JACKIE MCLEAN 180 GRAM 45rpm 2LP SETS AND FOUR RARE COLLECTORS LOW NUMBERED 1ST EDITION PRESSING 119 OF THE TITLES - FIVE TITLES TOTAL & 8 SIDES OF AUDIOPHILE 45 SPEED VINYL.

Here's How it was done ON 45 SPEED VINYL:

Using only the original analog master tapes, cut all of the titles at AcousTech Mastering, which features a pure Class-A disc-cutting system. AcousTech is located at Record Technology, Inc. the plant where the vinyl was pressed. It is a tremendous sonic advantage to have the pressing plant plating department & mastering room in the same facility as Steve & Kevin could cut a lacquer and plated immediately. This prevents the degradation of the grooves in a lacquer which is very fragile to quick deterioration.

And of course cutting at 45 speed is the audiophile choice for the highes quality. A 45-RPM record is sonically superior to a 33 1/3 variety because of a 35 percent reduction of groove curvature compared to a 33 1/3 cut.. It means that while you can't fit as much music into a 45, the undukations of the groove that your cartridge has to track are stretched over a longer distance. For these reissues, the music was displaced onto four sides, meaning each side contains about 10 minutes of music.

This is the ultimate reissues. The only way you'll get closer to this classic music is to listen to the master tapes or have been in the studio with the artist originally during the actual session.

Rare Numbered Limited Edition Copies! 
Out Of Print! Very Limited Stock! First Come, First Served! 

Remastered by Kevin Gray and Steve Hoffman from the Original Rudy Van Gelder Blue Note Master Tapes! 
The Definitive issue of this classic Blue Note title! 

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 Connections 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: 
These Blue Note recordings deserve nothing less than the finest graphic presentation. The 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.  - 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  
"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

ALL FACTORY SEALED LP - The nicest thing you can do for your stylus and ears. The ultimate record – the way music was meant to be heard.

E-BAY STORE.  FOR YOUR INDIVIDUAL audiophile heavy vinyl SELECTIONS - INDIVIDUAL TITLE INFORMATION OR INDIVIDUAL PURCHASE JUST HIT THIS STORES TAB >. & TYPE IN  MCLEAN INTO THE SEARCH FIELD WITHIN OUR STORES SECTION AS YOUR PERSONAL CODE FOR ALL INDIVIDUAL TITLES + INFORMATION WILL APPEAR.

 You should never pass up the opportunity to upgrade your collection. They're each very limited in their pressings and disappear with extraordinary quickness from the vinyl market. This causes prices to skyrocket because once they are gone, they are gone forever! Don't second-guess yourself with this chance to upgrade your collection because before you know it, the opportunity will have passed forever.

Jackie McLean Jackie's Bag 180 GRAM LIMITED EDITION 45rpm 2LP SET LOW NUMBERED 119 OF THE 2500 PRESSINGS WORLDWIDE 753088405112

TAS Recommended! Rated a 'Best Audiophile Label Recording' in the November 2009 issue of The Absolute Sound!

Incredible Jazz Records + the original analog master tapes + cut at 45 RPM + mastered by Kevin Gray and Steve Hoffman at AcousTech + pressed on two 180-gram virgin vinyl LPs by RTI = THE ULTIMATE LP REISSUE!

The same formula that made the Fantasy 45 Series perhaps the most successful audiophile reissue collection ever is now being reapplied to Blue Note reissues!

In terms of composition, leadership and playing, this is probably Jackie McLean’s greatest album, culled from two different sessions, separated by 20 months.

"The sound is open and holographic; drums and bass are very well captured, and the horns balance sweetness and bite." - Wayne Garcia, The Absolute Sound, June/July 2009, Issue 193, page 125

Features:
• Stereo
• Numbered & Limited to 2500 copies
• Original analog master tapes
• 45 RPM
• Two 180g Virgin Vinyl LPs
• Mastered by Kevin Gray & Steve Hoffman at AcousTech
• Pressed by RTI

Musicians:
Jackie McLean, alto sax
Paul Chambers, bass
Donald Byrd, trumpet (1-3)
Sonny Clark, piano (1-3)
Philly Joe Jones, drums (1-3)
Blue Mitchell, trumpet (4-6)
Tina Brooks, tenor sax (4-6)
Kenny Drew, piano (4-6)
Art Taylor, drums (4-6)

Selections:
1. Quadrangle
2. Blues Inn
3. Fidel
4. Appointment In Ghana
5. A Ballad For Doll
6. Isle Of Java

Tracks 1-3 recorded on January 18, 1959 at the Van Gelder Studio in Hackensack, New Jersey.

