Ornette Coleman - The Shape Of Jazz To Come (Reissue)

180-gram LP
Transferred from original analog tapes
Contains all original artwork and packaging
NO digital copy included


Audio Quality: 4.5/5
Song Quality: 4.25/5
Packaging: 4.5/5


Ok. To kick off this entry, I have two confessions to make. #1: I'm generally not a big fan of jazz. #2: I'm writing this review as part of a contest wherein I can win a cool $100 from The Bad Plus. Yes, I think this might be the first time in history that someone moved from rock to jazz for the money. I'm a whole new breed of sellout, internet. Someone get started on the Wikipedia entry.

So before I discuss this album specifically, I do feel the need to discuss jazz in general. Because I've got some shit to say. Hear me out, you guys. I'm absolutely certain that, as human beings, we all have one type of music that resonates with us more powerfully than the others. Though trained ears can find plenty to love in every musical genre and sub-genre, there's always one that can elicit the most powerful emotional response and connection with the listener. Some people get this out of rock and roll, some get it from hip-hop, some get it from jazz, and so on. For me, there's no question that it's pop. No, I don't just mean mainstream corporate teen pop and the like... though I do enjoy more of that than I'm comfortable admitting in detail. I mean that a song with a great pop melody, with that instantly unforgettable chorus hook, is the greatest thing in the world to me. Nothing beats it. Though I have found many pieces of jazz music that I find phenomenal, not ONE has ever left an impact on me as profound as when I first heard The Magnetic Fields' "Take Ecstasy With Me." Now I'm sure that just about all of the new readers I've temporarily acquired from my post of this review at thebadplus.typepad.com are probably cringing at that statement, and for that I apologize. I most definitely don't want this post to come off as being insulting to jazz and it's absolutely invaluable contributions to the progress of music as we know it. Some people live and breathe jazz, and if that's the music gives them that otherworldly connection to the notes and rhythms that, for just a few minutes, allows the whole world to somehow make sense, then I think that's the greatest. All I'd ask is that I get the same respect for the music I love in return.

However, herein lies a problem I've had with jazz for most of my life. It's not about the music, it's about the people. As a former college music student (dropped out after 3 semesters to join a band), I've had my fair share of being mocked by pretentious jazz snobs (for lack of a better term) for my passion for an "inferior" genre. This, naturally, breeds an overall distaste for the fans, the culture, and eventually the music itself. This is unfair, but also inevitable. I admit I went through an aggressively anti-jazz phase in the not-so-distant past, accusing it's fans of clinging to a dying genre and refusing to accept the natural evolution of music in society. I know, I know. That's not right, and it was an ignorant attitude on my part. Even if jazz has passed its peak in terms of cultural relevance, that does not mean that it shouldn't maintain tremendous value to musicians and music lovers young and old. I clearly see this now, but my negativity was based on an arrogant and inclusive attitude that I find to be plaguing the jazz community. No one could ever declare what the single greatest song in all of music is, and as such, no one can claim one genre of music to be superior to all the others. You can cite history and musicianship and blah blah blah, but what it really boils down to is personal taste. If I listen to a song and feel that moment of bliss that accompanies a perfect musical moment, and you listen to a completely different song and get that same feeling... is one of us right and the other wrong??? Of course not. Rather than compete, we should be celebrating together how wonderful life can be when a single song can help you make sense of it all. Hey The Bad Plus, you guys cover Rush and Nirvana and Blondie... I just know you've got my back here. In fact, if your fans are the ones reading my entry, maybe I'm just preaching to the converted right now? Sorry if that's the case, enlightened readers. Either way, you guys do the jazz thing without coming off the slightest bit pretentious or condescending to the music you reinterpret, so I appreciate that and I thank you. The jazz community needs more of that positive, progressive attitude. And that wraps up the "pandering to the judges" portion of my entry.

So, in conclusion of this lengthy introduction, though I don't know much about jazz, I've reviewed this record that my friend loaned me. My intention is to review it as an outsider, with as much open-mindedness and respect as possible. I hope I will receive that same respect back from my new jazzy readers. Because I know that none of you are the sort of pretentious jazz snobs I met in college. You are awesome, open-minded, forward-thinking individuals. Right? I knew it.

