Verve Label Group/UMe Announces Chad Kassem-Supervised All-Analog Classic Jazz Reissue Series

June 11, 2020—Verve Label Group and UMe announced today the July 31st launch of a new “audiophile grade”, all-analog reissue series supervised by Acoustic Sounds CEO Chad Kassem, featuring iconic titles from the Verve, Impulse!, Philips, EmArcy and Decca catalogs.

Two titles will be released towards the end of each month between July and November, 2020 beginning on July 31st with two legendary collaborations: the Phil Ramone-engineered Getz/Gilberto (1964) and Louis Armstrong Meets Oscar Peterson (1959), recorded in stereo at Capitol Studios in 1957 and issued first in mono that year and in 1959 in stereo.

“Top mastering engineers” (probably chosen in “Kassem style” depending upon who’s in closest proximity to the master tape location), will cut lacquers directly from the original analog tapes, with Quality Record Pressing doing the plating and 180g vinyl pressing, packaged in Stoughton Printing Co. high quality tip-on gatefold jackets.

Pre-order Getz/Gilberto

Pre-order Louis Armstrong Meets Oscar Peterson

“We’re all about the highest possible quality at Acoustic Sounds. So, to work on a reissue series with Verve and UMe that’s about no-expense-spared quality— that’s a great opportunity. It’s wonderful to use the original analog masters of classic records by such legendary artists as Stan Getz & Joao Gilberto, John Coltrane, Peggy Lee, Clifford Brown & Max Roach and many others. Our aim with this series is to create the definitive versions of timeless jazz records, and we can’t wait for people to hear the results.” – Chad Kassem

The Acoustic Sounds Vinyl Reissue Series:

July 31/Verve Records
• Stan Getz/João Gilberto—Getz/Gilberto (1964)
• Louis Armstrong and Oscar Peterson—Louis Armstrong Meets Oscar Peterson (1958)

August 28th/Impulse! Records
• John Coltrane—Ballads (1963)
• John Coltrane—A Love Supreme (1964)

September 25th/Philips Records
• Nina Simone—I Put A Spell On You (1965)
• Nina Simone—Pastel Blues (1965)

October 30th/EmArcy Records
• Sarah Vaughan—Sarah Vaughan (with Clifford Brown) (1954)
• Clifford Brown and Max Roach—A Study in Brown (1959)

November 27/Decca Records
• Peggy Lee—Black Coffee (1956)
• George Russell—New York, N.Y. (1959)

“We are excited to launch our Acoustic Sounds series,” said Bruce Resnikoff, President & CEO of UMe. “Verve and UMe have one of the richest jazz catalogs ever recorded and our goal is to give vinyl and jazz lovers the best possible versions of classic albums. The Acoustic Sounds series is designed to appeal to today's most discriminating fans, looking for the very finest in both artistic content and audio quality.”

From today’s press release:

Louis Armstrong Meets Oscar Peterson is a brilliant undertaking in which Verve’s legendary “house pianist” encountered one of jazz’s most revered giants. A significant part of Peterson’s genius was his ability to be an exceptional pianist and leader, while also being a perfect accompanist when the circumstance demands… and in a situation like this, to be both. Armstrong is not only recognized as one of the most innovative, singular, fascinating and beloved artists of the 20th century, but also one of the most generous in the way he embraced and stimulated his collaborators. Backed by the Oscar Peterson Trio – bassist Ray Brown and guitarist Herb Ellis, and augmented by frequent fourth member Louis Bellson on drums – these peerless heavyweights created an album that is utterly compelling, radiantly jubilant and consummate in artistry. The musicians provided the setting for the jewel that is Pops, with Peterson perfectly embellishing every phrase Armstrong sings, or plays. The focus here is primarily upon his totally personal and thoroughly captivating vocal style, with his occasional trumpet solos limited in all but one case to a single chorus. Essentially culled from the Great American Song BookCole Porter, the Gershwins and Harold Arlen among the songwriters – the pieces range from poignant ballads and blues to effusive easy-grooved swing. Each song is an exquisitely crafted gem that will warm the heart and enrich the soul.