Jackie McLean Capuchin Swing 180 GRAM LIMITED EDITION 45rpm 2LP SET LOW NUMBERED 119 OF THE 2500 PRESSINGS WORLDWIDE

TAS Rated 3.5/5 Music, 3.5/5 Sonics in the August 2008 Issue of The Absolute Sound!

Incredible Jazz Records + the original analog master tapes + cut at 45 RPM + mastered by Kevin Gray and Steve Hoffman at AcousTech + pressed on two 180-gram virgin vinyl LPs by RTI = THE ULTIMATE LP REISSUE!

The same formula that made the Fantasy 45 Series perhaps the most successful audiophile reissue collection ever is now being reapplied to Blue Note reissues!

This is pure, exceptional, hard bop by Jackie McLean with Blue Mitchell, Walter Bishop, Jr., Paul Chambers and Art Taylor with all the wonderful elements of any classic Blue Note album: memorable compositions, strong solos and great feeling. But Capuchin Swing also finds the great alto saxophonist looking toward new frontiers with the harmonically edgy "Francisco."

"...a marvelous sense of presence, life-like clarity, and explosive dynamic pop..." - Wayne Garcia, TAS August 2008

Features:
• Stereo
• Numbered & Limited to 2500 copies
• Original analog master tapes
• 45 RPM
• Two 180g Virgin Vinyl LPs
• Mastered by Kevin Gray & Steve Hoffman at AcousTech
• Pressed by RTI

Musicians:
Jackie McLean, alto saxophone
Blue Mitchell, trumpet
Walter Bishop, Jr., piano
Art Taylor, drums
Paul Chambers, bass

Selections:
1. Francisco
2. Just For Now
3. Don't Blame Me
4. Condition Blue
5. Capuchin Swing
6. On The Lion

Jackie McLean New Soil 180 GRAM LIMITED EDITION 45rpm 2LP SET LOW NUMBERED 119 OF THE 2500 PRESSINGS WORLDWIDE 753088401374

Incredible Jazz Records + the original analog master tapes + cut at 45 RPM + mastered by Kevin Gray and Steve Hoffman at AcousTech + pressed on two 180-gram virgin vinyl LPs by RTI = THE ULTIMATE LP REISSUE!

The same formula that made the Fantasy 45 Series perhaps the most successful audiophile reissue collection ever is now being reapplied to Blue Note reissues!

New Soil wasn't the first session Jackie McLean recorded for Blue Note, but it was the first one released, and as the title suggests, the first glimpses of McLean's desire to push beyond the limits of bop are already apparent. They're subtle, of course, and nowhere near as pronounced, as they would be in just a few years' time, but – as with the 1959 material later issued on Jackie's Bag – hints of Ornette Coleman's stream-of-consciousness melodic freedom are beginning to find their way into McLean's improvisations. His playing is just a touch more angular than the ear expects, especially given the very bluesy nature of pieces like McLean's 11-minute vamp, "Hip Strut," and pianist Walter Davis Jr.'s infectious boogie-woogie "Greasy." Coleman's influence is most apparent on McLean's "Minor Apprehension," where the freewheeling, Coleman-esque main theme is paralleled by trumpeter Donald Byrd in a definite nod to Don Cherry.

Features:
• Numbered & Limited to 2500 copies
• Original analog master tapes
• 45 RPM
• Two 180g Virgin Vinyl LPs
• Mastered by Kevin Gray & Steve Hoffman at AcousTech
• Pressed by RTI

Musicians:
Jackie McLean, alto sax
Donald Byrd, trumpet
Paul Chambers, bass
Walter Davis Jr., piano
Pete LaRoca, drums

Selections:
1. Hip Strut
2. Minor Apprehension
3. Greasy
4. Sweet Cakes
5. Davis Cup

Jackie McLean Bluesnik Limited Edition 180g 45rpm 2LP

Remastered by Kevin Gray and Steve Hoffman from the Original Rudy Van Gelder Blue Note Master Tapes! The Definitive issue of this classic Blue Note title!