NOW FOR THE RECORD!

It's great! Seriously, I am amazed at how much I enjoyed listening to this album. Quite possibly the most enjoyable full-length jazz record I've ever heard. When I asked my friend Phil if I could borrow a vinyl jazz reissue for the purposes of this review, I asked him to give me something I wasn't familiar with and that he thought I'd enjoy. I wound up with The Shape of Jazz to Come in my hands, and from just a few moments into "Lonely Woman," I was immediately sucked into the performances. Some jazz albums make you feel like you're just listening to a couple of guys taking turns impressing each other with solos, and I find it difficult to care about the musicianship if the song it's within isn't compelling enough. This record, however, is as compelling as jazz can get. The drum and bass rhythm section never feel like they're simply accompaniment, as their performances are captivating, incredibly innovative, and relentlessly push the song forward. I also love the lack of piano or guitar establishing chord structure, as it allows the tunes to feel like they're naturally evolving and can change in a moments notice. And as for the lead performances from Ornette on saxophone and Don Cherry on cornet, they are absolutely stellar. The two have tremendous chemistry when they play together, their tones blending as if they were one. When they're playing separately, performances never feel forced, showy, or redundant. They feel perfect. This is as passionate and emotional as any instrumental performance I've encountered. Though I'd say my favorites are "Lonely Woman," "Eventually," and "Congeniality," throughout the entire record, these 4 guys deliver absolutely stellar head-turning performances. If I had to pick a least favorite, it would have to be the lengthy "Peace," which did lose my attention more than once. But really, for the most part, this is a tremendously enjoyable record. I'd especially recommend it to those of you out there who, like me, aren't usually wowed by jazz music, because this one is most definitely a keeper. Trust.

The sound here is exceptional too. It was apparently transfered from the original analog tapes that it was recorded on way back in 1959. The pressing is crystal clear and the sound is absolutely extraordinary. The bass and drums are placed in the center towards the back of the mix, where they are providing audible accompaniment but are clearly not supposed to be the centerpiece of this recording. Be aware of this, because when "Lonely Woman" started with just drums and bass, it felt too quiet, so I cranked the volume. Then, when the horns entered the mix they almost knocked me backwards across my room. So take precaution. Speaking of which, the horn sounds on this record are absolutely stunning, and it is a great example of the sort of sonic warmth and depth you can achieve through all-analog recording. Not to mention brilliant performers. Like so many early stereo recordings, this album features hard panning, with Coleman's sax panned hard right and Cherry's cornet panned hard left. This perfectly adds to the retro feel of the record. The live nature of this recording is clear, and though the panning is a little unnatural by today's standards, it's clearly an accurate depiction of what it's like to see these 4 men perform in the room with you. If you're a fan of this record, or even if you're just looking to check it out, you can bet on the fact that this one will sound excellent on your turntable. Great work from Atlantic on this reissue.

The packaging is an exact replica of the original packaging, which I really love for reissues like this. The 180-gram album sits in a white paper sleeve inside of a single slipcase package. That's it... nothing fancy, but isn't that how you'd expect it? Also no digital download is included... but again, I shouldn't have been expecting one, should I? At the price this record runs, there's nothing I can complain about. Well done.

Alright, that about wraps up the longest Audiophinyl entry to date. For any new readers, usually my entries are about half as long as this. But, then again, usually I don't feel the need to defend my entire existence every time I write in my own blog. Jazz is a difficult and, frankly, scary genre to write about when you feel unqualified to do so. But I love to learn, so if anyone has any musical suggestions for me after reading this diatribe, I'd love to hear them. I won't even need to be bribed with $100 next time. I guess in that sense your little contest worked, guys. Well done. Thanks all, and we now return you to our regularly scheduled programming.

