Hi Michael! Amazingly I just listened to 1995 DCC Steve Hoffman and the 2017 Kevin Gray, QRP pressed reissues. DCC is cut hot and heavily saxophone biased at the detriment of the rest of the band. Kevin’s reissue is more balanced. It is warmer (maybe because it is not as loud). Interesting.

Thank you, Michael. I'm beginning to realize that you have maybe become my very favorite KZfaq content creator (at least when it comes to Audio). Your subject matter is always interesting and presented in a thoughtful, balanced and interesting way. Thank you for adding to the enjoyment of my audio hobby. Best wishes from a friend on the other side of the world.

An interesting comparison but what strikes me is the fabulous condition of the vinyl. I have records that I bought originally 50 years ago and they still play amazingly well. So much for the fragility of vinyl. Thank you once again Michael for a fascinating video.

It's fairly common knowledge that RVG in 1957 was dealing with people that had basic turntables, please remember that the $5000 record that you are talking about was $4.00 at the time, RVG adjusted the levels so the records would not skip on these turntables and so reduced any record returns. Can I add the UK Esquire to the list, these were the same as the Danish Metronome, all were from 1957 or ??? and were the same stampers as the US original Prestige with RVG in the dead wax. I have all the Rollins plus many more on Esquire.

Interesting comparison. I have the same experience with Dexter Gordon "Go": The original 1962 1. US-press (mono) focuses on Dexter's saxophone, which really comes to live. The 2021 Blue Note Classic (by Kevin Gray) integrates the sax more into the entire group and makes it a little smoother. Both versions are enjoyable though.

Hi 45… I think the new version is done by Kevin Gray, which is a unbalanced transformerless signal path… All the original versions were done with a lot of transformers that sounded beautiful and had an energy… Also cutting the low end on the OGs to make it work on older systems would make the saxophonemore forward.

Two wonderful finds. An excellent way to commence the weekend.

Great video! This brought me back to your channel! I love these kind of comparisons. Sometimes there can be a world of difference.

THanks for the great comparison. I am working on getting a 1st Pressing.

As always an informative and detailed review of an artist that made such an important impact in Jazz. I have this record as well (Reissue) and it is good to hear about each records sound signatures. The OG would be such an honor to have in my collection, and at some point I may have to make that decision. Thank you, Michael !

The difference between the AP & the other 2 OGs as you have stated is the general consensus among many people after they done shootouts between OGs & audiophile reissues (AP,Music Matters etc). Steve Hoffman & Micheal Fremer has unashamedly said that they do not like RVG masterings because his records lack deep bass, just plenty of mid bass. This is the presence & punch you hear in the OGs.

Hello Michael! Thanks for the shootout review of this great record.

Very nice review of such a great title. One other vinyl version for the comparison should have been the AP Acous-tech 45 RPM 2 LP set. That version should have most of the dynamics from the original tape. Its quite well known now that RVG used a lot of compression and EQ limiting on both the original Blue Note and Prestige titles so they would play on the 16 Euro phonographs of the day.

Great review Michael. I suspect that Sax punch from the mono OG is a religious experience!! I also think the better lowend on AP is that modern pressing technology can now capture the low-end a lot more faithfully from the tape. Now all you need to do is pick up a nice Studer or Telekunken machine and listen to the tape for the ULTIMATE shootout❤

yes ur rite M. Danish pressing with same matrix as US edition. RVG hand etched in deadwax.

I was lucky enough to find a few original Impulse jazz releases and it sounds amazing, powerful and wonderful.

Did you play the original with a dedicated mono cartridge? That is a key factor. That will make the originals sound even better and more detailed I can imagine. I have a Miyajima Zero true mono cart and that produces a lovely, highly detailed and clear sound from these old mono records. My original 1st pressing Sax Colossus on Prestige in NM condition sounds amazing with the Miyajima Zero.

Well done Michael. 🍺👏🏻

Love this album - great gateway to jazz for beginners. Almost better than Kind of Blue. Love your videos. I have the AP version and love it.

Great video as always. And I hope you don’t mind some encouragement; I stopped smoking 15 years ago. Just do your best and never look back. Best of luck to you 45.

Michael; I always liked the DCC version also. I have all four and all are a little different. Bruce

Great album

I waited so long to get the AP, it was a grail, and more than happy with it!

This is exciting

I don't recall (and a brief search didn't turn up) if you have ever compared multiple versions of Monk's Music. Is that a comparison you'd be interested in doing? It's obviously a landmark album, and one of my favorite jazz recordings. Something like a comparison of a first or early US pressing, the AP 45 rpm version of it, plus the recent ERC and VMP releases of it could provide a broad and interesting perspective. And I don't think you'd get bored by intensive and extensive listens to that album!

Fscinating comparison Michael. I have a 2012 clear vinyl copy on the Ermitage label, a label I have never heard of. I got it at a resonable price from Rarewaves out of the UK. Not AP quality I would imagine but still sounds pretty good.

Hi, I have a 13 euros 180gr DOL edition (2016) and sounds really great. I can imagine the quality of yours.

