the same thing. For a long time I (obsessively) could never have two copies of an album in my collection, I'm glad I've turned a corner with that and I am now comfortable owing both an original and a reissue for my favorite albums 😊
I disagree with you on the Blue Note reissues Most are done by Kevin Gray and they sound wonderful for 30 bucks The difference in an original release is not worth the cost of trying to get a rare original copy!!!
You can easily find 1970s blue label Van Gelder mastered pressings in great condition for the same as or less than a modern reissue in most cases. And for far far less than a Music Matters reissue. In my opinion there is no sound comparison between even 70s pressings and modern reissues in terms of what I and people like Rich prefer. I would take the Van Gelder mastering any day over a modern reissue. I think it's good that reissues exist though for many reasons.
A lot of "I think" here ^^ In other words, assumptions. Do you know how quick tape degradation occurs? Do you know that mastering equipement from today objectively gives better "performances" than in the past? It does give the engineer more comfort while working on the recording, but does the result transfer in the listening experience, measurably? From my experience, no. I share the preference for originals, with just a few exceptions But you are selling originals short IMHO. Texture is a cop out word, though, and there are so many ways to measure it more rationally. Anyways, we can't disagree if we don't even discuss. Cheers!
Well I never thought I'd get criticized for prefacing technical statements with "I think..." haha. Using that phrase is simply meant to emphasize that I am not an expert.
