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The glare is generally missing after "99, but the other issues are still present.Another flaw in this series is that many of the titles are in mono when excellent stereo masters exist. These sound dramatically better and give you a sense of stage depth and air around the instruments. They sound bottled up, exhibit no air or ambiance, and they possess a hard glare. No mono masters exist for these sessions, so these CD's are simply the stereo master folded down into one channel. This album is a 5 star jazz legend, but unfortunately, extremely poor mastering significantly detracts from the enjoyment it can bring.
They don't generally misrepresent the condition, and they'll usually get it to you within 4 business days.This can be a tough neighborhood, and I fully expect to get a pant-load of negative votes and comments since I have dared to say that all is not well with this series, but if it guides those who care about sound quality to the version that makes them happiest, it'll be worth it. To avoid problems, I recommend only dealing with sellers who have a positive rating of 98% or better. What's the purpose of that.Relief is Available: Most of the RVG Edition titles are available in an earlier US version and as a Japanese import here on Amazon. I've purchased many of these for under $10 in "Like New" condition. While some will rightfully argue that the mono master sounds best in some instances, the RVG series has many titles in it that were recorded after Oct. The imports are very pricey so you might want to get the older US versions through the Amazon Marketplace. He only recorded in both formats during the time spanning those two dates. Everything I've purchased that was released before 1999 in the US has been good, and all of the Japanese versions have been good.
Except for the two Monk titles, the RVG Edition series is a seriously flawed collection of historic jazz, especially the first batch that came out in '99, and this is one of those. They are also stereo when possible, and appropriate, and they lack the glare of the RVG Edition. I wish someone had done that for me before I had spent considerable money, only to be unhappy, and then finally discovering what I was looking for in the first place. Rudy Van Gelder recorded exclusively in mono prior to March '57, and stereo exclusively after October 30 1958. 30 1958 that are mono.
Put me onto it. Is it blues. I just can't imagine anything being better.
Not one chord is out of place. Who cares. Is it jazz.
This is the best jazz/blues guitar you will ever hear. These guys put you into the groove and never let go. It's just that good.
If there is something better out there I want to know. In the meantime, I'll just listen to Midnight Blue over and over again.
Kings all time favorite guitar tracks.As a guitar player this is essential. 'Wavy Gravy' is more than just the name sake for that hippie, it is one of B.B. Go back to the woodshed six stringers if you think you can hang with Burrell.
Midnight Blue, the crowning achievement of one of Jazz, and Blues greatest guitar slingers has found it's self a home near the top of the greatest releases of that year and from both astounding genres.Now it is rare to hear of an amazing jazz guitarist who had reached such critical acclaim besides the likes of say Wes Montgomery and the like. Recruiting the most minimal of groups. Kenny Burrell-Midnight Blue *****Boy oh boy, was 1967 an amazing year for music or what.
A simple guitar, bass, tenor sax, and percussion to round out the sound made up this legendary release.Tracks like the title track, 'Chitlins Con Carne' and 'Mule' are true blue guitar workouts. As a jazz or blues fan, this is a must own. But Burrell has found himself the title of the "Bluesiest jazz guitar player ever, or maybe he is the jazziest blues player ever." One things for sure the man has a gift and places it on showcase during Midnight Blue.The title says it all, the album feels and sounds like the album.
Late night cool listening is where this one is at.
If you don't believe me, just listen to the sole standard of the album "Gee Baby, Ain't I Good to You" - a blue-tinged song, not a blues.Since my feeling for this album is shared by almost every other contributor to this site I'll stop here and give my warm and blue five stars to Burrel, Stanley Turrentine (ts), Major "The Mule" Holley Jr. Listen. As far as remastering goes, this is one of the most pleasant listening experiences I've heard recently (although I'm not a hi-tec geek - just a music geek). (b), Bill English (dm) and Ray Barretto who enriches the groove with his congas.BTW, this beautifuly designed edition feature's new liner notes and the original liner notes written by Leonard Feather. Enjoy. As far as music goes, this is probably one of the best albums I've recently rated on the amazon. Comparisson to Billie Holiday might seem silly (might even be silly), but I think that Kenny's feeling for the blues is similar to Lady Day's - she sang blueish whatever she sang, and she very rarely sang the blues.This wonderful blue note album is full of the similar emotion and the similar musical subtlety in at first glance quite simple tunes.
In short, I think this is a great sounding recording (as most Van Gelder Blue Note remasters are) with a talented band and leader doing a nice selection of classic blues tunes, and I really can't ask for much more in a jazz recording. Kenny's solo on Soul Lament is just dripping with blue something, and Chitlins Con Carne isn't a jazz standard for nothing. Whatever, I also find Burrell's guitar not as honky-tonky as Wes Montgomery, and not as mercury-smooth as Frisell, so that Kenny's unique guitar sound in the context of these relatively familiar tunes keeps me at attention.
Whatever effect Kenny was trying to achieve by calling it Midnight Blue and then filling it with blues melodies and bluesy jazz tunes has been achieved several times over. Maybe it's the blues emphasis that does it for me, or maybe it's the solid backing band that Kenny allows to come forward often enough that his guitar isn't bashing you over the head from start to finish. This is one of those really cool jazz recordings that, I think, tends to get overlooked.
It could also be the cool blows of Stanley Turrentine, the swinging bass of Major "Mule" Holley, or the timelessness of the songs. I recommend this to jazz fans and non-fans alike. As I've said in a number of my reviews, jazz guitar has never been my passion, and although Bill Frisell has done a lot to change that perspective, I must admit I continue to be dispassionate about most jazz guitar work.
That's why I'm surprised (pleasantly so) at how much I like this recording.
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