Getz/Gilberto is not only a marvelous album, but one which had a profound influence upon the face of jazz and American popular music. This stunning 1964 collaboration between Stan Getz, one of the most popular and respected tenor saxophonists of the era, and the remarkable Brazilian guitarist João Gilberto, launched the bossa nova craze and the career of João’s wife Astrud Gilberto with the hugely popular and iconic hit song, “The Girl from Ipanema (Garota de Ipanema).” Even more impactful, it introduced the famed Brazilian composer Antonio Carlos Jobim to the English-speaking musical world. In addition to playing piano on the album, Jobim also composed six of the eight compositions, including two of his most popular masterpieces, “Desafinado” and “Corcovado,” along with the aforementioned “Garota de Ipanema”.

While Getz had embraced the music of Brazil prior to this with two outstanding Verve albums – Jazz Samba and Big Band Bossa NovaGetz/Gilberto, with multiple Grammy Awards and a permanent place on various Best Albums of All-time lists is the album that launched a revolution. Regardless of that, the collaborative blending of Getz’s fluid, muscular virtuosity and João’s impeccable acoustic guitar stylings and captivating vocals, Astrud’s enchanting almost-whispered singing on two tracks, all backed by Jobim’s minimalist subtlety on piano and the flawless support of Sebãstio Neto and Milton Banana on bass and drums, make this an utterly momentous musical experience regardless of its lofty place in musical history.

COMMENTS
dastinger's picture

Great news! I wonder if you, Michael, know if these will be widely available with Universal distribution just like Tone Poets and BN80 (European market for example) or if it will be an Acoustic Sounds exclusive?

Michael Fremer's picture
I don't know. Can find out...
dastinger's picture
dastinger's picture

Not sure why my other comment didn't get through, only the subject. Here goes:

It'd be great if you could find out and let us know. Thank you!

Intermediate Listener's picture

Does anyone have a mono vs stereo recommendation?

Intermediate Listener's picture

See now they are only offering the one

Grant M's picture

it's hard to say for sure which version the Louis Armstrong & Oscar Peterson will be, but I suspect stereo. The photo of the jacket shown on the website isn't a lot of help, since the original jacket had just a "stereo" sticker, so the artwork isn't definitive.

gMRfk6LMHn's picture

We know Chad Kassem bought The Mastering Lab when the late great Doug Sax passed away. There hasn't been much news about The Mastering Lab since, no big fanfare about any masterings they have done. Can you fill us in Michael?

James, Dublin, Ireland

Michael Fremer's picture
It's been a somewhat difficult install and getting it properly up and running.
BillK's picture

That sounds like an awesome idea but who is going to press these?

I assume QRP, but their quality has fallen as of late, and I am suspicious the association with UMe might mean United (!).

Now if Analogue Productions was also issuing these on 15 IPS reel to reel tape, there would be cause for celebration.

BillK's picture

Didn't know that explicitly said QRP, but questions of quality control and desire for AP reel to reel still hold.

Michael Fremer's picture
“Top mastering engineers” (probably chosen in “Kassem style” depending upon who’s in closest proximity to the master tape location), will cut lacquers directly from the original analog tapes, with QUALITY RECORD PRESSING doing the plating and 180g vinyl pressing, packaged in Stoughton Printing Co. high quality tip-on gatefold jackets.
BillK's picture

I saw that after I clicked "Save." :-)

Dr Freejazz's picture

Weren't they destroyed in a fire in 2008?

Michael Fremer's picture
Many were "out" being used for those damn audiophile reissues (thank G—D) including those two. Many were destroyed. But also, many one off the masters shipped to Europe and elsewhere have been located and returned to UMe (and are not more securely stored)...
Michael Fremer's picture
What records from QRP do you feel lack their usual HQ?
AXington's picture

The copy of Pet Sounds (45 Mono) recently had the spindle hole off center and warped. Like an idiot I didn't think to contact them about it until it was too late to return it. That's the only AP or QRP disc I've had an issue with.

