Music Matters slows it down
But for those who fancy themselves audiophiles as well as jazz fans it's hard to argue with Music Matters' results. The sound quality of these pressing has been truly exemplary, extracting more information from those tapes than virtually any prior pressing, analog or digital. In the process they've released what is likely the finest ever reissue of a significant portion of the Blue Note catalog.
Now, Ron Rambach, the owner of Music Matters, has done something that might have been unthinkable: He's extending the series, which itself is not all that surprising, but after years of loudly pronouncing the sonic superiority of 45s, he's switching to 33rpm vinyl. He claims that the new discs sound as good or even better than the original series.
Although the original series released close to 100 titles, it omitted some of Blue Note's most popular dates. Rambach's explanation was that there was enough great material in the catalog that it wasn't necessary to do yet another re-release of John Coltrane's Blue Trane or the other titles that are always available in multiple formats. Joe Harley, of the hi-fi cable maker AudioQuest and who's been involved with the series from the beginning, claimed that one of the goals of the original series was to bring out great titles that were under-heard and under- appreciated by the public. To that end they hit some of the other great titles that almost never see the light of day and wound up releasing things like Clifford Jordan's Cliff Craft; Gil Melle's Patterns In Jazz; and Louis Smith's Smithville. The Music Matters team took a genuine curatorial interest in the rarities.
With that accomplished it seemed like a good opportunity to revisit the bigger titles. The new series will include some of the more popular records, including Blue Trane, as well as Kenny Burrell's Midnight Blue; Lee Morgan's The Sidewinder; and Julian "Cannonball" Adderley's Something Else.
The series opens with Blue Trane. But for a twist, Music Matters is offering the infrequently heard original mono version of John Coltrane's only recording for the label. The album was recorded in 1957 during a brief period when engineer Rudy Van Gelder was recording in parallel with both his existing monaural equipment and his newly arrived stereo recorder.
Fans of the label are well aware of the long-running debate about the relative qualities of mono vs. stereo Blue Notes. The debate revolves around Rudy Van Gelder's rigid baffling of instruments. The technique was great for mono recordings because it ensured that every instrument was distinctly audible in the mix, but applied to stereo recording it left instruments unnaturally isolated from each other in the sound stage, with hard panning to the left and right channels. The mono proponents think the stereo records sound unnatural in a way that can detract from the music. At the end of the day, though, it really comes down to whether the listener is bothered by such things. It's an esoteric argument, to say the least.
The stereo version of Blue Trane isin the author's opinion a very good Van Gelder stereo recording, suffering less from the unnatural sounding baffling effect than most titles. But the mono version for the new 33rpm, offers listeners the opportunity to hear a very famous recording from a different perspective. It's an open question whether the monaural recording yields an improvement over the imaging of the stereo version, and may just come down to a matter of personal taste.
What is not in question is the record's sonic qualities. Like all of the Music Matters titles this mono pressing has crisp clear sound that captures more detail than is usually heard from the date. Compared to another company's earlier 45rpm version (Blue Trane was not included in the original Music Matters series), the Music Matters mono 33 of Blue Trane does sound a little more vivid and immediate. The monaural presentation simply adds a worthwhile and infrequently heard juxtaposition to the more common stereo version.