ART BLAKEY NIGHT IN TUNISIA MUSIC MATTERS BLUE NOTE 45RPM OUT OF PRINT SEALED

$

59

UP FOR AUCTION IS A BRAND- NEW, SEALED, OUT-OF-PRINT DOUBLE LP ART BLAKEY & THE JAZZ MESSENGERS "A NIGHT IN TUNISIA" FROM MUSIC MATTERS BLUE NOTE STEREO 45 RPM 180g LIMITED EDITION REISSUES. CATALOGUE NUMBER MMBST-84049. SUBSCRIBER #0556.   SHIPS IN A VYNIL LP MAILER TO 48 STATES AT $4. SHIPS TO NON-CONTIGUOUS USA AND WORLDWIDE. PLEASE INQUIRE FOR SHIPPING COST. I ALSO HAVE OTHER LPS, ALL BRAND-NEW AND SEALED FROM THE SAME REISSUE SERIES, BOTH CURRENTLY STILL AVAILABLE AND OUT-OF-PRINT. 
IF YOU WOULD LIKE TO SEE THE LIST, PLEASE PROVIDE YOUR E-MAIL. PLEASE SEE MY FEEDBACK. WHAT FOLLOWS BELOW IS FROM MUSIC MATTERS LTD (musicmattersjazz-dot-com)- ABOUT THE DISTINCT FEATURES OF THIS SERIES AND ALSO ABOUT THIS PARTICULAR LP.   
THE SOUND: 
Mono or Stereo? Rudy Van Gelder first began recording Blue Note sessions in stereo in March of 1957. From then until an October 30, 1958 Art Blakey session, Rudy simultaneously ran both mono and stereo session tapes. The stereo presentation revealed more air, more detail and more sheer life than the mono. The mono playback was a wonderful remembrance of the old LP we all knew and loved. The stereo playback from the original masters was eerie. It was like going back in time to that day in Rudy’s studio. Quite simply, the stereo masters revealed more of what it was like to be there that day. 

Why 45rpm? Simply...Because it sounds better! 180 gram pressings versus 200 gram? Music Matters, Lt. uses 180 gram pressings for the simple reason that they believe 180 gram weight is more than sufficient to provide a near perfect pressing. When Music Matters asked their friends at Record Technology Inc. for their recommendation to achieve the highest possible quality pressings their answer was unequivocal... go with 180 gram! 

Upgrading Connnections at Acoustech! It goes without saying that there are many controversies and debates in the perfectionist audio/LP collector market. But one area of near universal agreement is the quality of mastering that emerges from Kevin Gray’s custom-built AcousTech Mastering studio in Camarillo, CA. Kevin, along with Steve Hoffman, has provided many of the best sounding new and reissued albums on LP during the last 5 or 6 years working outs of AcousTech. 

THE JACKETS: 
Music Matters Exclusive! Music Matters strongly feels that these Blue Note recordings deserve nothing less than the finest graphic presentation. The Music Matters Definitive 45RPM Blue Note jackets are designed to last a lifetime, using ultra-durable extra thick cardboard stock and thick, luxurious lamination... quality you’ll be able to feel in your hand the moment you pick up one of these albums. In addition, Music Matters has obtained exclusive access to a treasure trove of over 30,000 original Blue Note session photos from Mosaic Images for use in this series. The gatefold opens to display these session photos in stunning high resolution - four times sharper than original Blue Note jacket photos. 

THE REVIEWS: 
Hear what Michael Fremer, Wayne Garcia and others are saying about the Blue Note Definitive 45rpm Reissue Series from Music Matters, Ltd: 
"They’re BIG and open and definitely work in stereo because they’re not hard left/right stereo. The cymbals are so "chimey" and the skins so open! Even Rudy's typical boxy piano isn't too bad. These are going to be really good....!!!! (Real time reaction after hearing his first test pressing of Horace Parlan’s Speakin’ My Piece LP.)" - Michael Fremer, Stereophile Magazine 

"I’ve heard a lot of Blue Note originals and myriad reissues over the years, but based on the sample test pressings heard so far, none—and I mean none—convey the intensity of living, breathing music-making the way the Music Matter’s Blue Note series does. The sense of air, texture, and dynamic pop in these grooves is astonishing." - Wayne Garcia, The Absolute Sound 

"Art Blakey & the Jazz Messengers “The Big Beat” and Horace Parlan, “Speakin’ My Piece.” And if this is any indication of what’s to come, I advise you to get on the list now, before this collection is sold out." - Albert Porter, www.positive-feedback-dot-com 

"The Music Matters 45s have all immediacy and add a free-flowing naturalness that is surprising at first but very easy to get used to." - Marc Mickelson, www.soundstage-dot-com