BillK's picture

My copy of "Pet Sounds" in stereo has more vinyl background noise as well as ticks and pops despite being cleaned on a VPI and an Audio Desk.

Comparatively my 45 RPM "Charlie Brown Christmas" is much quieter as is my 45 RPM "Time Out," though even "Pet Sounds" is much better than most of what MoFi sends out (except for One Steps) these days.

Bob D.'s picture

Mastered by George Marino.

Michael Fremer's picture
And that was done well and the tape was more than a decade fresher than it would now be...
rl1856's picture

This Verve series is AAA correct ? The success of the BN Tone Poet series probably caught many in the industry by surprise. Hopefully additional labels took note and will announce their own AAA programs. Prestige, Savoy, Bethlehem, Candid anyone ?

In looking at the titles, I am glad that EMARCY is getting some love....Clifford Brown- Sarah Vaughn is SPECTACULAR ! Brownie's trumpet comes through with visceral impact- it sounds like lightening modulated by trumpet valves. The recent Mosaic Clifford Brown- Max Roach box set lost the visceral impact of the original pressings, so I am anxious to hear this remaster.

Michael Fremer's picture
it says so!
melody maker's picture

... to rl1856: Sarah with Clifford is as good as it gets, and Study In Brown too!

Elubow's picture

Hasn't Quality Record Pressings done most of these already in 33 and 45? ( Yes, there are some new ones). Maybe it's me but no, there they are on my shelf. In how many ways can you dress up these records, call it something else, do new mastering without the buying public finally tiring of yet another iteration? Maybe they'll do these with a new secret vinyl formulation that are so silent that not even a bat could here it!

Grant M's picture

These great titles deserve to be in print. i don't understand the remark of the "public finally tiring of yet another iteration". If anything, the Tone Poet series has demonstrated the popularity of high quality analog 33.3 reissues at a reasonable value. Personally, i don't buy any 2x45 unless it's absolutely necessary, so no, the public wants to buy these versions, regardless of how many other versions might be out there. if you haven't noticed, a lot of people are pretty new to buying vinyl.

Elubow's picture

I expressed my personal feeling about some of these reissues. If I’m wrong and they sell like hot cakes, good for Chad and QRP.

Michael Fremer's picture
Please always feel free to express them on this website
Elubow's picture

I think the water has been long under the bridge in that regard!

Elubow's picture

I should have said: the horse has long left the barn.

Intermediate Listener's picture

Greatly prefer a good 33

Michael Fremer's picture
Are nearly a decade old and no longer in print....so these are for a younger gen, BOOMER! lol.... and for others returning to vinyl after realizing their error...
King Of Dirk's picture
King Of Dirk's picture

That was odd; I somehow deleted the body of my reply, which read "guilty as charged" in reply to "and for others returning to vinyl after realizing their error..."

Elubow's picture

.

Tom L's picture

Oh wow, A Love Supreme and Ballads....mmmmmmmmmmm, good!

garyalex's picture

I'm especially interested in the "A Love Supreme" reissue. I have an original copy in mono. It will have to go some to better that one.

AnalogJ's picture

Originals are good, but Impulse reissues can be better. I have a NM original mono of Coltrane/Hartman and the stereo ORG wipes the floor with it. The
Speakers Corner of A Love Supreme, while not with the 1st generation master (neither was the AP 45), is explosive, something that originals are not. I don't have an original ALS with which to compare, but the couple of the top-notch reissues I have are significantly better than any of the half-dozen Impulse originals I have. As I said, the originals are good, but they're not as explosive nor have the lower end presence.

