But I also have to say this original stereo mix also sounds fantastic. stereo, and the mono mix does sound great. The vinyl is truly NM and plays like a dream. I’ve just obtained (scored) a Plastylite stereo pressing, and it’s truly amazing. This is a super interesting post, and great discussion follows. New-found enthusiasm for this pinnacle of Hancock’s Blue Note works, due to vinyl pressing and presentation. Who’d have thought it? The Liberty is not an early NY/Liberty, it is a dark blue/ yellowy later label, indicative of the Transamerica period, which often turn out a weaker presentation. I’d have to hear the stereo original to judge it more confidently but we are in confirmation bias territory. There was no doubt in my mind that the stereo didn’t engage me in the way the original mono does. It doesn’t help that Liberty seems to lacks the visceral punch of Plastylite. Information about room placement sits between you and the music, it doesn’t support or enhance it. Williams is on the right, detatched from what’s happening at other points of the compass, undermining the cohesion of the ensemble. It is thrilling, as it should be. In contrast, the stereo immediately sends you location information. Williams cymbal-washes rise up out of the hanging brass harmonies and percussive colourings. Immediately on hearing the original mono, everything changedĪs soon as the needle drops, the mono has you solidly focussed on the music. For reasons I was unable to pin down, I felt little enthusiasm for playing it. For several years the best copy of Maiden Voyage I could get was a stereo later Liberty, and I thought I was doing well to have that. I have no overall preference between mono and stereo, it all depends on the music. Taking Liberties: Same selection, later Division of Liberty, stereo: (*excluding The Prisoner, which escapes me, and falls out of scope) It brings to five* my Hancock Blue Note originals (1962-5), I think the complete set, all mono: What put off other bidders? Perhaps it was that crossed out previous owners name on the rear cover, or the seller’s redundant disclaimer that it wasn’t him that had done it, as though it mattered who. Very competitive lady, and according to their change in score total over six months, I calculate buys a record every three days. There was only one other bidder – and from the anonymised Ebay bidder code, u***i – I’ll give you a clue. It nearly happened again, but for once the cards fell differently. The Tokyo Disc Union buyers are the main suspects. I lost count of the number of times I found myself second place price setter. Not that they appeared often but when they did, someone would spirit it away with an XXL bid. This has taken a long time – four or five years – to track down, a mono copy in (almost) excellent condition. I guess I may have given away my position. which wastes the opportunity for informative biographical and musical notes to complement critical listening. Opinions differ whether this over-wrought prose adds fittingly to a “concept album”, or is high class b.s. Liner Notes (attributed to one “Nora Kelly”) That was accompanied by the 2nd Variation Design 9, the final inner sleeve as Blue Note was sold to Liberty Records in April 1966 This sleeve uses the slogan “27 Years” despite the actual 27 years being the following year 1966. Inner sleeve associated with BLP 4202 – 4226, titles released last quarter 1965 (recorded on most cases 3 – 6 months earlier) Inner Sleeve: design 8: 27 Years 1st variation, Unique identifier – Column 6 Row 4, BLP 4187 Larry Young, Inta Somethin’. Mono original: Plastylite ear and VAN GELDER stamps, DG Side 1 only – very faint. Shorter’s trademark downbeat tone, pungently stretching out became the perfect foil for Hancock’s modal colourings and probing chords and, but Coleman excels himself as the perfect offset to Hubbard ‘s burnished tone in the portentous opening song lines of this visionary work.ĭespite everyone’s familiarity with the iconic title track and its opening chords, it is Dolphin’s Dance which for me is the sublime track, but they are all good.
I needed reminding that the tenor is not Wayne Shorter, but George Coleman, playing probably at his best here. The addition of Freddie Hubbard to what is basically Miles Quintet, including Davis’ saxophonist of the time George Coleman. Hancocks previous album Empyrean Isles was an altogether darker and more edgy quartet affair. What words can describe this in my view triumph of Hancock’s ’60’s Blue Note recordings? – compelling, refreshing, luminous, liquid gold. Freddie Hubbard (trumpet) George Coleman (tenor saxophone) Herbie Hancock (piano) Ron Carter (bass) Anthony Williams (drums) recorded Rudy Van Gelder Studio, Englewood Cliffs, NJ, March 17, 1965
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