What would Mobile Fidelity do without a master tape? It doesn't exist. Or at least it can't be found. A Mo-Fi person asked me what I knew. I told them I knew the tape's been missing for years but that I'd check with the late Levon Helm's people to see what they might know. A search of Levon's tape library didn't produce it and a someone else I know checked with Robbie Robertson's people. No master.
One of the most long awaited reissues will soon come from Mobile Fidelity. Selected room visitors had a chance to listen to a test pressing of one mastering of the legendary Kind of Blue most likely sourced from Mark Wilder's 1997 mix to analog tape from the 3 track safety copy.
Mobile Fidelity's long-awaited line of analog-related electronics, turntables and cartridges announced some time ago and shown at various consumer and trade shows is now available.
Before you pay $100 for any record you have to ask yourself if you really like the music, right? Then the question becomes is this version that much better than the one you already have, assuming you already have one.
No one suggests this is among the "essential Blue Notes," especially since it really wasn't issued as an album when the session was first recorded. In fact, it sat on the shelf for 24 years, much to astonishment of annotator and distinguished jazz producer Michael Cuscuna. It wasn't issued until 1986.
Do you need to add yet another Beethoven symphony cycle to your record collection? What's that you say, you don't have even one? That's not good. Every record collection should include at least one set of Beethoven symphonies even if you don't like classical music.
Writing in the BBC online Magazine, reporter Liana Aghajanian writes that Mongolian vinyl fans, who once had to travel more than six hundred miles across the Gobi desert to Beijing to get a vinyl fix, can now visit a new store in the Mongolian capital of Ulan Bator.
Fifty four year old Thelonious Monk was considered “washed up” by many when this European session was recorded in 1971. He’d ended his association with Columbia Records and while he made some good records for the most commerical label with which he’d be associated, he’d not written much new material during that period.
It is difficult to grasp the date this session was recorded: December of 1956. That makes it almost 50 years old. Yet the music is as utterly fresh and full of surprises and good humor as it was in 1956. And the sound remains vibrant and full bodied as well; the highs extended and crisp, the transients sharp and clean. In fact, this double 45rpm set positively kills the Riverside original in every way: I know, because I’ve owned a copy since the mid ‘60s. During my first year at Cornell in 1964, either Riverside was going out of business or needed some quick cash, because the book store had what seemed like the entire Riverside catalog on sale for $1.98. I bought as many as I could afford.