AXington's picture

I mean, I know it's a really beloved album. But come on, Verve did a remaster 2 years ago, AP did a remaster in 2011. Acoustic sounds still even has their 2011 45 RPM remaster in stock as well as the Verve pressing.

I really really don't see what the point of some of these series being remastered again are. It's not like they're all sold out or hard to find. Some of these I believe haven't had recent remasters/releases, but seriously...

Michael Fremer's picture
!) Verve's remaster 2 years ago from a digital source was very poor. I bought one on orange vinyl just to hear what I knew it would sound like so I could be 100% sure. 2) AP did it in 2011. That's almost a DECADE AGO! I know for geezers that was yesterday but it's a long time ago! 3) Some people don't like 45s.... 4) I wondered about the title too but was told the pre-order was very big. Happy to share this classic with a new generation! 5) Plenty of other great titles in the bunch!
Elubow's picture
AXington's picture
Michael Fremer's picture
?
AXington's picture

Isn't worth trying to fight with comments on this website on my phone apparently, lol. I had typed a longer reply, and it didn't post and didn't realize that this fragment posted. Anyways 9 years isn't like yesterday to me. But I'll concede your points about the digital verve remaster and 45 rpm. I have the 45rpm Pet Sounds and Nuthin Fancy, and I honestly may get the 33-1/3 versions just so I don't have to flip and change the records so often. But I'll keep the 45rpm versions for more special occasions.

Anyways, it just frustrates me that UMe has so many artists with completely neglected discographies. I know the audiophile world is a heavy jazz crowd, and your point about introducing these records to a younger crowd is definitely valid, but I'd like to have audiophile AAA records of music I grew up with. I know that a lot of it was recorded digitally, but certainly not all of it was. I also no know a lot of the masters were lost in the fire, but not all. But several of those that were, the original multitracks are still available so they could be remixed, which might be ba really good thing because half of those were so brickwalled in the first place that no matter how good a mastering would be, they'd still sound horrible.

But also since we may be in a lacquer shortage, it also just seems like a waste to redo titles that still have decent pressings available, even on the used market, when a lot of their catalog never had one to begin with, or was pressed in such small quantities that they are impossible to find even used or their prices are insanely inflated.

AXington's picture

And my frustrations here aside, I guess I can at least say that UMe is at the very least doing something for audiophiles. Also at least they aren't wasting lacquers on something as completely, and overwhelmingly necessary as a 20th anniversary edition of Britney Spears' Baby One More Time, which audiophiles the world over are rejoicing about. Thanks Sony/Legacy. That's just what we all wanted. May God have mercy on your souls.

Elubow's picture

Shouldn’t there be an emoji accompanying that last post?

AXington's picture

What, because I'm 33 I have to speak/type in millennial? If someone can't get the sarcasm and venom behind my statement about Sony/Legacy and Britney Spears, then they probably need to learn how to make inference from context. I thought it was pretty obvious. Unless of course, they think I'm being sarcastic about there being a 20th anniversary vinyl pressing of Baby One More Time, which I guess a reasonable person might find that part hard to believe, but I assure you, it's true. This is 2020, the end of civilization is upon us.

Elubow's picture

Like most other things, it seems I have to adapt to the NEW ways. Who the hell needed a cell phone anyway? I was happier without it. And because of increasing sensitivities and misinterpretation online,the great art of sarcasm seems to have suffered and we are forced to append an emoji to tell others that we really didn’t mean what we just said or meant it but said it tongue in cheek. God forbid we should offend someone!

AXington's picture

Heh, the 33/millenial comment was sarcastic too. I will never stop being sarcastic.

Elubow's picture

Ya see— I missed it! Losing my touch, I guess.

Elubow's picture

Aren’t you a geezer as well?

gMRfk6LMHn's picture

Wait till he gets the other side of 60, he might think differently!

James, Dublin, Ireland

Elubow's picture

I think Michael is over 70. Still looks good though!

Michael Fremer's picture

Elubow's picture

Perhaps a centerfold layout?

bkinthebk's picture

an Anthony Weiner tweet?

