Wilco, A.M. (Rhino High Fidelity)
I am a Chicago guy, and I have been a long term loyal fan of Wilco since the very beginning of the band. Wilco was formed in 1994 by the remaining members of the alternative country group Uncle Tupelo, after Jay Farrar's departure that same year to form Son Volt. The Wilco lineup has evolved over the years, though Jeff Tweedy has continued to be the lead guitarist and vocalist.
I have seen Wilco several times in the Chicago area and at various venues. This includes my all-time favorite concert at the Chicago Opera House in 2011, which I attended with my daughter (also a huge Wilco fan). In virtually a three act play, Wilco spanned their entire discography in an incredible display of musical and artistic brilliance to the home town crowd. That's one concert that I will never forget! A heartfelt and delightful father-daughter bonding event and memory!
I also have all the original pressings from their catalog. Most were on the Sire, Nonesuch and dBpm labels (as were the reissues). The sound quality of these OG's are some of the best in my entire collection. My favorite is the 2010 RSD four LP box set Kicking Television (Live In Chicago). Talk about an "in the room" experience! You can find it on Discogs priced as high as $1000. Come on Rhino—this box set deserves a reissue too!
I have also owned and reviewed almost all of the Wilco reissues. The quality of the original master tapes and the production values were so good, that most of these sound fantastic too! If the expensive OG's are unobtainable, these reissues are also well worth owning, as you just cannot beat the sound of this music on vinyl. But, I must admit, I still preferred the visceral excitement and freshness of those OG's. Until now.
Wilco's first album was A.M., which was released in 1995. This Rhino High Fidelity reissue of A.M. is without question my now "go to" copy. Cut by Kevin Gray, this pressing has more warmth, more detail, and an amazing amount of additional punch and transparency. The icing on the cake is the Rhino High Fidelity packaging which includes a Tip-On heavy weight gatefold jacket, a cool OBI, and additional liner notes by Bob Mehr. Lets not forget the 180 gram vinyl and that it was pressed at Optimal in Germany! Super flat and super quiet!
One amazing example of the sound quality is the alternative country track, "Passenger Side." Instruments are now more clearly laid out and defined across the soundstage. Jeff Tweedy on vocals and guitar stands before you with more air and three dimensionality. Drums have additional whack and muscle—much like real thing. A.M. is one of the finest debut albums ever and set the stage for more wonderful music to come. Highly recommended!
Dan Fogelberg, Souvenirs 50th Anniversary Edition (IMPEX Records)
Souvenirs was Dan Fogelberg's second album and was released in 1974 on the Epic label. It reached No. 17 on the Billboard 200 and was certified double platinum by the RIAA. Some of the finest musicians and song writers of the time contributed to the album including Kenny Passarelli (bass), Russ Kunkel (drums), Joe Walsh (electric and acoustic guitar), and Graham Nash, Don Henley, and Glenn Frey (background vocals). Dan Fogelberg himself also demonstrates a remarkable myriad of skills on acoustic guitar, electric guitar, piano, vibraphone and vocals. Joe Walsh produced the album and management direction was provided by the mega-star manager and producer Irving Azoff.
As mentioned earlier with Wilco and A.M., I feel like I have a personal connection with this album and also with Fogelberg and Azoff. Both were born and raised in Illinois, and both attended the University of Illinois in Champaign/Urbana during the late 1960's and early 1970's. As a student there during that same period, I was able to see Fogelberg at various coffee houses and in the Great Hall at the University of Illinois Krannert Center. His talent was clearly on display and very impressive even back in those days.
This 50th Anniversary vinyl edition of Souvenirs was reissued by IMPEX from a flat 1.1 transfer of the original analog tapes and was cut by Chris Bellman. This reissue also receives the infamous "IMPEX treatment," which includes both a heavyweight gatefold jacket and an exclusive booklet containing original photos and an appreciation by Charles L. Granata. This booklet also features archival and new interviews with Fogelberg and many others who helped make this a classic album. Lastly, but also as import, the album was pressed on super quiet high grade audiophile vinyl at Fidelity Record Pressing. All in all, a first class offering for just $39.95!
