Peter A

Back to the Interaction question: the Atlantic Records Discography, compiled by Michel Ruppli, has the following information: Art Farmer Quartet: Art Farmer (flh) Jim Hall (g) Steve Swallow (b) Walter Perkins (dr). NYC, July 29, 1963 7131 It's a great day 7132 (5:02) My little Suede shoes Atl. LP1412 7133A Embraceable you Same NYC, August 1, 1963 7131B Great Day 7133B (7:02) Embraceable you Atl. LP1412 7134 (6:26) Some time ago Atl. LP1412 7135 Loads of love No mentioning of "Days of Wine and Roses"... However, "My Kind Of Love" is mentioned as (unreleased) master number 7452, from the recording session for the Live At The Half Note session (Half Note, NYC, December 5/6/7, 1963). Apart from the 5 issued takes on the record (LP1421), there seem to be 17 unissued takes. Peter

I have the original mono LP (Atlantic 1412); it does NOT include "My Kind Of Love". It has the following tracks: Side 1: 1. Days Of Wine And Roses (Henry Mancini & Johnny Mercer) 6:49 2. By Myself (Howard Dietz & Arthur Schwartz) 7:11 3. My Little Suede Shoes (Charlie Parker) 5:02 Side 2: 1. Embraceable You (George Gershwin & Ira Gershwin) 7:02 2. Loads Of Love (Richard Rodgers) 4:58 3. Sometime Ago (Sergio Mihanovich) 6:26

Side 1: Soul Cookin' * (E. Edwards) 4:25 Brazil (S.K. Russel - A. Barroso) 4:15 You Won't Let Me Go (B. Allen - B. Johnson) 9:15 Side 2: Theme From Mutiny On The Bounty (B. Kaper) 2:30 Blues And Dues (T. Schwartz) 7:20 I'm Getting Sentimental Over You* (Bassman - Washington) 4:10 Don't You Know I Care (Ellington - David) 4:45 Recorded: Sept. 4, 1962, at Van Gelder Studio, Englewood Cliffs, New Jersey. Personnel: Thornal Schwartz, guitar; Bill Leslie, tenor sax; Lawrence Olds (sic!), organ; Jerome Thomas, drums; *Donald Bailey, drums.

Lou Donaldson - Hot Dog (BST 84318) Original Liberty pressing Side 1 1. Who's Making Love (H. Banks - B. Crutcher - D. Davis - R. Jackson) 6:35 2. Turtle Walk (L. Donaldson) 7:48 3. Bonnie (T. Turrentine) 4:55 Side 2 1. Hot Dog (L. Donaldson) 10:40 2. It's Your Thing (R. Isley - R. Isley - O. Isley) 8:55

New Tolliver was recorded November, 1977 in Paris. The band consists of Tolliver (tp), Nathan Page (guitar), Steve Novosel (bass) and Alvin Queen (drs). Tracks are: "Earl's World", "Impact", "Compassion" and "Thruth". Sorry, I don't have the Brooks...

Two more: RJL-2025-26: Art Blakey & The All Star Messengers - Super Live RJL-2607: Charles Tolliver - New Tolliver (This one is great!)

Or one of the (four?) great records by Trudy Pitts on Prestige...

The later titles of the New Jazz series were issued in the early sixties on the STATUS label, for instance: Ahmed Abdul-Malik - Spellbound (8304) and Red Garland - Sugan (8305). However, they continued the numbering of the New Jazz series. I think Prestige sold their old stock New Jazz LP's with the STATUS stickers (or with reprinted covers with STATUS) during the early sixties.

I don't know the Mingus reissues, but I have several of his original Atlantic LP's. In fact I have many original Atlantic LP's but the sound quality is never great. Not comparable with the great sound of original Blue Note or Impulse records - try to find original copies of The Black Saint and the Sinner Lady or Mingus Mingus Mingus.

Jim, I probably did not make myself clear enough - I should have distinguished two situations: A) the use of different (mismatched) labels, and B) the use of old labels on "Liberty era" pressings. Situation A seemed to occur on (even) first pressings. For instance, first pressings of the valuable Hank Mobley (1568) have a 63rd NYC label on one side and a 63rd NY 23 label on the other side. Likewise, many copies I have seen of Freddie Hubbard's Hub Cap (4073) have a 47 W 63 Inc label on one side, New York label on the other. Other examples with this label combination are Lou Donaldson Here 'T Is (4066) and both Turrentine Live at Minton's. The opening sentence from my earlier post refers to situation B: the use of Lexington, 63rd NY 23, 63rd NYC, 63rd Inc. NYC or New York USA labels by the Blue Note Company after the takeover by Liberty (1966 or 1967). After the takeover, Blue Note used different pressing plants then the PlastyLite pressing plant they used before. From 1954 until 1966, all Blue Note records used to have an "ear" mark - which is actually a stylished "P" - pressed in the dead wax area. After the takeover, Liberty probably used its own pressing plants, but the records did not have "ears" anymore. However, after the takeover, Blue Note did not throw away all the old labels, and only started using new "Division of Liberty" labels, but, at least for some titles they seem to have used old-stock labels. For instance, I have seen copies of Lee Morgan Vol 2 (1541) with Lexington address labels, which were obviously pressed around 1967, as: - the records did not have a flat edge; - the dead wax did not show the ears, - the records did not have deep grooves, and - the covers were definitely newer (no heavy covers with "frame" lines). Likewise, I have seen several copies of Hank Mobley and his All Stars (1544), same story: 63rd NY 23 labels - like the first pressing - but no flat edge, deep groove or ears and floppy covers. I can give you many, may more examples. To make things even more complicated: I have two copies of Hub Cap (4073). Both have split labels, one side 63rd, other NY USA label. However, one record has ears and is obviously older than the other. The other disc is lighter and has a serrated edge, exactly like the discs with "Division of Liberty" labels from the end of the sixties. So the record w/ears is probably from 1961 - I am certain as it was signed and dated by the previous owner -, the other from around 1967. But they have the same different labels! You are right: the combination Lex - Liberty labels does not seem to exist, so I can't prove my "theory". I just wanted to show one should not only look to labels to determine if a record is a first pressing. Disc characteristics are more important than labels (only). Peter