MalachiLui's picture

i'll just leave it at that

Michael Fremer's picture
Of course....
BillK's picture

Something like "Getz/Gliberto" would, I suspect, be one of AP's most successful 15 IPS tape releases were they to make one as part of this project.

Sadly so much of what The Tape Project and AP's Ultra Tape collection has to offer is somewhat esoteric, and offering a tape release would further the all-analog nature of the project.

Michael Fremer's picture
I wish the labels would open the vaults for tapes. After all, they have their 192/24 masters of everything and those are their new masters. The tapes are more pride at this point. So why not let out the tapes? Are they seriously worried that people are gong to bootleg a copy of a copy of a copy? especially given the cost of blank tape.... so...
PeterPani's picture

The tape output is much too low.

Elubow's picture

I’m sure reviews will call it the best sounding version ever, with best remastering and the quietest vinyl! The funny thing is many of us blockheads will probably order it to add to our other six copies!

MalachiLui's picture

older audiophiles who've been around for a while and have collected every pressing won't need these, but those who missed out when those 10 other pressings were reasonably priced will want these. are some of these titles tired? yes, i really don't need another getz/gilberto (happy with the AP 45). but the coltrane and nina simone titles? bring them on! 'pastel blues' (and to a lesser extent 'i put a spell on you') are historic recordings that have NEVER had audiophile vinyl reissues. the coltrane ones have been reissued often but it's been a decade since the last audiophile reissues of those (at 45rpm). since then, tons of mediocre pressings have flooded the market - i still don't own 'a love supreme' on vinyl (only the AP SACD... good but not the same as an LP).

further, my friends around my age who collect vinyl simply cannot shell out $50-55 for a 45rpm reissue, no matter the quality. with budget setups, it's rarely worth it. a $30-35 single LP of near-equal high quality, however, is more accessible and value-minded. even as an audiophile with a decent income, i have a hard time paying more than $40 for an LP; the last few $50+ LPs i bought were imports. in fact, i just got a $26 danny brown LP today that sounds better than some of my 45rpm audiophile reissues costing twice as much. i understand why the $55 45rpm reissues cost so much, however they're not exactly budget-friendly. these new 33rpm reissues are, and i support it.

Elubow's picture

I understand your points and they’re well taken and have validity. Still, there are billions and billions ( echoes of Carl Sagan) of records out there, many of them strikingly unique with great sound. And yet the same ones keep being pressed over and over. Yes, there must be an audience for these as they sell well. But it would be refreshing to see QRP and others take a chance on some outliers. Of course, it’s easy to say because it’s not my money. I’m truly grateful for what Kassem has done for the vinyl community but once in a while it would be refreshing to see something that’s perhaps not an audiophile favorite or well known recording.

MalachiLui's picture

i of course want to see a 'speedin' bullet 2 heaven' audiophile vinyl pressing in my lifetime, however a universally panned (but excellent) album is a risky choice to license. if audiophiles want more variety in reissues, many will need to be more adventurous in what they listen to. the ones who stick with all the pre-1985 hifi titles reissued ad infinitum that aren't even that great aren't helping. if there's not enough demand for lesser known/admired titles, most labels won't take the risk.

thankfully, a few non-audiophile labels have recently released some audiophile grade releases. darla records did an excellent "velocity:design:comfort" reissue that i recently reviewed, and vinyl me please continues to do great work on albums left behind by AP, MFSL, impex, etc. (org music is the only "audiophile label" that tackles lesser known titles - i highly recommend their art ensemble of chicago reissues).

Elubow's picture

When I mentioned “outliers” I think we are talking about two different things. I’m close to Michael’s age and definitely not interested in SPEEDING BULLET 2 HEAVEN. I was thinking more of LIBERACE’s GREATEST HITS and LAWRENCE WELK AND HIS CHAMPAGNE MUSIC MAKERS. Man, those would sell like hot cakes. Better print 10,000 copies!