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,  

"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,  

Jackie McLean's slightly acidic tone on alto can be instantly identified. He perfectly symbolizes the intensity, passion, excitement and urgency of New York in the 1960s. Born in 1932 and part of the musical generation that matured in the shadow of Charlie Parker, McLean served his apprenticeship at the very top, recording with the likes of Miles Davis, Charles Mingus and Art Blakey. However, Jackie McLean is best known for a brilliant series of Blue Note albums recorded from 1959-67. Bluesnik is, on the surface, one of McLean's most accessible recordings, since the six songs are all blues-based. However, McLean remains quite explorative here, clearly inspired by his excellent sidemen (trumpeter Freddie Hubbard, pianist Kenny Drew, bassist Doug Watkins, and drummer Pete La Roca). McLean stretches himself, showing every side of the blues. The results are exceptional to say the least. One listen to Bluesnik tells you that this is one of Jackie McLean's masterpiece recordings. Engineer Rudy Van Gelder was up to the challenge of this fine session, getting all of this passionate soul on tape with exceptional fidelity. Bluesnik is essential.

Reissue of the January 8, 1961 recording by Jackie McLean, Freddie Hubbard, Kenny Drew, Doug Watkins and Pete La Roca.

"Recorded by Rudy Van Gelder in 1961, this superb Music Matters reissue is as good as we're ever likely to hear this set. The musicians have a great sense of presence and vivid clarity. Dynamics are lively and nuanced, the soundstage is open and airy, and the instruments are naturally balanced, if a touch on the dry side." - Wayne Garcia, The Absolute Sound, October 2008, Issue 185

Features:
• Limited Edition
• 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:
Freddie Hubbard, trumpet
Jackie McLean, alto saxophone
Kenny Drew, piano
Doug Watkins, bass
Pete La Roca, drums

Selections:
1. Bluesnik
2. Goin' Way Blues
3. Drew's Blues
4. Cool Green
5. Blues Function
6. Torchin'

"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

WALTER DAVIS JR. DAVIS CUP WITH JACKIE MCLEAN 180 GRAM 45rpm 2LP SET LOW NUMBERED 119 753088401879

Incredible Jazz Records + the original analog master tapes + cut at 45 RPM + mastered by Kevin Gray and Steve Hoffman at AcousTech + pressed on two 180-gram virgin vinyl LPs by RTI = THE ULTIMATE LP REISSUE!

The same formula that made the Fantasy 45 Series perhaps the most successful audiophile reissue collection ever is now being reapplied to Blue Note reissues!

Although a Blue Note regular at the time on sessions by Donald Byrd, Art Blakey and others, Walter Davis made only one album for the label. With Byrd, Jackie McLean, Sam Jones and Art Taylor, he explores six of his finest compositions. Davis possessed the ability to write music that was funky and catchy, but still progressive, which explains why he was one of Art Blakey's favorite pianists and composers. "Minor Mind," "'Smake It" and "Millie's Delight" are among the album's highlights.

Features:
• Numbered & Limited to 2500 copies
• Original analog master tapes
• 45 RPM
• Two 180g Virgin Vinyl LPs
• Mastered by Kevin Gray & Steve Hoffman at AcousTech
• Pressed by RTI

Musicians:
Donald Byrd, trumpet
Jackie McLean, alto sax
Walter Davis Jr., piano
Sam Jones, bass
Art Taylor, drums

Selections:
1. 'Smake It
2. Loodle-Lot
3. Sweetness
4. Rhumba Nhumba
5. Minor Mind
6. Millie's Delight

BONUS 33 & 1/3 TITLES -

McLean, who began his professional career before he was out of his teens, quickly established himself on the jazz scene in his native New York. After recording with Miles Davis at age 19, he worked with the bands of George Wallington, Charles Mingus and Art Blakey. In Blakey’s Messengers, he formed an association with trumpeter Bill Hardman.

Jackie McLean Swing, Swang, Swingin' BLUE NOTE RECORDS 4024 - Prior to 1959, Jackie McLean was an important young Turk whose sharp tone and intense style on alto grew out of Charlie Parker yet were very much his own. Growing up in New York, his neighbors included such friends as Bud Powell, Thelonious Monk and Sonny Rollins. By 1951 he was recording with Miles Davis and other associations in the 1950s included Charles Mingus and two years with Art Blakey's Jazz Messengers. But all of that was a prelude to his recording 21 brilliant, explorative and frequently explosive albums for Blue Note during 1959-67. While McLean became one of the first jazz musicians of his generation to stretch beyond hard bop into freer explorations inspired by Ornette Coleman, Swing, Swang, Swingin' is a straight ahead affair in which he mostly puts his stamp on standards. Few versions of "Let's Face The Music And Dance" and "I Love You" have ever had this much intensity and, when McLean digs into the ballad "What's New," he gives it a fiery passion that had never been heard before. Jackie McLean not only swings and swangs but he burns with the urgency, agony and ecstasy of the 1960s.

