I bought a couple used OJC vinyl reissues that sounded quite good, and after reading so much positive stuff here on the forum, bought a few new ones. I noticed some variations on packaging and was wondering if some eras or pressings were better than others, or all the same difference? I read in another thread that most are analog transfers. Examples: New: -S Rollins Way Out West OJC-337 no date on spine, yes barcode, remastered 1988 DeLancie -Gene Ammons OJC-351 same except 1989 remaster -Bill Evans Waltz For Debby OJC-210 1985 on spine, no barcode, no remaster info -Mingus at Bohemia OJC-045 1983 on spine, no barcode, no remaster info Used: Leroy Vinnegar OJC-160 1984 date, no barcorde, no remaster Kenny Burrell OJC-019 1982 same ------- So lower # OJC's are not remastered I guess, closer to an original pressing? The later "remastered" Sonny Rollins Way Out West sounds good to me regardless. This all started with the Leroy Vinnegar, which surprised me with how nice it sounded. Thanks for the info.
At a certain number in the OJC-2xx range (I don't remember the exact number), the LPs bear the CD mastering credits. Steve Hoffman has stated here some time ago that he thinks all the OJC LPs are mastered directly from the analogue tapes, but I'm not so sure, since the OJC LPs with CD mastering credits sound very close to the corresponding CDs, while the earlier ones sound different (not necessarily better). IMHO, the OJCs with CD mastering credits aren't worth getting unless you want the vinyl look and feel. The analogue based OJC sound good, but not nearly as great as the best masterings (DCC CDs or Analogue Productions 45rpm LPs)
I think in another thread I saw something about OJC 270 or 280 was when the mastering changed. I think they are a great deal for the price, but for a digitally remastered version I'd be fine with a CD. That'll be what I do in the future and keep an eye open for lower # OJC's on vinyl. I haven't tried the AP versions, but may for my favorite records. Do you like the 180g versions as well, or just the 45rpm? Thanks
Around 1987 they began offering limited edition 'premium' vinyl releases of some of the more obscure titles. The sticker on the sleeve proudly states that they are digitally mastered. I think this series is called the OJC Connoisseur series, or something like that.
Personally, I purchase the OJC vinyl titles that I see when I go record shopping. The prices are usually good, generally the records are well taken care of and the sound is great. My impression is that they were produced with care and well mastered. A great way to discover lesser known LPs without sacrificing sound quality or a ton of money.
I'll be getting more of these. Particularly the titles where I'm unlikely to find an original at a fairly reasonable price.
Like I said, the Way Out West says digital remaster right on it and sounds wonderful. I checked out Waltz For Debby this evening and I thought it sounded great (my other version is an old CD reissue). Those records are favorites of mine, so may try one of those higher end reissues down the road.
No need, just look for late 70's/early 80's Contemporary pressings (from original stampers). They will beat the pants off the 33rpm Doug Sax mastered AP copies or the OJC pressings.
Just cuz it says digitally remastered on the cover doesn't mean diddly-squat. Back then, digital was a "buzzword." They probably just carried over the cd artwork. George Horn, Phil DeLancie, Joe Tarantino...; they all know how to work a tape deck... Just sayin'...
Ok, I will. Will the labels be similar to the originals, or more like Contemporary labels? I have bought several Contemporary's lately and think they sound great. I believe they are 60's repressings, not 50's 1st presses, but the mono label was always that yellow/black (with deepgroove? when did that stop?) so it's hard to tell. I've been trying to figure out the D1,D2,D3 etc. deadwax stampings but haven't found much info. Does anyone know the story on those? It seems like those would be key in dating the pressing.
None sound bad at all. The nicest, like their Contemporary/Riverside originals, start with tape hiss. You might need headphones, but they start with tape hiss before the music.
Be aware that there are a bunch of grey/boot pressings of a lot of the OJC material on the market. Sealed, with shiny coated covers and often with gold stickering they use the 70s/80s 'Fantasy' covers. I see these often, along with the non-official Blue Note pressings (which often use the 80s era 'DMM' covers). These are all mastered form CD digital source and are miles from the original quality of the real OJC vinyl pressings.
I don't think those recent OJC pressings are bootlegs, just OJC reissue pressings by Concord. I might be wrong on this but have you compared the deadwax? I do know that certain current OJC pressings, like Saxophone Colossus, now use the DCC stampers and sound fantastic.
Just to add to that: as far as I know, there are two (and only two) OJC LPs that use original DCC stampers: Saxophone Colossus and Tenor Madness. They both have Steve's name in the deadwax although on Saxophone Colossus an attempt has been made to scratch it out.
I will checkout the deadwax and report back. I would like both Saxophone Colossus and Tenor Madness and will probably pick those up when I see them.
Waltz For Debby (white label): OJC -210 A1 RE4 13829.1 (3) OJC-210 B1 RE4 13829.2 (3) Kenny Burrell 7088 (black/yellow label) OJC 019 A-T1 T1 OJC 019 B-T1 T1 there is also a something else on each side, may be a symbol or a small "gh" ------------------------ Today's find: yellow label/deepgroove side 1 stamped: LKL.12.141.D1 side 2: LKL.12.142.D1 not sure if it's original or a 60's pressing?
