Blue Note Records announces the 2021 Tone Poet Audiophile Reissue Series release schedule. Produced by Joe Harley, these are all-analog (where original recording was to analog tape), 180g audiophile vinyl reissues mastered by Kevin Gray at Cohearent Audio from the original master tapes. RTI presses in Camarillo, California (where no one these days is relaxing) and packaged in deluxe Stoughton Printing “old style” Gatefold Tip-On jackets.
Just going to reproduce much of the press release this time:
Blue Note Records introduces Blue Note Review: Volume One - Peace, Love & Fishing, the inaugural edition of a stunning new biannual, limited edition, luxury boxset subscription series that encapsulates the storied past and auspicious future of the legendary jazz label. The beautifully curated collector's item is a limited production of 1,500 sets, and is available to order today for $200 exclusively at bluenotereview.com. Watch an unboxing video of the Blue Note Review set at that URL.
Pandemic-related closures temporarily put Blue Note’s “Tone Poet” series production on hold, but the series resumes on August 28th with the release of three titles: vibraphonist Bobby Hutcherson’s first session The Kicker (1963), alto saxophonist Jackie McLean’s It’s Time (1964) and tenor saxophonist Joe Henderson’s The State of the Tenor: Live at the Village Vanguard, Volume 1 (1965).
Don Was, community organizer. Who would have thought? There's long been a Blue Note "community" but it's a loose knit, worldwide group of like-minded label enthusiasts that have kept the Blue Note flame glowing. The fans remained true even as the company changed hands, lost artistic focus, engaged in self-exploitation and occasionally tried to re-invent itself into something it was not.
Randy Wells' recent review of this Sundazed reissue may have seemed thorough and matter-of-fact to most of you and judging by the emails, well appreciated, but the folks at Sundazed were anything but pleased, which kind of surprised me, though Wells did prefer the Audio Fidelity release so perhaps I should not have been surprised.
This Otis Rush love fest, produced by Mike Bloomfield and Nick Gravenites at Fame in Muscle Shoals, Alabama, was payback for the generosity and help Rush provided the youngsters back in Chicago during their "formative" years. Led by The Paul Butterfield Blues Band, the white suburban audience that formed the core of the "counter-culture" had discovered the blues. Butterfield had backed Dylan at Newport in 1965, causing a big stir, and soon thereafter Mike Bloomfield and drummer Sam Lay were in the studio with Dylan to record Highway 61 Revisited.
A New Zealand-based reader recently emailed asking if Mobile Fidelity's double 45rpm monophonic Bob Dylan reissues were "worth the money". He added that he was a big Bob Dylan fan.
Dylan's Halloween '64 performance before an adoring Philharmonic Hall (currently Avery Fisher Hall) audience waited forty years for release but remarkably, here it is in the digital age, still available in the LP format, sumptuously packaged, mastered and pressed for Sony by Classic Records.