Art Blakey was, without doubt, one of the most explosive and rock-solid swinging drummers of all time. He also is one of the finest bandleaders and discoverers of new talent the music has ever known. On the title cut of 1960's A Night in Tunisia, Art is at his most passionate, starting off with a solo full of polyrhythms, color and fire, nearly primal in its intensity. The word "fire" can easily apply to this version of the Jazz Messengers, featuring the blistering trumpet of Lee Morgan, the highly original tenor-saxophonist Wayne Shorter, the funky pianist Bobby Timmons and the always-reliable bassist Jymie Merritt. In addition to their remarkable instrumental prowess, Morgan, Shorter and Timmons were skilled songwriters. Each contributes a song or two this classic set, including Timmons' "So Tired." However, it is the 11-minute version of Dizzy Gillespie's "A Night in Tunisia," given arguably its greatest recording, that really makes this album a transcendent jazz lis tening experience for the ages. 

With one of the strongest quintets of his career, Blakey -- the master of hard-bop drums -- commands Lee Morgan on trumpet, Wayne Shorter on tenor sax, Bobby Timmons on piano and Jymie Merritt on bass. 

This album, originally released in 1960, is a prime example of Blakey's expressed desire to showcase his young and ever-evolving young group of talent. Not only is there extended solo room for each member, but each selection except for the title tune was written by a member of the current back-up foursome. 

The theme of the set is based on musical inspiration from around the world, incorporated into jazz styling. This practice had been going on since the 1940s, with the likes of Charlie Parker and Dizzy Gillespie's incorporating Cuban, African and Latin players and instruments into their writing and playing. The title tune here, Gillespie's A Night In Tunisia, is the root of the project and has become known as a Dizzy song whose definitive version was played by Blakey. 

"Art Blakey's furious, almost violent polyrhythmic skin pounding, Bobby Timmons' ivory attacks, and Jymie Merritt's explosive bass plucks anchor Lee Morgan and Wayne Shorter's dizzying, melodic machine-gun fire on the Gillespie opener that dominates this classic session - and the rest ain't exactly filler." Michael Fremer's Records to Die For, Stereophile, Feb. 2008 Issue

Throughout his long career, Art Blakey built a tremendous reputation for aggressive bands that featured the most gifted young musicians. Few of his later bands, however, could stand comparison with this 1960 edition of the hard-bop juggernaut. Its members combined strong writing skills with distinctive solo voices, including the creative seeking of tenor saxophonist Wayne Shorter; the edgy, sometimes blistering, trumpet of Lee Morgan; and the soul-drenched piano of Bobby Timmons. Blakey's drumming contributes an explosive drive to this CD's version of Dizzy Gillespie's "A Night in Tunisia," a coiling snake of bop exoticism, while "So Tired" is a Timmons essay in deep funk, like his better-known "Moanin'" and "Dat Dere" an elemental tune with subtle underpinnings. --Stuart Broomer

Features:
• Remastered from the Original Rudy Van Gelder Blue Note Master Tapes!
• Remastered by Kevin Gray and Steve Hoffman at Acoustech
• Cut at 45rpm for Better Sound!
• Pressed on two 180 gram Virgin Vinyl LPs by RTI
• Limited Edition Copies!
• Ultra-Durable, Extra Thick Album Jackets
• Gatefold Album with Session Photos in stunning High Resolution

Musicians: 
Lee Morgan, trumpet
Wayne Shorter, tenor saxophone
Bobby Timmons, piano
Jymie Merritt, bass
Art Blakey, drums

Selections: 
1. A Night In Tunisa
2. Sincerely Diana
3. So Tired
4. Yama
5. Kozo's Waltz 

"The albums are being cut at 45 RPM for maximum quality by Kevin Gray and me using our full ANALOG disk cutting system; most studios cannot even cut vinyl in 100% true analog anymore (they convert to digital first) but we can. The original Rudy Van Gelder engineered stereophonic session tapes are used when we master these gems. The sound quality is amazing on our test cuts. Like from heaven. First totally uncompressed versions of these jazz classics that I’ve ever heard and trust me, you will be impressed; they sound like no other releases of this music." 

"The sound is lifelike, the horns are in the room with you. Our non-invasive mastering insures the true breath of life on these original Van Gelder session tapes is transferred to the virgin vinyl with absolute authenticity. It is like hearing these BLUE NOTE masterpieces for the first time and that is NO exaggeration. When we heard the first lacquer acetate playback from our first mastering session I thought Joe Harley was going to pee in his pants he was so excited. Actually we all were; after 50 years of many lackluster and some downright bad sounding versions of these albums, hearing the real deal is a humbling experience, even for us hardened music veterans. You will be able to listen to the music exactly like we did..." - Steve Hoffman