audioexchange

I swore that, having no place left to store them, I would buy no records in 2022. That plan lasted until the 3^rd of January. It has been a strange year so far. The world re-opened, there was an attempted coup against his own government by the POTUS, the Russians invaded Ukraine, the price of everything has gone up, wild fires burn across scorching hot Europe (except where I live, overcast as usual), Sri Lankans got rid of their government, the UK has liberated itself from Boris Johnson (likely to be replaced by a less charismatic semi extremist clone), Elon Musk couldn’t make up his mind whether or not to buy Twitter, the Saudis are trying to buy “golf”, luggage is piling up in airports all over the world, the Rolling Stones are on tour; mmm – some things never change. And the records keep getting pressed.

So, as I have not written anything for ages – and Andrew Hickey has been ruining my life due to obsessive listening to his podcast – here is an update on my listening this year (mostly to remind myself in the future).

It has been an ok, but not spectacular year for new releases and, unfortunately I think that I have come to an age that finding new and original music is becoming more challenging. The year has featured the return of Arcade Fire, Belle & Sebastian, Midlake, Band of Horses, Alt-J and Black Keys – all good records but not great. Rolling Blackouts Coastal Fever’s new album is worth a listen and I particularly enjoyed the sophomore effort by Pillow Queens. The other album that received a lot of airtime in my home has been Kevin Morby’s “This is a Photograph.” I also enjoyed the retromania of Father John Misty’s new album, despite the oversized cover that refused to fit into any plastic protective cover that I can find. Worth a consideration are records by Wet Leg, Spoon, Cowboy Junkies, Cate Le Bon, Beach House (most overpriced album of the year on vinyl) and Fontains DC (their new album was released on 2 x 45rpm!). By far my favourite album of the year has been Black Country New Road’s “Ants from Up There” – bizarre considering that the lead singer (who sounds like David Byrne) quit after its recording. I also really enjoyed “Dear Scott” by Michael Head. The reconvened Porcupine Tree’s album is a must for all Steven Wilson fans.

In terms of Jazz – I really enjoyed Wolfgang Haffner’s “Dream Band live in Concert”, Binker And Moses‘ – Feeding The Machine, Cécile McLorin Salvant’s – Ghost Song, & Charles Lloyd’s – Trios: Chapel (two more trio albums to come).

In terms of reissues, I think that this has been a bumper year.

All of the Roxy Music albums have been reissued by Capitol/EMI – pressed at Optinal, 180g virgin vinyl on nice heavy duty cardboard, printed inners – but packed in polylined sleeves. Original UK tracklisting. A curiosity about these albums is that they were cut half speed at Abbey Road by Miles Showell. Miles is a cutting, not a mastering engineer, and I believe that he works principally from digital masters that are provided by the record company. It is interesting to note that a lot of websites refer to these releases as “remasters” – but that is incorrect. Kevin Grey remasters from tape and then cuts lacquers. Miles cuts lacquers at half speed to presumably increase fidelity – from digital masters. Is this “audiophile” – I really don’t know. Presumably the masters (derived from the original ¼ inch tape) are at 24/96 (not availably for download or streaming at that resolution) – and that is audiophile in the digital realm. Certainly “Avalon” on SACD is one of the best sounding digital discs in my collection, but you would have to wonder why the record company could not do a straight AAA reissue/remaster from the original (1970s and 1980s) tapes. I considered pulling the trigger and buying the Roxy box set 5 or 6 years ago (also cut half speed by Miles), but shipping was as expensive as the albums. Apparently this is a new cut (Miles got some new gear) and it sounds better. Seriously. The albums do sound great and have that tremendous resolution and dynamic range that well recorded albums in the digital realm exhibit. Unquestionably better than previous (“from the Capitol vaults”) reissues in my collection; I do like the Simply Vinyl version of “Avalon” nonetheless.  A mild recommendation – but if you are living in a country with a vibrant second hand market – you might be better off seeking out original pressings, considering the prices here.

