JACKIE MCLEAN "JACKIE'S BAG" CLASSIC RECORDS 200G AUDIOPHILE VINYL SEALED

$

25

BN 4051 - Jackie McLean - Jackie's Bag - 200G MONO LP Quiex SVP* Classic Records Reissue - Still Sealed with Sticker.

This 1959 12” is made up of two distinct sessions, including McLean’s first as a leader for the label. These sides helped establish him as one of the finest young alto voices on the jazz scene. Although a strong album through-and-through, the strongest! material lay in the interplay between the altoist and the still under-appreciated tenor Tina Brooks. A great and unique alto/tenor tandem was born and sadly short-lived, due to Brook’s demise at a young age. But the handful of selections they were able to create on this and a few other Blue Note releases are superb. Donald Byrd, Blue Mitchell, Art Blakey, Philly Joe Jones, Paul Chambers, Sonny Clark, Kenny Drew and Billy Mitchell collectively make McLean’s album debut, memorable. As part of the Classic Blue Note Signature LP reissue Series this reissue was mastered and cut from the original analog master tapes on Classic’s ALL TUBE MONO cutting system and featuring authentic tip on jackets with film laminate front covers. This release like all in the Classic Blue Note Signature LP Series is pressed in our 200g * proprietary non-groove guard flat profile featuring the “deep groove” in the center label! Great record – highly recommended!  Last few remaining sealed original copies - buy now or cry later! 

*Background on Classic 200g Super Vinyl Profile 

In 2003, Classic Records launched its now famous Signature Blue Note Mono reissue series. As part of that series Classic developed an "authentic" 200 gram LP profile that replicated that of an original Blue Note record from the 1950's.  Comparing a test pressing on the new profile versus the same title on the normal 180 gram pressing it was discovered that the 200 gram version sounded significantly better.  The 200 gram pressing sounded louder, with more definition and solidity of notes across all frequencies and there was more detail - particularly low level detail like room or hall sounds, pages being turned, musicians whispering and automobile sounds outside the studio all became easier to identify.  At first it was speculated inside Classic Records that the extra weight resulted in the better performance as no one could come up with a better answer given that the stampers were the same as well as the vinyl pellets used on both 180g and 200g pressings.  One day, Michael Hobson, the founder of Classic Records was discussing this unexplainable sonic discovery with the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax when Doug, without hesitation stated "Ah Michael you've discovered the difference in a flat versus conventional profile".  Puzzled, Hobson asked for an explanation which Sax described as going all the way back to 1950's mono pressings and what happened when stereo records came out in the early 1960's.  Sax explained that in the 1950's when mono records had no vertical modulation (only lateral), pressing PolyVinylChloride PVC (plastic) records were more easily pressed on "Flat Profile" dies fitted to the pressing machines since the grooves on the mono stampers were all the same height (no vertical modulation).  The molten vinyl was able to flow evenly across the stampers and fill properly during the molding (pressing) of the record.  The problems started when stereo record cutting came into vogue producing stampers that had variable height grooves sticking up across the diameter of each stamper.  Using the older mono pressing dies resulted in tremendous problems getting the areas between grooves of different heights to fill properly - a groove that is in front of another taller one often got passed over by the flowing molten vinyl resulting in "non-fill" which was audible and thus a "defective" record.  Pressing plants don't like to press defective records and are always looking for high pressing yields or a s few rejects as possible.

To solve the problem, the engineers developed a new pressing die profile which tapers from the center of the die, flattens in the middle of the diameter and then tapers again toward the outside of the die. The new profile was "concave" rather than flat.  When you put a flat stampers onto the concave dies the stampers distort and are no longer flat - the grooves are no longer perpendicular across the stamper and by association across a finished vinyl pressing.  This new die profile created "back pressure" on the flowing vinyl and solved the "non-fill" problem with stereo pressings and resulted in higher yields which was great for pressing plants and good for record companies who wanted good prices on pressings.  The problem was and still is that the new profile records don't sound as good as they could because they are not flat across their profile.  Using a micrometer across the diameter of a 1950's mono records reveals that the thickness is virtually the same across the record's diameter from center label to outer edge but not so for a newer stereo profile pressing which is convex across its diameter resulting from the concave profile dies / distorted stampers.  This is the dirty little secret that Classic had rediscovered was known to old school experts like Doug Sax who founded Sheffield Labs in the 1970's.  After the discovery, Classic Records never looked back and all of its releases and re-pressings after 2003 were on the new 200 gram Flat Profile dies that were specially made for Classic.  Some years later Classic discovered that the very same profile was used by JVC in Japan to produce the legendary UHQR pressings for Mobile Fidelity which are well known to sound better than the conventional Mobile Fidelity pressings of the same titles - it all makes sense now.  The long and the short of this is that Classic 200g Super Vinyl Profile (Flat Profile) pressings are as good as it gets for proper playback without groove distortion from non-flat pressings - Period.

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All items are guaranteed to be a represented by grades in the item description posted. Should a buyer feel the product received does not meet the stated item description, a full refund including return postage will be provided. Buyer has 14 days to return item from date received. Buyer must first contact seller to make arrangement for return shipment. Refunds will be made only after return shipment to, and re-inspection by the seller. We are not financially responsible for mishandling of parcels by the postal service.

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Grading:   

Cover/Vinyl (double LPs cover/vinyl/vinyl etc.) 
LPs are graded visually and conservatively under many bright lights. Questionable marks are play graded.

M - Like new 

EX+   Nice…, but not m-
 
EX   Some cover wear which will be described in some detail.  At least a visual mark on the vinyl but light in nature and should play okay though there could be light surface sound                                                                                                        

VG+ Seam splits , ringwear, cover wear, small sticker tears etc. can come into play. On the vinyl there may be visual marks (eg. scuffs, hairline scratches). There can be some background surface sound.

VG   More wear on covers and more wear on LPs (multiple marks). Most likely surface sounds though the LPs may rise above the music should be able to play without skipping or repeating.

Fair Used only with covers. At this point the cover is in rough condition.

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All LPs come boxed carefully in corrugated boxes made specifically for LPs, with a filler pad on top to protect the cover, plus the LPs are housed in clear plastic LP sleeves. LP is removed from cover (except for SEALED LPs) for shipping to prevent seam splitting. 
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Rest Of World     (Everywhere except USA, Canada, Mexico)     1LP $24     2LPs $28   3LPs $31    4LPs $36   over 4 LPs please email me for combined invoice with weighed shipping quote. Please note I pack in a 14 x 14 box (pizza size) with the LPs well insulated to avoid any corner damages in transit. A few dollars more but guarantees item undamaged.

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