AAA Vinyl

Blue Note's new "Tone Poet Audiophile Vinyl Reissue Series" is part of the company's 80th anniversary celebration. Wayne Shorter's Etcetera is the first release in the series. Joe Harley, well known among audiophiles for his work with AudioQuest both as a press liaison (among other tasks) and especially for the series of all-analog AudioQuest LPs he produced back when vinyl was "dead", "hand picked" these "Tone Poet" titles and oversaw their production.

Despite recording a handful of legendary Paramount Records sides in 1930, Eddie James “Son” House, Jr. vanished after his rediscovery in August 1941 by Alan Lomax. His recordings gained stature over the ensuing decades, which in 1964 lead Dick Waterman, Nick Perls, and Phil Spiro on a mission to find House. They eventually located him that June in Rochester, New York, approximately 1,000 miles from his origins in the Mississippi Delta. Following his migration, House worked as a New York Central Railroad porter, killed a man in self-defense, and perhaps most importantly in the context of this review, put down his Dobro after the death of close friend and fellow bluesman Willie Brown. However, the younger generation’s enthusiasm for House’s original recordings reinvigorated his desire to play, which he then did for the first time in seven or eight (according to the liner notes) years.

Following a turbulent decade battling personal demons in the 1950s, tenor saxophonist Dexter Gordon had mostly faded from the jazz scene by the end of that decade; after all, he only recorded three sessions (two of which he led) in the second half of it. By 1961, however, he began a successful relationship with Blue Note that commenced that year with Doin’ Allright. The Los Angeles-native moved back to New York City for the third time, got rediscovered by jazz listeners, and led a quintet on this album that included Freddie Hubbard on trumpet, Horace Parlan on piano, George Tucker on Bass, and Al Harewood on drums.

If you'd have told me a few years ago when Vinyl Me, Please launched, that within a few years the curated based vinyl subscription service would be at the top of the vinyl reissue heap, I'd have said you've been inhaling too many PVC fumes. But here we are with a vinyl reissue that's perfect in every way.

I'd be surprised if someone at UMe didn't look at the success of Blue Note's "Tone Poet" series and say to themselves "maybe the way to launch a Motown reissue series is to do it with the highest possible quality" because Motown/ UMe's new 5 LP Motown mono series duplicates in every way Blue Note's "Tone Poet" series: Kevin Gray cut from mono master tapes, RTI plated and pressed on 180g vinyl and the records are packaged in Stoughton tip on jackets.

The French Record Company’s first release is a limited to 200 copies edition of a “never before released but should have been” 1958 recording of pianist Marcelle Meyer playing a Debussy program recorded for the Les Discophiles Francais label (DF 211-212).