Buy the LP at InSound.com
Buy the LP at Nylvi.com

Next: Version Comparison! The Beastie Boys - Paul's Boutique (New remaster vs. original)

Mastodon - Crack The Skye (Half-Speed Deluxe Edition)

2x 180-gram LPs
Gatefold packaging
Half-speed mastered (45rpm)
Includes full album on CD


Audio Quality: 4.25/5
Song Quality: 4.75/5
Packaging: 4/5


So, this album came out on CD a while ago, but I held off on buying it because I knew there was an upcoming vinyl release. As it turns out, there were TWO different vinyl releases: a standard single LP edition, and a deluxe half-speed double LP edition. I got to my local record store and they had both in stock, with the standard edition priced at $17 and the deluxe edition priced at $40. That's a pretty serious price jump, don't you think? But I run a vinyl blog don't I? How could I leave without the half-speed version? I already learned my lesson on this with In Rainbows (which I finally just purchased on eBay)... I couldn't let it happen again. I bit the bullet and bought (along with many other things) my copy of the limited deluxe edition of Crack The Skye. Is it worth it??? Let me work it.

Well, as far as the music goes, it definitely is. This edition came with the CD (another selling point), and though I wanted my first listen to this album to be on vinyl, I confess that I popped the CD in my car first. I heard so many great things about this album, and when I bought it and had a few busy days in a row where I wouldn't be able to listen, and I simply couldn't wait any longer. These songs are really exceptional, and show the band evolving into what sounds like a modern-day King Crimson, especially on "Quintessence" and "The Last Baron." The songs are intricate, dynamic, and technically extraordinary. The vocals are different from previous Mastodon releases in that they've almost entirely abandoned the metal scream and are now singing. Really singing. Sounds good, too. So if you're the sort of person turned off by "that kind" of metal, I'll ask you to check this one out with an open mind. This is very much meant to be heard as a full album, and there really aren't any single track highlights because of that. The whole album is simply excellent. However, it's worth noting that the 13-minute closing track, "The Last Baron," is absolutely phenomenal.

Now for the sound. First things first, I did a little research and can confirm that this record was recorded to analog tape, and then mixed and mastered digitally. For those of you who want more techie information, there's an outstanding article about how this record was made over here at EQmag.com. The sound on this vinyl is MASSIVE, and far superior to the mix featured on the CD, IMHO. It's mastered pretty quietly, which is sort of a bummer, but when I cranked it up so I could properly experience this album in all its rock-and-roll glory, there was no clipping or distortion, so I guess it's okay. Weird that it's pretty much the same problem I had with that Metallica record. You'd think they'd want these metal albums to play back nice and loud, right? Anyway, the bass is super clear and defined, the tracks are aggressive and powerful without sounding cluttered or harsh, and the vocals are perfectly placed. If I had complaints, it would be that the drums get lost in the mix a few times and that, for a half-speed mastered record at such a high price, this wasn't quite the pristine and mind-blowing vinyl sound I've heard in the past. However, make no mistake, this is a fine sounding record, and if you're a fan with $40 to blow, it's most definitely a superior listening experience.

The package is very nice, and the cover art is actually noticeably different (and nicer) from the single LP edition. The records are held in white paper sleeves with plastic protective sheets. There's a single page insert with the lyrics on one side and album credits on the other. As I previously mentioned, you also get the full CD included in a generic white paper sleeve. It's a very attractive set, and it's limited to 2,500 copies, but I do believe it should have been at LEAST $10 cheaper. Without any bonus tracks or the inclusion of the DVD that came with the proper CD release, it just doesn't warrant the exceptionally high price.


A little while ago, Mastodon released a box set of double vinyl reissues of their previous albums that I regret to inform you I did NOT pick up. It was a lot of money!!! But if they did separate reissues of Blood Mountain and Leviathan, I'd be all over them. If this release is any indication, they'll sound great, and I can already tell you that all Mastodon records feature tracks written by modern masters of metal. Alliteration FTW.

Buy the LP at Amazon.com

Next: Version Comparison! Beastie Boys - Paul's Boutique (new remaster vs. original)

