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Posted

I first had "Monk's Music" on a mono LP and thought that was the only way it came out. Years later I picked up the CD so I could listen at work. I had the headphones on and was surprised it was stereo; but almost right away, I noticed the lack of bass.

Can anyone tell me more about these K2 releases? How many are there, do they typically use the mono masters? How do you quickly identify them?

Posted

All I can tell you about that is that if you're in a brick-and-mortar, they come in red slipcases that have a smaller image of the original cover inside the red border.

That, and that in these parts it seems that they're more or less universally acclaimed.

Posted

They're going to say K2 somewhere on the back in the credit sections.

The Japanese versions will always say K2 on the obi.

I find that some of the regular OJC versions with recent remastering (especially by RVG or Kirk Felton) will best them to my ears on my system, but that's all a personal, subjective thing). They'll not disappoint I wager.

K2 is a JVC process, and not just OJC licensed titles or applied the process. Impulse, and other labels also had the K2 process applied to Japanese releases. (I have some great Coltrane K2 reissues).

Posted

I have the Monk/Coltrane OJC issue ( French Carrerre edition if you must know) , does the 2CD set discussed here improve on the slightly murky sound of the Monk /Coltrane quartet tracks ( which AFAIK only exist in mono). I'm delighted with the Monk's Music K2 disc but I don't have the quartet sides in a more recent mastering.

  • 9 years later...
Posted
49 minutes ago, mikeweil said:

After finally getting a mono K2 I am a convert.

And mind it was a 90s thing and they're 20 bit. But still wonderful sounding. I think K2s sound better than some 24 bit reissues.

  • 2 months later...
Posted

I find the Riverside recordings of Trane with Monk rather ragged and disappointing, apart from the three quartet tracks and "Monk's Mood" from the solo session.

Bob Weinstock will go down as the man who prevented a pile of quartet recordings of Trane with Monk in 1957 when it was happening, and hindered Miles's transfer to Columbia. Surely they could have paid the dude to back off. He was the opposite of Alfred Lion, who was concerned with documenting important musicians.

Posted
1 hour ago, Shrdlu said:

Bob Weinstock will go down as the man who prevented a pile of quartet recordings of Trane with Monk in 1957 when it was happening, and hindered Miles's transfer to Columbia. Surely they could have paid the dude to back off. He was the opposite of Alfred Lion, who was concerned with documenting important musicians.

Shrdlu, I've read the opposite in liner notes and such:  

1) Monk was mad at Weinstock for some reason related to his time with Prestige.  Coltrane was under contract to Prestige, and Weinstock had just as much right to record the pair as Keepnews had.  He suggested to Keepnews that they alternate labels, and let Riverside go first.  Monk refused to do anything more for Prestige.

Johnny Griffin and Lockjaw Davis had the same arrangement with the two labels, didn't they?

2) Weinstock in no way hindered Miles recording for Columbia because he knew that would boost his own sales.  He merely required Miles to fulfill his contract.

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