MalachiLui's picture

you said "outliers" and i mentioned some, i guess both our picks are outliers. (also, speedin' bullet 2 heaven is a fantastic album that everyone should check out.) there's room for everything, licensing requirements regarding quantity of each would be the only issue.

Elubow's picture

Even at this age, if I was serious, I’d be slightly embarrassed to admit salivating over either Liberace or Welk. (Not that there’s anything wrong with them!)

MalachiLui's picture

ya might be best off with original pressings of those haha... idk, haven't heard what they sound like tho. however, it's safe to say that i would rather see reissues of great albums that have NEVER been on vinyl or are extremely inaccessible in the format than things that cost $10 for a NM original copy.

Elubow's picture

Ask you parents- they probably know. On second thought..... maybe your grandparents. And there’s always YouTube.

Michael Fremer's picture
Since Getz/Gilberto is from existing metal parts, it rises or falls based on pressing quality so QRP has its work cut out for itself!
clucking's picture

Do I recall correctly that Getz/Gilberto generally has the channels reversed and the AP version corrected that? Any idea if this new version will be correct or reversed?

MalachiLui's picture

george marino mastered the 33rpm at the same time as the already released 45, which has the channels corrected. both speeds probably have the same exact mastering choices.

infohou's picture

I have the earlier AP Getz/Gilberto which was one of their first QRP titles. It is VERY GOOD. I thought it was 33 but you folks are saying 45 so I need to pull it out and look. I mentioned it to folks in another forum that were touting the last Bill Evans(Potraits?) One Step. The AP Getz/Gilberto is much better. I have all of the MoFi One Steps and the Sunday At The Village(first Bill Evans on One Step) may compare to the AP Getz/Gilberto, but not much else does.

KLEOS(now SL) to SME 309 on SOTA w/vacuum to JC3+ .

Y'all be safe,
Robert

Michael Fremer's picture
Mine is a double 45....
rich d's picture

I'm reluctant to pee on the campfire but it's worth noting that unless UMe can turn ash into acetate, some of these releases won't be from the original masters. If, as appears to be the case, they use old metal parts for some reissues, then no "remastering" need occur. On the other hand if they're working from tape, how do we know it's not the fourth-generation Lithuanian safety copy that UMe called back after the 2008 conflagration?

clucking's picture

Well, the future sales of the series and their reputation are pretty reliant on them turning out a great product, if they're marketing it as an audiophile product, so hopefully they'll do more than pay lip-service to the idea of a great analog mastering/pressing. If they don't, word will get around quick.

bkinthebk's picture

UMe and/or the folks at Acoustic Sounds should be totally transparent about the provenance of the source tapes being used for these reissues. I don’t trust UMe, but do trust Chad/Acoustic Sounds. The fact that Chad is putting his name on it tells us something.

Michael Fremer's picture
The two Impulse! titles are from the original master tapes. They were not destroyed in the fire. They were out for use, fortunately. The same is true of Muddy Waters Folk Singer though most of the Chess catalog was destroyed in the fire. Most of what UMe (Universal) shipped out over the years around the world were "one off the masters", even to LITHUANIA! Why pick on them? The Reed turntables made there are exquisitely engineered and I recommend them highly! The "Getz/Gilberto" tape exists in good shape but the Marino mastering is excellent and was done when the tape was decades newer, plus the metal parts are perfect so it makes complete sense to use them. Chad told me of other choices he wanted to include in this series but the tapes can't be found so he's not going to do them from inferior sources...
rich d's picture

I'm not picking on Lithuania nor do I believe my post can reasonably be construed as pejorative with respect to that nation. My point was that UMe spent years calling back safeties from all over the world and that those tape copies are in many cases all the have to work from now. I chose Lithuania at random because, well, it's a country. As for the reissues themselves I continue to believe that hopeful but skeptical is the appropriate outlook. Lastly, since I was foolish enough to raise the subject, I have to point out that while the fire was not Universal's fault, their dishonesty in the ensuing years does them no credit and is likely to end up costing them far more than they'd have paid out if they'd been up front with the affected artists.

jazz's picture

do you know if Chad also used metal parts of Classic Records rereleases by AP (take Time out as an example)?