I have a 1974 OG in mint condition, and though somehow all the magnificent songwriting and performances come through loud and strong, the vinyl is noisy and the overall sound quality is mediocre at best. IMPEX and Chris Bellman have done something wonderful here. Never intended as an audiophile recording, we get some additional and much needed harmonic texture along with some newly found dynamics and transparency. Now there is actually a bass line that contributes to the foundation and solidity of the music.
For example, the open track "Part of the Plan" is resurrected with a full bodied sense of power and dynamic punch that makes the song so much more enjoyable. Fogelberg's vocals virtually soar above the soundstage and take you along for a touching if not passionate ride. Thank you IMPEX for this unexpected and excellent reissue of a most quintessential album!
Joni Mitchell, Hejira (Mobile Fidelity)
I was pleasantly surprised when Mofi announced that Hejira was to be reissued as a One-Step. I have always considered it to be one of her best albums. It rarely receives the proper respect like her two biggest selling titles, Blue and Court and Spark (which were also reissued as One-Step's). Hejira was Joni's eighth album and was released in 1976 on the Asylum label. Though her earlier music hinted at her love and interest in jazz, Hejira was her first clear attempt to move towards experimental jazz and less with her more traditional folk and pop roots.
Her choices for the band that supported her on this recording also reflected this new transition. This included such astute jazz and studio musicians as Larry Carlton (guitar), Bobby Hall (percussion), Jaco Pastorius (bass), Victor Feldman (vibes), Max Bennett (bass), John Guerin (drums), Abe Most (clarinet), Chuck Domanico (double bass) and both Chuck Findley and Tom Scott (horns). Jaco Pastorius was in particular a tremendous influence and partner for developing much of the music on this album.
I saw Joni when she toured and recorded her 1974 live album Miles of Aisles. Though this was prior to Hijera, you could still get a strong sense of what she was trying to do with her band at that time, which included Tom Scott and his jazz fusion band L.A. Express. For me, it was a sensational live event!
The music on Hejira is somewhat spare and improvisational. Slightly laid back with less hooks and more melodic and harmonic influences, you clearly get a sense of maturity, reflection and sophistication when compared to her earlier compositions. Produced by Steve Katz, recorded and mixed by Henry Lewy, and mastered by Bernie Grundman, the original recording is of exceptional sound quality. This is not much of a surprise considering the reputation and resumes of all three.
I have the 1976 OG, the 2014 Chris Bellman reissue and the 2024 Bernie Grundman reissue. Until now, I preferred the OG and Bellman for their clarity and dynamics, though again, the quieter vinyl on the Bellman maybe tips the scale in that direction overall. The Grundman just did not have the presence and immediacy of the other two to my ears.
The new Mofi One-Step is an absolute killer. Like the Mofi One-Step's for Blue and Court and Spark, Krieg Wundrluch and Team Mofi have clearly shown a magical touch for Joni's discography. I am hearing details and spatial cues that I have never heard before. "Refuge of the Roads" is a prime example. Joni's vocals just float in three dimensional space as her poetic like lyrics continue to delight. Jaco on bass has never been so clear and inspirational. The recording venue has disappeared and only the musicians remain for your pleasure. A wondrous masterpiece of performance and sound!
Cory Weeds, Dig Weeds! (Cohearent Records)
Cory Weeds' Dig Weeds!, is the third vinyl release recorded at Keven Gray's new Cohearant Recording Studio. Of course it was cut by Keven Gray at Cohearant Audio and you can find it on the Cohearant Records label. The first two releases were Kirsten Edkins, Shapes and Sounds, and Anthony Wilson, Hackensack West. These first two have been lovingly embraced by both audiophile and mainstream jazz fans alike.
As many of you might know, Kevin Gray is one of our finest mastering engineers, and based on all three of these vinyl releases, he certainly has an ear and insight for some of the best that jazz can offer. The Cohearant process is all valve from the microphones to the cutting head and the resulting sound quality is simply superb!
Joe Harley of Music Matters and Tone Poet fame was the producer. Gary Salstrom at Paramount Record Pressing provided the plating of the lacquer masters. Rick Hashimoto supervised the pressing at Fidelity Record Pressing. Charlene Gray was the primary production manager. Amber Hernandez provided A&R. Mike Esposito at The 'In' Groove provided distribution. Even mastering engineer Matt Lutthans and Stefan Vasilev were involved in the setup of the studio recording . The support team and the pedigree here is beyond reproach!