Everytime I look around there is a new Neil Young reissue. The extremely meh reissue series 13,14,20 and 21 – including the 16/44 digitally sourced Eldorado EP. There were also “official Bootlegs” – 3 of them from the early 1970s. I thought they all sounded like mediocre audience recordings (although it is claimed that Royce Hall is a soundboard – if so it is the worst that I have heard). Inessential. Young has, at long last, released “Toast” – a Crazy Horse album from about 20 years ago. It is an audiophile cut by Chris Bellman – at an audiophile price of >€40 for 3 sides. I haven’t listened enough to it to review, but NY fans will lap it up regardless.

Everybody seems to be doing audiophile jazz reissues these days. The Tone Poets and Blue Note classic viny series have been moving along nicely, mostly excellent – but I think I’m reaching my limit. Analogue Productions have two difference series going on: the Acoustic Sounds Impulse/Verve series – that has been exemplary and the long awaited Contemporary Records reissues series. I am a massive fan of Contemporary Records, so these records have been a big deal for me. First up came the RSD mono version of “Art Pepper Meets the Rhythm Section” – one of the must have records in jazz – a beautiful reproduction of the original that sounded great and was reasonably priced. Subsequently, the real series arrived – starting with “Art Pepper + 11!,” “The Poll Winners” and “Four!” (Hampton Hawes – my copy has not turned up yet).

My online review of “The Poll Winners”: “The Acoustic Sounds/Craft version is the “Stereo” records version – in a historically correct jacket (tip on), with black Stereo Records label and QRP poly lined inner sleeves. Annoyingly, the catalog number is for Craft records (CR 00386) not Contemporary. It is a wonderful album, with Barney Kessel carrying the harmonic and melodic load on guitar in a trio setting. I have a CD version in stereo and a 1959 mono repress. The Craft recording sounds marvelous, but – as with other early stereo recordings – Kessel is panned hard to the left speaker and the rhythm section (mostly) on the right. The soundstage, timbre and musicality is a significant upgrade on the CD version. Unfortunately Ray Brown’s solos – on the right channel – are a little bit muted. In comparison, the 1959 mono version is mastered louder, slightly more reverb, with Kessel in the center, the bass is better defined and the drums more “up front.” The mono version is exciting and engrossing; the stereo version is a little “loungy” – just a tad too laid back. Certainly an audiophile reissue – but I much prefer the original mono version.”

Make of this what you wish – I suspect that “Four!,” which is a truly great album, and I have an original Stereo Records version, will sound great. I would suggest giving “My Fair Lady” by Shelly Manne/Andre Previn a pass – there are a gazillion second hand copies out there at a fraction of the price, but buy “Jazz Giant” by Benny Carter. Hopefully Craft will keep the series going – there are marvelous albums by Harold Land, Curtis Counce, Teddy Edwards etc. that could do with reissues and all of the Art Pepper Contemporaries should see the light of day.

Craft have also been doing the “One Step” super audiophile reissue thing, albeit at a much slower rate than Mofi. Retailing at €100, $110 – Miles Davis’ “Relaxin” sounds and looks great, but doesn’t sound or look any better than the Tone Poet or Acoustic Sounds Impulse albums at 1/3^rd of the price. I am really unconvinced by the price-benefit ratio of one step recordings. Perhaps if I had a $20,000 cartridge on a $100,000 turntable and arm I might hear a big difference but, no….

Craft’s biggest jazz reissue this year is surely “You Must Believe in Spring” by Bill Evans (recorded in the late 70s but released posthumously in 1981. It ticks all the audiophile boxes – 2 x 45rpm, Kevin Gray, pressed at RTI, polylined inners etc. My online review: “I have had this album on CD for many years and loved it. I have a German first pressing (Warner Bros) and – despite it costing €50 and looking pristine – the vinyl is full of pops and crackles. The new Craft (Kevin Gray) has superior dynamics, a better soundstage, better timing and transients. Perhaps mastered a little loud.
I like the gatefold sleeve (the original is textured and the colors are different). I hate the cheap creased plastic inner sleeves – tossed them immediately and replaced with mofi style inners. I really really don’t like the Craft label and catalog number – it just cheapens the experience (maybe it is a licensing issue as originally on Warners – not a Concord label). Nevertheless – certainly for those of us in Europe who have to pay exorbitant prices for AP and Mofi 2 x 45rpm – a tremendous quality product at a reasonable (€40) price. Please Concord – do he same for Village Vanguard and Waltz for Debby.” There have been multiple complaints on various forums about static and crackles on this disc, mind.

