Kind of Blue
- Thread starter Joe
- Start date
Tony L
Administrator
The current CD is very good IMHO. I have two of the most valuable vinyl copies (the Nimbus Supercut and the Classic Records 2xLP) and the CD is in no way disgraced.
No idea about current vinyl, but there is always a nice audiophile cut available somewhere of this one. Just avoid the myriad of dreadful copyright loophole pirates on dodgy labels. There really are hundreds of them. Always look for Columbia/CBS Sony copyright and the correct cover art and label branding (which is a registered trade mark, so can’t legally be copied).
PS There was one ‘80s CBS CD mastering that really was rather flat and dull and is best avoided (the one with the wrong cover design, coloured border, and features a ‘70s picture of Miles), but the very first Japanese mastering and the current issue are both fine IMO. The early Japanese one is warmer and not speed corrected, the current one is, and is a little brighter. I can see either being preferred.
No idea about current vinyl, but there is always a nice audiophile cut available somewhere of this one. Just avoid the myriad of dreadful copyright loophole pirates on dodgy labels. There really are hundreds of them. Always look for Columbia/CBS Sony copyright and the correct cover art and label branding (which is a registered trade mark, so can’t legally be copied).
PS There was one ‘80s CBS CD mastering that really was rather flat and dull and is best avoided (the one with the wrong cover design, coloured border, and features a ‘70s picture of Miles), but the very first Japanese mastering and the current issue are both fine IMO. The early Japanese one is warmer and not speed corrected, the current one is, and is a little brighter. I can see either being preferred.
blossomchris
I feel better than James Brown
I bought this one,
Columbia CS8163, Classic Records 8163, RE, 200g, HQ Quiex SV-P
More than happy
Bloss
Columbia CS8163, Classic Records 8163, RE, 200g, HQ Quiex SV-P
More than happy
Bloss
Stunsworth
pfm Member
It sounded fine to my ears - and a bit of a bargain at £4.99.
daytona600
Registered User
Excellent version but very rare now , best version is Mofi 2x45
https://www.analogplanet.com/content/mo-fis-kob-kind-blah
blossomchris
I feel better than James Brown
Yeah, I saw this version and took the cheaper option, bought it around the time of its release, imported it as could not find a copy in Europe.
Bloss
My single-disc Classic Records version started developing odd noises, so a year or two ago I thought I'd treat myself to the MOFI (despite generally not liking 45 RPM albums) ... I thought it was terrible, something really funny about the bass, it seemed all over the place, as if out of phase. Either I got a lemon or they truly effed this one up (IMO).
poco a poco
I'm Jim
I have the DeAgostini, the Nimbus and the 1997 Super Bit Map CD.
Below is a comparison I posted elsewhere in 2016. I did buy the rest of the series of DeAgostini Jazz 33 and have found most of them to be very good, but not in most cases quite up to an original or early pressings where I have them to compare.
"Following up on the promise in my earlier posts:
Sound Quality Comparison KOB:
I really wanted the Jazz 33's to be first rate - honest. I was hoping it was, so that it would be worthwhile buying quite a few of the future Jazz 33's that are in the proposed list that I don't already own a version of. The packaging is good. The facsimile reproduction of the sleeve and labels also. The KOB booklet is well written and interesting. There is much to like.
Jazz 33 LP:
I thought I would start by just playing it through without any direct comparison as I went along. My copy is totally free of surface noise, clicks and plops (my TT set up is pretty good at minimising these), but it is a very clean pressing. Good start.
I had not played KOB for some time and on it's own it seemed quite good. The first thing you notice is the tape hiss at the start of So What is quite clear, but very, very clean as is Jimmy Cobb's brush on cymbal work. Jimmy Cobb did seemed a bit down in the mix on the right and the piano (especially Bill Evan's) did seem to lack some body and hang on the left speaker a bit. Julian Adderly's alto is well positioned and comes across very well. I thought all in all it wasn't too bad, but It seemed to lack a bit of intensity for me, but as I said I had not played KOB for a while and I thought I was trying to be too analytic about the sound to get truly involved.
Nimbus LP:
IMHO - No contest, it only took a few seconds to hear the improvement (unfortunately - as I did want it to be at least close). The Nimbus blows the Jazz 33 out of the water. It is despite being a 140g pressing v the Jazz 33 180g cut at a higher level, so first I matched the input levels. It was clear then that the dynamic range on the Nimbus was much greater. Instruments are much more 'in the room' with greater presence and body. They sound more like the real thing. When Coltrane enters on So What he is now more forward from the left speaker and with a large pool of the studio ambiance surrounding him. Miles's trumpet also has more 'blat', weight, presence and air to it's sound. Jimmy Cobb's drum kit now sounds better balanced in the mix with much more weight to the drums, although still well back and to the right in the soundstage. ( The cymbals may be a bit cleaner and clearer on the Jazz 33, but my Nimbus probably has some wear). Bill Evan's piano now seems larger, more 3D and no longer hangs on the speaker. When the ensembel is playing the individual instrumental focus within the soundstage is better and it is a little less harsh. It all seems so much more musically involving. It's an effort trying to concentrate on any aspects of the sound rather than let yourself be swept up by the performance.
1997 Sony SBM CD:
Level matched the Nimbus on my normal input and volume settings. Dynamics were very close. Overall it's reasonably close to the Nimbus LP and quite good (and this is from someone who is not really a lover of CD's). Could it be because both transfers were made from the original master using tube tape machines? It just has a little less of everything. Bit less studio ambiance, little less presence and 3D soundstage than the Nimbus. Again IMHO I think it's quite a bit better than the Jazz 33 as it's again musically more involving. I could easily live with this if I didn't have the Nimbus.
What would a good 6 eye original sound like I wonder - and I will have to continue to do so given the price.
To me the relative merits of the above did seem quite clear from play throughs without A/B comparison, but I did make some, including tweaking the VTA to compenstate for the difference in pressings. It did not change my opinion.
As a vinyl lover I'm glad that many are liking the Jazz 33 KOB and at £4.99 I suppose you can't complain too much. Just don't compare it to something that is quite a bit better.
dave charlton
pfm member
Theo
pfm Member
The Nimbus is the only pressing I own, so I have nothing to compare it to. As it's a great pressing, I haven't looked any further, though I'd be tempted by a version on SACD. There are 4 different ones to choose from though...
Wouldn't complain if a Six-eye pressing landed on my desk.
Wouldn't complain if a Six-eye pressing landed on my desk.
darrenyeats
pfm Member
Note speed problems pre-1992.
http://www.pinkfishmedia.net/forum/showpost.php?p=2161255&postcount=592
http://www.pinkfishmedia.net/forum/showpost.php?p=2161255&postcount=592
darrenyeats
pfm Member
I think I can tell.
Tony L
Administrator
There is a very good case to be made that the original release is ‘right’ and should have been left as-was too, as that is the version that captured the imagination of the world and went on to be the largest selling jazz title. Altering speed is often done deliberately in popular music, a heck of a lot of stuff certainly doesn’t align to a standard A440 tuning. This time it was a tiny tape machine error, but it did no damage. I’d certainly prefer a mint US stereo 6-eye to any more recent copy speed error or not!