Musicians:
Jackie McLean, alto sax
Walter Bishop Jr., piano
Jimmy Garrison, bass
Art Taylor, drums

Selections:
1. What's New
2. Let's Face The Music And Dance
3. Stable Mates
4. I'll Remember You
5. I Love You
6. I'll Take Romance
7. 116th And Lenox

Jackie McLean Lights Out! PRESTIGE RECORDS 7035

A perpetual favorite among Jackie McLean's earlier recordings, Lights Out finds the hard-swinging young alto saxophonist in 1956 still very much under the wing of Charlie Parker, who had died less than a year earlier. Yet McLean was beginning to find ways out of the seductive artistic security of Bird imitations. For one thing, he was experimenting with tonal variations. For another, he was working with Charles Mingus, and Mingus's genius as a leader included forcing musicians to look deeply into their most cherished stylistic practices. The McLean of Lights Out is the hot young bebopper with a slightly acid edge to his sound and a solid blues foundation under everything he played. McLean and trumpeter Donald Byrd occasionally engage in the "pecking" technique of mutual improvisation they developed as members of the George Wallington Quintet.

Originally released in 1957

Musicians:
Jackie McLean, alto saxophone
Doug Watkins, bass
Arthur Taylor, drums
Donald Byrd, trumpet

Selections:
1. Lights Out
2. Up
3. Lorraine
4. A Foggy Day
5. Kerplunk
6. Inding

JACKIE MCLEAN ACTION BLUE NOTE RECORDS 4218 - This promises to be one of the more important reissues of 2004. During the mid-Sixties, Jackie McLean made a series of albums for Blue Note that were as great as anything else that that company issued. One of the great mysteries of the label is that until recently some of this material (the 1964-1966 sessions) was available only on a limited edition Mosaic box. Someone at the label has come to their senses and begun to release these great sides. I am talking about the following albums: It's Time, Action, Right Now!, Consequences, Jacknife and High Frequency. Blue Note to my knowledge has reissued Jacknife, and Right Now! It's Time is available on a Japanese import.
This current reissue is a 1964 date that featured McLean on the alto, his great bandmate of the period, Charles Tolliver on the trumpet, Bobby Hutcherson on the vibes, Cecil McBee on the bass and Billy Higgins on the drums. McLean during this period utilized the writings talents of Tolliver and this album is no exception. Two of the tunes, Plight and Wrong Handle are from Tolliver's pen. McLean penned the title tune. They also play I Hear a Rhapsody and a blues called Hootman.
Part of what makes the McLean/Tolliver combination from this period so fruitful was the way that they each were trying to incorporate the radical changes of the new jazz of the period into their bop background. They would write songs without changes or just play outside the changes. McLean during this period continued to develop one of the most distinctive and personal sounds in the history of the alto sax. Tolliver, on the other hand, has a more traditional tone, that he puts to great use on ballads. He was also a soloist of great intelligence with the ability to surprise constantly with the way he would develop the melodic arc of his solo. In this I find him comparable to Wayne Shorter at this same period of time.
Blue Note should be acknowledged for reissuing this music. I guess the larger question is why was it ever out of print? There are several people who produced great series of albums for Blue Note during this period- Andrew Hill, Joe Henderson, Herbie Hancock, Wayne Shorter, Lee Morgan, Freddie Hubbard, Grant Green, Grachan Moncur III, etc.. As I asserted earlier, McLean's albums are as great as any. This LP belongs in any jazz collection. I am somewhat abashed to admit that I have been listening to this music on a TURNTABLE. Snap it up, people, while you have the chance.

McLean (along with trumpeter Charles Tolliver, vibraphonist Bobby Hutcherson, bassist Cecil McBee, and drummer Billy Higgins) plays free hard bop on "Action" (which does not have a specific set of chord changes to follow), a pair of Tolliver compositions ("Plight" being the most well known) and even the standard "I Hear a Rhapsody" (McLean's feature). Only the bluesy "Hootnan" is a bit more conventional, although the solos are far from predictable. This album is full of exciting music that has long been overshadowed. Tracks:Action-Plight-Wrong Handle-I hear a Rhapsody-Hootnan

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