Have u heard the new Sonny Rollins full vanguard tone poet release? I’m not at an audiophile level but getting closer. To me it’s one of my most detailed sounding records

1995 DCC Compact Classics limited edition version for the sax

Great review as usual, Michael, thanks. I do have a question about what you heard that I didn't get a clear sense about- was the superiority of the original pressings in terms of the saxophone predominantly just in terms of macro-dynamics ('power and punch'), or also in terms of timbral accuracy and other fine 'micro-details' in the horn's sound? And if so, would you say that the non-dynamic aspects of the horn on the original pressings matched the dynamics in terms of the superiority gap with the AP pressing, or were less notably superior in that case?

I came upon an original last year in solid VG+ condition. I have a few of the reissues over the years. The original looks somewhat scratchy but you really dont hear much static at all. A testament to the durability of these 1950-60 discs. The album is probably the best sounding album I have. I dont think it sounds horrendously out of balance but yeah, the sax is like none other. It growls at you, seems alive almost. I couldnt stop playing it when I first acquired in several boxes that came out of the estate of what is best described as a hoarder. Since then, i listen to it sparingly and opt for the A.P. version so I preserve this original for special occasions.

Please try to somehow listen to the Esquire pressing and let us know your thoughts. Thank you

I have the DCC and an older (early 00's) Analogue Productions reissue on 45 rpm mastered by Hoffman/Gray. I think that the 45 rpm sounds great but wonder if anyone has an informed opinion on the sound of this pressing.

Michael is expressing a very widely accepted and wisely known concept: original prestiges are more exciting and generally superior to reissues, and that Esquire pressings using original RVG metal might even top Abbey originals. Don't disagree. Not sure I've disagreed with any of Michaels sentiments so far....

I wonder what the tape sounded like? I interpret the commentary as saxophone is spotlighted in original, & reissue has improved bass & overall coherence. It looks like a matter of trade-offs & compromised. Some audible examples may be helpful, as one can hear the difference even through the mp3 format.

For me the best ist the DCC

Interesting that on the OG US press the addresses are different on back cover (447 W 50th) and label (446 W 50th).

I have the AP and it sounds sensational to me. I think this is a great opportunity to speak to Kevin Gray again, to get his perspective about the sound differences. Maybe even Bernie Grundman or Ryan K Smith, anyone familiar with those Blue Notes recordings or Rudy Van Gelder. I suspect there is quite a difference between how the tapes sound compared with those OGs, because you can’t add what isn’t there to begin with. So when you say there is more of the band, that has to be inherent in the tape. As for the sax ‘explosion’, that’s where I think it would be interesting to hear from the pros. It may be just down to mixing choices, but if it’s more technical, to do with the actual technology they used to playback and cut the records, I’d love to hear more!

What is the analogue one?

Atomiste - Midnight Here We Come (2023 REMASTER, FULL ALBUM) try that !

Wouldn't the Dutch pressing be from a significantly smaller run? I don't know how to tell except from numbered pressing (or guess from sound quality) but if you the 333rd Dutch pressing & 3330 US pressing, I would expect the Dutch would definitely sound better IMHO. Great content!

Hallo Michael bald kommt ja endlich Steely Dan Aja als UHQR. Hast du da für einen Vergleich diese Pressung auf Lager? Steely Dan - Aja Label: Cisco Music - CLP-1006 Format: Numbered, Reissue, Remastered, Stereo, 30th Anniversary All-Analog HQ-180 LP Year 2007 In the Groove aus Amerika sagt es sei die beste

cool ! actually i never understood how mastering and vinyl quality and pressing quality can really change that "sound" so much, if it it looks at first hearing like a "new mix". how you discribe it, it nearly sounds like a new mix is done, what is not the case, as you know. i will ask some recording engineers, if they can discribe that "feel" as if you have a new mix. as i told you, if you need some FIRST PRESS LP´s for a few days, i have about 1500 first press land of origin jazz LP´s. berlin. ..... alles gute ...... andreas

The reissue sounds more like a band because the sound stage depth is compromised in a bad way. The instruments are all pushed forward in the same plane on the reissue.

I didnt understand the price. Three and a half four K in euro?

These are the droids you’ve been looking for….I mean records.

The answer lies in the difference between HiFi systems 66 years ago and today, deep bass was very difficult to reproduce so records were mastered to the standards of the day. I collect UK 1st pressings 80% of the time the originals are way better than reissues BUT you have no idea on what they were played, I have originals that look mint but sound terrible

Ιts quite simple. Apart from the poor inadequate for too much quality stereo gear, the mastering engineers in the US focused on radio friendly tunes due to their perspective of advertising the musical product to the masses. On the contrary the uk mastering aimed at quality stereophile experience with the bbc hearing methods, due to their belief that the product is to be judged in each home, thus the uk originals especially in psych and prog, but also in jazz are unsurpassed. This has also to do with the vinyl used in 50s and 60s and the oil industry but its another story. For example i prefer collecting british pressings of us rock bands . I am rather not older or wiser than you but i collect records from my teens till now at my 46s, as much as i can of course. The " kevin gray" era is highly overrated and comfortably overpriced by the industry and only cause young people and the average music listener to apart from the experience as a now upper class hobby, and this is not good at all. Dig as you have i guess the time and the money in original pressings and you ll find out yourself.

Priviledged onanism of the highest kind.