Thank you for the very informative review. Couple of things: these are full track mono original recordings. In mastering these, there is zero ability to mix. The mix originally recorded is the mix you get. Our goal in the Tone Poet program is to give you the sound of the OG master tape. We do very little manipulation and often do none. Do they sound different than the OG pressings? Often they do....we had no interest in duplicating the sound of the OGs. To do that we would have do apply 8:1 compression as Rudy did in mastering and roll off the low end (again as Rudy did in mastering) to make the OGs playable on even kiddie record players of the day. He also typically bumped the midrange up a bit. You mentioned less audience noise on the live track on the TP edition. You're hearing the lack of compression on the TP. Our goal is to give the listener the same thrill we get in the studio when we put those master tapes up. By the way, I do have an absolutely mint OG of this album....I brought it brand new many years ago. You mentioned the sonic perspective on these older recordings. Remember that at that time, no one used baffles or multitrack recording. At Hackensack everything is in one room with the piano lid open and the drums right next to them. Drummers had to really control their dynamics to avoid drowning out everything else. The drums would get into all open microphones. In fact, everything would get into the open mics so you have a LOT of bleed between the mics. And of course, the mix is happening live with the recording as its going down. No "fixing it in the mix" is possible in that era.

Great comparison. You do it best. I also enjoyed side 2 much more on this session. Now it makes sense!

Again, great in depth analysis Chris!

Excellent review.

Great review and insights.

Props to JH for dropping knowledge. Fact is almost none of us are going to get the privilege to hear the actual master tapes, which is why I take issue with anyone saying some old record is the "sound of the master tape" when they have no idea. I'm not saying you are doing this WCB, but I see this a lot from typical record collector types. They have no idea what they are talking about. RVG also hated vinyl BTW, and even when BN first reissued a ton of stuff on CD back in the 80s, it was very clearly stated on the back cover that no one touched those RVG mixes, they only transferred the tape and did mastering. FWIW I compared a TP to an early copy awhile back and preferred the TP, even though there was nothing wrong with the early copy per se. The TP just sounded a lot more alive to me, with better low end and midrange and more clarity overall. Here is a direct quote from RVG: "The biggest distorter is the LP it­self. I've made thousands of LP masters. I used to make 17 a day, with two lathes go­ing simultaneously, and I'm glad to see the LP go. As far as I'm concerned, good rid­dance. It was a constant battle to try to make that music sound the way it should. It was never any good."

I hope you have Katanga because I think it’s the best Tone Poet I’ve heard. I have 22 of them and it’s at the top of my list. Great video as usual. Thanks!

Great video… i bought the tone poet and will buy your vg- when ready :)

great video, I'm in the category where i do not have orig BL but pick up all the classic/tone poets. Have been happy with them. Live in NYC/Manhattan here, where r at

Hey man great input and content here! I am a follower of all things jazz and audiophile on KZfaq and I can say you have a very unique and valuable perspective. I was glued to your track by track insight and the comparison to the Tone Poet. Having said that, I am going to urge you to change your philosophy on buying Tone Poets - what do they cost you, $39 each? For that amount you can provide valuable content and insight to the community, provided that you also have an original of said Tone Poet. I don't know if the views that currently come from your videos would offset that $39 investment, but I bet your viewership would grow if you did so. Hell, maybe even do the classic series if you have an original. Keeping rocking on and thanks for considering - Brandon

Great review! Would love to see what ten inch records are behind you there. -- Mike

The version of "Mexico City" heard on this LP is indeed from the live Cafe Behomia sessions; however, it's from an earlier date than the recording of this song found on the Kenny Dorham Cafe Bohemia record. The version on this Burrell record is from March 31, 1956 (per the liner notes). The version heard on the Kenny Dorham record is from May 31, 1956 (per the liner notes). It's interesting to compare the two versions. The obvious difference between the two, for me, is that on the Kenny Burrell record, Burrell solos first...and on the Kenny Dorham record, Dorham solos first. Both versions of this song were included on the Kenny Dorham 'Complete Cafe Bohemia' sessions when it was released as a 2-CD set in the RVG series.

I think all the original BN sound better. But the price for tone poet it’s no competition

Thanks for the info. I have the TP and on first listen I didn’t like the music, and especially didn’t like the sound quality. On repeat listens I liked it more. I don’t think it belongs in the TP series though.

I think Joe Harley said they'll use the stereo version where exists. RVG didn't do any stereo until 1957, so it would be interesting to hear those 70s reissues that claim to be stereo.

They decide for Stereo or Mono depending on what sounds best usually. This one does indeed not have a Stereo version, in 57 Rudy started recording Stereo along with Mono, in 59 he stopped doing Mono.