Sometimes 63rd NYC labels, or even Lexington labels, were used in the Liberty era (1967 -). These "fake" originals can be recognised as they do not have a deep groove or the ear mark in the dead wax. At that time Blue Note simply used labels from old stock. One should realise that Blue Note was a relatively small company. I have many Blue Note LP's with mixed labels: Lex/63 NY 23, 63 NY 23/63rd NYC, 63rd NYC/New York etc.

How about this one...$ 1.403 for "The Cats" by Flanagan c.s on New Jazz. This one used to sell for $ 150-200. The Cats

That's not an easy question. The problem is that Blue Note LP's were not always released in numerical order. For instance, Kenny Burrell's "Blue Lights, Vol. 2" (1597) was released much later than Vol. 1 (1596) and, for that reason, does not exist with deep groove. But, generally speaking, all first pressings before 4054 (except 1597) were released with a double sided deep groove. From 4054 until 4072, the records occur with either both sides dg, one side dg (4059 Kenny Drew "Undercurrent" never seems to appear dg both sides) or no dg at all. To make matters even more complicated: Blue Note probably used dg-stampers for reissuing a number of records, which were released as "no-dg" in the first place. For instance, a lot of the "later" titles (of the 4100 series) occur with (one or two sides) deep groove, while "review copies" of the same titles have no dg. So the presence of deep grooves is not always a proof for a particular record being a first pressing.

Brownie, I am sorry, but my copy of "Complete Communion" does have an ear in the dead wax; in fact it even has TWO ears in the dead wax of side 1 (this appears not to be unusual for this particular title). Peter

Don Cherry's Complete Communion - 4226 - was the last title with the ear. So from 4227 (Mode for Joe) on the ear was no longer present. The first pressings of the following titles do not have ears because they were released (sometimes much) later than planned: - 4118 Free Form - Donald Byrd; - 4171 Extension - George Braith; - 4193 Indestructible - Art Blakey; - 4196 Blue Sprits - Freddie Hubbard; - 4203 Andrew! - Andrew Hill; - 4204 Gettin' Around - Dexter Gordon; - 4206 Contours - Sam Rivers; - 4209 Dippin' - Hank Mobley; - 4212 The Gigolo - Lee Morgan; - 4213 Components - Bobby Hutcherson; - 4215 Right Now! - Jackie McLean; - 4217 Compusion! - Andrew Hill; - 4218 Action! - Jackie McLean; - 4219 The All Seeing Eye - Wayne Shorter; - 4222 Cornbread - Lee Morgan.

Jazzhound: Yes, you are right - it slipped my mind. But I have only seen the patent number stamps on some of the repressings (w. large label) of the earlier small-label titles. Never seen them on the later numbers (starting from 340?), which have large labels. B.T.W.: do you think that the white (large) was directly followed by the small blue label?

You may be aware of the fact that 50's and 60's Riverside pressings did not contain any (additional) "stamper numbers" (perhaps you were referring to the "ear" stamp in the dead wax of Blue Note records). So it is simply not possible to be a "sophisticated" Riverside collector. And we did not even discuss the "small label" and "large label" (blue label with mike and reels) variety yet...

Yes, you made your point earlier. Perhaps other people enjoy in trying to determinate the labels and (other) specifics of first pressings.

I don´t know the exact number, but it must be somewhere between 243 and 246. My copy of 241 - The Sound Of Sonny - has white labels and I know 243 - Blues For Tomorrow - has white labels too. As far as I know 246 and 248 should have blue labels. Peter

It sold for quite a high price on eBay a couple of months ago, something like $300-$350. Both Richardson LP´s on New Jazz are very rare. Peter

Great session, particularly the title track. I think it is as good as the various Byrd-Adams sessions issued on Blue Note. Things couldn't have gone wrong with such a line up: Byrd, Adams, Herbie Hancock, Laymon Jackson and Jimmy Cobb. I only have the original record on Warwick Records - which is a pretty noisy pressing - so I can't comment on the sonic of the Fresh Sound reissue.

Denon PMA-520 amp.; Pioneer PD-5603 CD-player; Quadral Tribun speakers; and an old and dusty...Thorens TD-160 turntable with Shure N97xE cartridge. I mainly play records and rarely play CD's anymore.

Ike Quebec cut two sessions in 1962 with Earl Van Dyke, Willie Jones, Sam Jones and Wilbert Hogan (which is in fact the rhythm section on Hootin' and Tootin'). These sessions have been released on The Complete Blue Note 45 Sessions of Ike Quebec on Mosaic. By the way: great picture, Aric!

Wolff, You are right, "One Step Beyond" is ONE of the few exceptions on the rule (that the first pressings of the early titles have laminated covers). Other titles with non-laminated covers are: "Up & Down" - Horace Parlan (4082), "Down To Earth" - Freddie Roach (4113) and "Am I Blue" - Grant Green. From 4150 on all covers (except 4156) are unlaminated. Peter