I always wonder about metal parts used or newly remastered in case of all the Grundman releases done by Classic Records,

rich d's picture

...these are the same folks who lied to artists' faces for 11 years regarding the whereabouts of their multi-tracks, artwork etc. Universal was determined that word would not, in fact, get around real quick and their ongoing malfeasance has landed them on the receiving end of a few lawsuits. Anyhow, I hope you're right because I see one or two titles I'd like to have. Not Getz-Gilberto mind you. I reckon everyone on earth has at least two of those!

brednjam1's picture

This just made my day! I'm looking forward to hearing the Sarah Vaughan, Nina Simone, and George Russell titles in particular. Mr. Fremer, did Mr. Kessem give any hints about what they will be reissuing next year? I hope we get some more titles that have not yet been reissued AAA...

Michael Fremer's picture
No word yet. I think in part it depends upon the success of these....
bkinthebk's picture

Curious why these will be released on a “new reissue label” instead of on the Analogue Productions label. Any guesses?

Elubow's picture

Probably because it’s a joint venture and UMe wants some of the credit. Also, I wonder if Chad pays a licensing fee here.

Michael Fremer's picture
It's not a new reissue label. It's a Verve Label Group project overseen by Chad Kassem so the Impulse! titles will be on Impulse! the Verve's on Verve, EmArcy on EmArcy etc..... since UMe owns them...
my new username's picture

My perception is that usually, a label licenses a reissue to an audiophile specialist and then pretends the reissue doesn't exist since they aren't involved in marketing it. That traditional model is shortsighted, but that's the industry for you. If there's no in-house distribution built around it they don't even care if it got done in the first place.

Looks like someone had the bright idea or retain all the Verve-group branding while gaining Chad's promise of quality. "Regular" listeners should be pleasantly surprised at the availability and sound, while audiophiles will still be in-the-know for where and how to find them. If this is the future of audiophile reissues I'm totally onboard.

Glotz's picture

I don't have the Getz/Gilberto and I'm gettin it! I have the 2 Coltranes, but nothing else. Kudos to Chad!

I am finding even more LP releases are selling out way faster than even a few years ago.. These reissues are a good thing.

I really wish MoFi would re-press the One-Steps.. I missed out on most!

Tom L's picture

We don't know how old you are, therefore the music you grew up with remains an unknown. How about some examples?
I'm guessing you're somewhere between Hang On Sloopy and the Beastie Boys.

Tom L's picture

If you were about 15 in 2005 you would now be looking for high quality vinyl of Mariah Carey, Gwen Stefani or Kelly Clarkson.
Somehow I doubt that.

saxman73's picture

It so happens that I just recently got a copy of the 45 rpm of Getz/Gilberto as a gift. It's really good. There are some tape dropouts here and there due to the age and condition of the tape, and a few less than perfect spots in the original recording, but to me they don't really detract too much from the experience. The overall sound quality is excellent. I think George Marino did a really great job remastering this, and it's a great recording overall to start with. In particular Joao Gilberto's voice is incredible. The QRP pressing I have for this is close to perfect. I would think the 33 rpm should be really good!

Jerome Sabbagh

shawnwes's picture

It's available as a pre-order on Amazon so not an Acoustic Sounds exclusive. Good news for those of us outside of the USA.

MhtLion's picture

It will be highly appreciated if the pre-order links for the rest of the series are updated as they become eligible for pre-order.

DaveyF's picture

Anyone have any thoughts on how the MoFi Anadisc 200 Gram compares to the later releases. IMO, if the new release from Chad can match or beat the MoFi, I’m all in.

X