Conor Oberst and the Mystic Valley Band - Outer South

2x 180-gram LPs
Gatefold packaging
Free digital download included


Audio Quality: 3.5/5
Song Quality: 4/5
Packaging: 4.5/5


Maybe Conor Oberst was getting tired of everyone calling him a boy genius, a modern-day Dylan, and/or the new voice of a generation. That's the only explanation I can come up with for the recent switch Mr. Oberst made from recording under the name Bright Eyes to releasing records using his birth name. The songs on this record and his previous "solo" release, simply titled Conor Oberst, are so vastly different from any previous Bright Eyes release (with the only possible exception being 2007's Cassadaga) that it simply can't be coincidence. Something is fundamentally different here, and it's not just the absence of long-time producer Mike Mogis. Conor has temporarily (I hope) put his angst aside and made a record that, for lack of a better term, is pretty straightforward fun. It's Oberst's earnest and mostly successful attempt to channel the fun and American spirit of Tom Petty. And it's good, but there's a but. I can greatly enjoy it for what it is, but I'd be way disappointed if it was anything more than an extension of the undeniably superior Bright Eyes. To draw a parallel, it's the exact same way I feel about the simultaneous existence of The Raconteurs and The White Stripes. Very enjoyable, but only when considered an offshoot of something greater.

Though this album has some great songs, it's not quite as consistent as his previous solo album. That's not very surprising, considering that it's a few tracks longer and that Oberst had other band members write and sing some of the songs. Having said that , I must give credit here, because the songs that were written by Nik Freitas, Taylor Hollingsworth, and Jason Boesel are actually quite good. At the very least, they fit the vibe of the album perfectly, and you don't feel like Oberst was just doing them a favor by putting their tracks on the record... like what Rivers Cuomo did with the last Weezer album. In fact, Taylor Hollingsworth's contributions, "Air Mattress" and "Snake Hill" are both legit album highlights. Well done, Taylor. Yes, the weakest tracks on this record definitely belong to Oberst, with "Cabbage Town" and "White Shoes" coming off a bit cliche and insincere. Unusual and unsettling to hear this from him, to say the least. However, in Conors defense, he also wrote some monster songs for this album, with "Slowly (Oh So Slowly)," "Nikorette," "Spoiled," and "Roosevelt Room" all deserving of the highest marks. Overall, it's a fun album that I would recommend to existing fans of Conor Oberst and his Bright Eyes catalog. However, if you've never heard any of that stuff before, my GOD please go out and pick up Lifted or I'm Wide Awake, It's Morning. Those albums justify all the hype around this guy, while this album lets us hear that genius let loose and have a moment of fun in his seemingly otherwise tortured existence.

Usually Mr. Oberst's output sounds excellent on vinyl. I regret to inform you that this record sounds decent at best. It's a clean pressing and there's nothing especially offensive about any of the mixes, but they just don't have the sonic separation that I need to hear in a great record. The mix is pretty consistently cluttered and lacking in sonic depth and width. Naturally, some of the songs with more sparce arrangements sound better than the heavier tracks. It sounds to me that it just wasn't given the time and attention necessary for a proper vinyl mix and master. It also definitely sounds like it wasn't recorded, mixed, or mastered analog. Though I can't say this is a bad vinyl, I'm gonna only recommend it for big fans of vinyl and/or Conor. The rest of you can take a pass on this and just grab the CD or a download.

Package is pretty nice. Gatefold package, and you get two 180-gram LPs that are held in clear, thick plastic sleeves. You get a single paper insert that gives you all the lyrics and album credits. You also get a little piece of paper that gives you a free digital download of the entire album, so that's a big win right there. The free download makes the moderately high price tag of approx. $25 a bit easier to stomach, but as I said previously, this definitely is a purchase for the more serious fans out there.


As a side project, this is a fun deviation from what we've come to expect from Bright Eyes. And as long as it exists as a side project, fans of Conor Oberst's songwriting can find some real pleasure in hearing this eternally angry young man finally letting loose and enjoying himself. It's a fun change of pace. But this time next year, we better have a new Bright Eyes record. Otherwise this "fun" shit could start getting old.

Buy the LP from Amazon.com
Buy the LP from InSound.com

Next: Mastodon - Crack The Skye (Limited Edition)

Green Day - 39/Smooth (Reissue)

120-gram LP
Includes two 7" records
All original artwork
NO digital copy included


Audio Quality: 4/5
Song Quality: 3/5
Packaging: 5/5


Both looking at and listening to this record, it's hard to believe that this band wound up turning into one of the biggest names in modern rock. It was certainly an unlikely transformation, but over the span of many years and albums, they did manage to grown into arguably the most mature and sophisticated name in pop-punk history. An impressive feat, especially upon listening to this record, which is less of an album and more of a collection of EPs from the earliest days of Green Day's existence. This is also the first in a series of Green Day vinyl reissues, which will eventually span their entire discography. I picked up this with some serious skepticism, but I found it for an absolute steal (if you're ever in Ventura, CA, you must stop by Salzer's) and couldn't say no. I also couldn't say no to Kerplunk!, so expect that review to follow. But let's go ahead and get to the tunes.