My favourite thing, this year, has been Rhino’s reissue in mono and stereo of “My Favorite Things” by John Coltrane. I pre-ordered this record with fairly low expectations – most of the Rhino catalogue is medium priced and digitally sourced – great value but not really audiophile. When the albums arrived I took out the mono disc first –it has been a holy grail for many years. The “recently rediscovered” true mono version was sold last year by the Electric Recording Company for £330 and I presumed that this would be a 24/96 digital cut to vinyl. However then I saw KG@CA in the dead wax and was thrilled. Kevin Gray usually means AAA. These are fantastic sounding records – the mono is just wonderful. For the price <€40) this is unbelievable value. The presentation could have been better – a gatefold, polylined inners etc. But who cares – I replaced the inners, scrubbed the records and enjoyed. Strongly recommended. It is a pity the Rhino/Atlantic did not follow the same mastering chain for the Blakey/Monk and Mingus/Hawes reissues (which sound good nonetheless).

In terms of Record Store Day(s) – aside from the Art Pepper mono album, I bought “Central Reservation” by Beth Orton, “Live in Japan” by Laura Nyro and the phenomenal “Lost Album Live from Ronnie Scotts” by Charles Mingus (1970s) – really a must for Mingus fans. I still find the whole RSD thing weird – the records, singles or albums, are often 75% overpriced, and can sit in the record shop – undiscounted for weeks if not years. For example – there was a deluxe reissue of the Proclaimer’s’ “Sunshine on Leith.” I have an original pressing of this record, released in the late 80s that one can pick up for about £5 to £10 – there are a lot of copies around. For RSD there is a second record with bonus and live tracks. Price (in my local record shops) €53. There is no conceivable way that this record will ever be more valuable that this asking price – the band are not popular enough and the price is just ridiculous. For €35 I would have nibbled – but there it still sits in the bin in the record shop, lonely alongside the other RSD rejects, costing more than the Black Country New Road vinyl boxset listed above. Normally when novel media become available (CD, tapes, DVD, BluRay, UHD blu ray) they are expensive for a few years – and then the price gradually drops. With vinyl records (ok not novel but you get my point) – the number of records available has increased exponentially over the past decade, the numbers pressed increased dramatically and the prices are…..going up! This is neither good nor sustainable. RSD just looks more and more a bit of a rip off (ok maybe it is us subsidizing our local record shops). With the dollar to euro exchange rate increasing on a daily basis, a lot of the “audiophile” jazz reissues are going to cross the €50 threshold in coming months and I fear that few buyers will follow them.

The other reissues that I have enjoyed are the Mingus label Candid reissues (I just bought the Max Roach album) but Mingus presents Mingus is excellent and worth an investment (I have the Speakers Corner version). Impex released a nice version of “Matador” by Kenny Dorham.

The 1981 and 1980 Now That’s What I Call Music yearbook reissues are worth buying  – if you have a CD player in your car and you want to see how badly pop music has deteriorated over the past 40 years. The current hyper commercial factory produced R&B-Rap-Pop hegemony is so abysmal that my young daughter would rather watch the Eurovison song contest over an over rather than listening to the manufactured “hits” on the radio (a sad reflection of the world post Top of the Pops and MTV). I’m not sure where Andrew Hickey will be finishing his 500 songs, but not much will feature from the past decade.

What have I been obsessed with this year so far? All things Gerry Mulligan, Bill Crow’s solo albums and books, Lennie Niehaus, Clark Terry, Kenny Wheeler, Dave Holland, David Crosby (again), Ian Carr & Nucleus, The Felice Brothers, Beach Boys acapella work, Vinyl Me Please box sets (Quincy Jones, Philadelphia International Records) and Pugwash. Live music is back and I’ve been going to lots of gigs at our local arts festival – enjoy them while they last: like the Rolling Stones and dinosaurs – with few good bands being developed (and avatars of ABBA signaling a sad future) – soon it will all be extinct.

~ by Pat Neligan on July 21, 2022.

Posted in Uncategorized
Tags: Audiophile Vinyl, blue note, contemporary records, craft recordings, Jazz, record store day, records of the year so far