Just doing the Blues And The Abstract Truth comparison and it is very interesting, almost two different mixes! My Japanese copy is
this one from 1976. I guess in many ways the comparison conforms to stereotypes; the Japanese copy is crisp, forward, right in yer face, crazy dynamic and arguably a little thin and bright, the Acoustic Sounds far warmer, a really nice balance, but also noticeably less dynamic and possibly a touch dark. Haynes’s snare just doesn’t smack with the same impact, the brass isn’t anything like as close and present. The Japanese cut is a bit louder too, which obviously makes comparison harder.
I would love to hear an RVG-stamped original copy of this one as I’m prepared to bet the Japanese copy gets closer to his master/intent. Digging out the rest of my Oliver Nelson Impulse finds a US original stereo copy of Sound Pieces (with a Bell Sound stamp, not RVG, though it is the 1st press), and Michelle, which is a pretty dreadful album (not even funny kitsch big-band versions of pop tunes) that has got the RVG stamp. I bought Michelle NOS sealed ages ago. Both these sound superb to my ears. They have all the ‘in yer face’ presence and dynamic hit of the Japanese Blues And The Abstract Truth but with more body, weight and heft. I know this is a daft comparison using different titles, but there is unquestionably something in common with all RVG cuts I’ve heard, and it is something I wish the modern reissue companies would understand and replicate.
To conclude: for my taste, preference it is almost always US original or early pressing first, then Japanese, then everything else. I’m only talking mastering here; US vinyl quality can be pretty poor and noisy compared to UK, Japan, audiophile etc.
PS I’ll keep them both for the cover differences and as they are such an interesting mastering comparison!