So the songs on this record are not great. That's all there is to it. They're extremely basic and juvenile 3-chord punk songs, and their lack of musical maturity reveals itself in their musicianship, their lyrics, and their mostly forgettable melodies. A few songs reveal some pop-punk greatness, such as "The Judge's Daughter," "Going To Pasalacqua," and "Disappearing Boy." And, though it's definitely a sub-par song, listening to "16" clearly reveals a band trying to figure out their own sound, which is pretty fascinating to hear nearly 20 years later. And that retrospective look is what makes this record enjoyable and fascinating to hear. In my opinion, the greatest stuff in the package is on the 1,000 Hours EP and the Slappy EP, which are included as bonus 7"s. The songs are fun, and the concise batch of 4 gives you a real feel for what it was like to know Green Day way back when. Sweet Children style. And what's probably the highlight of the whole set is the cover of Operation Ivy's Knowledge that concludes Side B of the Slappy EP. They are still known to perform this track live today, though much more similarly to the original than the fun and hokey version found here. Their first proper full-length, Kerplunk!, is a much better example of how their catchy, marketable punk went on to influence countless bands in the years to come. However, if you're a serious fan and you want the story from the very beginning, no matter how painful it might be at times, look no further than here.

For an album that surely must have been made for virtually no budget at all, this record sounds pretty damn good! I know, I was surprised too. It's not an audiophile listening experience by any means, but considering what it is, you really couldn't ask for more. A very nice and quiet pressing, with the performances clear and separated, while in-your-face enough to maintain the punk rock spirit with which they were recorded. Don't expect a big sonic spectrum or beautiful and articulate vocals here, though I doubt you did. The integrity of the performances are intact and they sound just as good if not a little better than the CD version of this collection, which is alternately titled 1,039 Smoothed Out Slappy Hours. No tracks are sonic highlights per se, but for people who were concerned about the quality of these reissues, I'm tempted to say that if they got this one right, it's likely that the others will follow suit nicely. The 7" EPs that are included play back at 45rpm and also sound pretty good, though I did here some slight distortion once or twice. Nothing that should discourage you from this purchase though.

For serious Green Day fans, this package is where it's at. The 39/Smooth LP, 1,000 Hours EP, and Slappy EP all come with all their original packaging intact, all the way down to the formerly xeroxed inserts featuring all the lyrics and credits scrawled on a piece of looseleaf by the band. This means that the 12" LP is in a generic white paper sleeve and comes with an insert containing lyrics and album credits on one side and artwork (pictured to the right) on the other. The 7"s just sit within their printed sleeves, with 1,000 Hours containing an additional lyrical insert. Choosing to reissue this set with the original 7" EPs intact was a very thoughtful move on the band/label's part, and it really does make me happy to own an album that I was never really that wild about. Yes, the LP only weighs 120-grams, but don't let that discourage you. The sound is still nice and it just make the whole thing seem even more genuine. More like an amazing find on eBay than a newly released album. Even for Green Day fans without a record player, having and holding this piece of the band's history is probably a must. Plus it's only about $20. We win.


These reissues are coming out faster than I can review them (I have Kerplunk! and Dookie already waiting in line), but again, if this album is any indication, you can feel comfortable picking up your favorite Green Day album on vinyl when they get to it. Because, by the end of the year, you will be able to have them all. Let's just see how many I wind up with. Bets???

Buy the LP at Amazon.com
Buy the LP at ElusiveDisc.com

Next: Conor Oberst and the Mystic Valley Band - Outer South

A mind is a terrible thing to waste. This is true.

Hi, how are you?

There's no excuses, my friend.

For a minute there, I lost myself.

Hello. It's good to be back.

Matthew
Goodnight