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Blakey, Art and The Jazz Messengers - Meet You At The Jazz Corner... Volume 1 - Super Hot Stamper (Quiet Vinyl)

The copy we are selling is similar to the one pictured above.

Super Hot Stamper (Quiet Vinyl)

Art Blakey and The Jazz Messengers
Meet You At The Jazz Corner... Vol 1

Regular price
$149.99
Regular price
Sale price
$149.99
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per 
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Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus To Mint Minus Minus

Side Two: Mint Minus to Mint Minus Minus

  • This excellent pressing boasts solid Double Plus (A++) sound or close to it from start to finish - exceptionally quiet vinyl too
  • Tubier, more present, more alive, with more of that "jumpin' right out of the speakers" quality that only The Real Thing (The Real Thing being An Old Record) ever has
  • Credit goes to RVG once again for the huge space that the superbly well recorded combo occupies
  • "Here all ears are tuned to the proverbial "jazz corner of the world," better known as Birdland, where the quintet serves up a healthy sampling of its concurrent catalog... a welcome addition to the library of most any jazz lover."

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This vintage Blue Note pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.

What the Best Sides of Meet You At The Jazz Corner Have to Offer Is Not Hard to Hear

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1960
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange -- with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We're Listening For on Meet You At The Jazz Corner

  • Energy for starters. What could be more important than the life of the music?
  • The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
  • Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
  • Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
  • Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

The Players

  • Art Blakey - drums
  • Lee Morgan - trumpet
  • Wayne Shorter - tenor saxophone
  • Bobby Timmons - piano
  • Jymie Merritt - bass
  • Pee Wee Marquette - master of ceremonies/announcer

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

Side One

  • The Opener
  • What Know
  • The Theme

Side Two

  • 'Round About Midnight
  • The Breeze And I

AMG Review

This is the first of two volumes featuring the oft-documented late-'50s/early-'60s incarnation of the Jazz Messengers -- with Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano), and Jymie Merritt (bass). As always, the combo is led by the aggressive skins of Art Blakey (drums).

Here all ears are tuned to the proverbial "jazz corner of the world," better known as Birdland, where the quintet serves up a healthy sampling of its concurrent catalog. Although the live recording suffers from a bit of distortion -- which appears to be on the master tape rather than being a manufacturing flaw -- the overall quality of the performance significantly downplays any and all audio anomalies.

After a rousing introduction from Birdland's master of ceremonies -- the highly affable Pee Wee Marquette -- the band introduces Hank Mobley's easy-boppin' and appropriately enough titled "The Opener" -- which is punctuated by some stirring interaction between Shorter and Morgan. The syncopated blues changes that drive through Morgan's own "What Know" reflect his abilities as the quintessential composer for these Jazz Messengers. He incorporates his solid swinging improvisational skills into an open and free exchange of sonic ideas, ...