The talent assembled for this band is seemingly perfect in terms of both balance and contribution. Cory Weeds on tenor, David Hazeltine on piano, Neal Miner on bass and Byron Landham on drums, all demonstrate a very sophisticated and complex combination of both technical and improvisational skills. Solo's are provided by all throughout the album, and there is an amazing and continual musical interplay with the rhythm section that hearkens back to the classic Blue Note years, though this quartet is very much their own band.
The music is fast and adventurous. The track "Martha's Prize" is an excellent example. The rapid chord changes and intricate syncopation just drives the music forward. The quality of the recording also shines. There is a true sense of lifelike attack and proper bloom to the acoustics that will really test your system, yet you will quickly get caught up into the music and not the sound. Very impressive and very entertaining. Congrats to the entire Cohearent team and all the musicians—you have made something very special for all of us!
Duke Ellington and Ray Brown, This One's For Blanton (Analogue Productions/Pablo Series)
The Analogue Productions Pablo Series has been a huge success with many exceptionally positive reviews and much popularity. Represses for several of the initial titles have been rolled out to keep up with demand. I'm only guessing, but this has probably not been a surprise for Chad Kassem over at Acoustic Sounds/Analogue Productions. Additional reissues have been announced and the catalog seems endless. We should all be thankful for that, as this series has demonstrated what might be possible if someone like Chad has the determination and commitment to pursue the very best!
Pablo Records was a jazz label started in 1973 by Norman Granz of Verve Records fame. The label sought out and supported some of the most iconic jazz musicians of the time and recorded them later in their careers. This includes Duke Ellington, Ray Brown, Ella Fitzgerald, Oscar Peterson, Joe Pass, Count Basie, Dizzy Gillespie, Sarah Vaughan, Art Tatum, and even John Coltrane. The label also released unissued live European recordings from many of these artists.
One such studio release is This One's For Blanton by Duke Ellington and Ray Brown, which is a homage to double bass player Jimmy Blanton. Recorded in 1972 at United Recording Studios in Las Vegas, engineered by the esteemed Val Valetin and mastered at Kendum Recorders, this album might just be my favorite of the entire series. To support such a unique and intimate recording, musicians included only Duke Ellington on piano and Ray Brown on double bass. In retrospect, this was such a powerful and satisfying choice!
I have the 1975 OG that was pressed at the RCA Pressing Plant in Indianapolis. Unfortunately, like many of the original Pablo pressings, the vinyl is extremely noisy and has inconsistent sound quality. I do not have the 2004 Analogue Productions 33 RPM reissue remastered by Doug Sax or the 2005 Analogue Productions 45 RPM reissue remastered by Steve Hoffman and Kevin Gray. That 45 RPM pressing has copies on Discogs listed for as much as $350. I can only imagine what it sounds like.
This title has been an audiophile staple for years at shows and for demonstration purposes. Surprisingly, I have not heard or read much about this recent 2024 Analogue Productions 33 RPM repress. Thus its inclusion here. The original metal parts mastered by Doug Sax were utilized. Though the OG has its moments, you cannot beat the quiet vinyl and perfectly flat pressing of this new series. Again, the minimalist choices that were made across the board almost demand it. You need background silence to really enjoy these musicians and this music!
Now this is how a recorded piano should sound! Take the final track on side 1, "Sophisticated Lady." With Ellington at the helm, you can hear a timbral purity and the visceral impact of each stroke on the keys that many well recorded jazz albums never even approach. The deep rooted speed and wallop of Ray Brown's acoustic double bass is simply mesmerizing! And of course, these two have few peers when it comes to musicianship and performance. Analogue Productions continues to deliver the goods! This is a must have for every vinyl collection!
Proper Perspective And Caveats
It cannot be overstated that system synergy and personal taste are critical when evaluating high-end audio products and music. These reviews are based on my subjective listening priorities, my specific system configuration, and my specific listening room. This combination is only one data point of many that exist out there for my components and the music that is played. Please consider my comments and analysis appropriately.
Review System
I have included a comprehensive list of all my components and a description of my listening room. Please click on my name in red above if this information is needed for reference and comparison purposes.
