I’d be interested to know what you both think of side 2 of the Milt Jackson. I notice the Monk selections differ to the CD release, and the Monk titles on the CD sound poor, probably taken from acetates.
Graham,
I don’t have the CD version but - Short answer - ditch the CD and get this it sounds great.
Worth it for Monk’s early versions of Misterioso and Evidence alone.
Longer version: This was released in 1955, but recorded in three sessions that are much earlier. Recorded at the Apex Studios, NYC, on July 2, 1948 (tracks B3, B4), at the WOR Studios, NYC, on July 23, 1951 (tracks A6 to B2, B6) and on April 7, 1952 (tracks A1 to A5, B5). The track listing and order on this reissue is exactly the same as the 1955 original release.
I was expecting quite a vintage recorded sound given the dates and from other recordings I have from this early, but I really surprised how good this sounds on both sides. There are differences that I can hear in all three recorded sessions, but these are really a matter of emphasise and balance not in general overall quality. I played these mono recordings with my Cadenza Mono cartridge.
One side on side one the emphasis is clearly on Jackson and the balance clearly favours him. Even though this is a mono recording I get a clear large image of his vibes well in front of my speakers and even a sense him moving up and down across keys. The transients and dynamics are amazingly good. There is a hint of mike overload when he hits some higher notes quite hard, but nothing that really disturbs me. It is closely miked with perhaps the mike positioned close to the upper notes. Despite the close miking there is a a big pool of room ambiance around the vibes and the notes decay beautifully into this. The other instruments are also clear and detailed and not lost in the mix. Lou Donaldson’s Alto when he solos is brought up in the mix and is equally forward of my speakers as well. Kenny Clark’s drums are further back but nicely captured particularly his brush work on snare and cymbals.
As I said nothing really poor about the two sessions on side two, but The emphasis here is on Monk’s piano and also Shihab’ Alto on the session he is on. You can clearly hear the differences in Alto tone from him and Donaldson on side one. Milt is further back in the mix just behind my speakers, but still clear and reasonably dynamic. Actually this really sounds a bit more of a natural balance to the other instruments to me. Monks piano is just forward of my speakers and beautifully detailed and dynamic especially for the time. You can easily hear Monk singing along to his playing on some tracks. On Misterioso and Evidence the two from the session without Shihab and with Wilson rather than Blakey on drums the piano is particularly good. It is a pity as Paul mentioned that the engineer on these sessions is not noted only Van Gelder for remastering. If only most VG piano recordings were this good. On these tracks Wilson’s drums, while again towards the back in the mix, are better recorded than Blakey’s where the cymbals are are bit ‘spashey’ and I’ll defined, but this is in the overall scheme of things is the only complaint I have about side two. I’m really enjoying both Monk and Jackson’s playing on this, some of his fast runs of notes are remarkable and work wonderfully with Monk’s percussive piano. I’m glad I didn’t pass on this.
Sorry for going on. You did ask, but now you know you should have settled for the short version above.