Blue Note 45rpm reissue

Here is another point of view. I am very used to the Blue Note sound , beeing
collector of original pressings , mono and stereo. Reading about the rave around
those 45 RPM reissues, I bought Horace Parlan "Speakin my piece" and compared with the mono deep groove and the stereo New York USA reissue.
The 45 RPM sounds quiet, detailled, and respects all the frequencies, but the soundstadge is thinner, the feeling is dry and cold,and tiredly pronounced, like digital. The mono sounds full bodied, engaging ,warm ,huge soundstage, less detailed, but you want to listen for more lenghtly periods. The stereo is also warm , more consticted soundstage but also appealing. Having the 3 copies , if I have to choose I'd listen to the originals rather than music matters reissues. But I am lucky to have the choice, the prices are so high now. The Japanese King are less expensive and are very quiet and similar to the New York issues sonicaly.
This is for the sound. The vinyl work is of a lesser quality than the originals or japanese: slight warping, label not strictly in the middle,...
Art work is nice, nice pictures inner cover, but could add more info like mosaic did. For me 45 RPM is maybe a theoretical advance but in reality it is not better than 33 RPM . Plus the hassle to turn record every 10 min.
This is my observation. I prefer 33 rpm even cheap Blue note reissues.Sonicaly and on practical point of view.

Jloveys: Thanks for your opinion. I have the Mobley "Soul Station" on order and am interested in how it sounds as well as the quality of the vinyl.

For the most part, I am simply not up to paying the prices for Blue Note originals (especially on the titles that typically go for huge money) and taking a chance on whether the record has been abused or has groove damage. That being said, some of the New York, USA Blue Notes, or even Liberty Blue Notes I have, for that matter, sound very, very good providing they have not been ridden hard and put away wet.

I've also read very good things about the King Blue Notes and am toying with the idea of acquiring a few of them.

I'm very curious, and may post a question at the Steve Hoffman forums as to whether the new re-issues are analog all the way through or whether they are subject to the common quickie digital delay to save cutting heads right at the end, as this may explain the sound quality you are describing.

High quality originals, or even 2nd or 3rd issues are very often hard to beat.

Thanks for your input.

The Hoffman and Gray mastering process is all analog with no digital preview in the circuit.
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I do respect the mastering work of mr. Hoffman and Gray, but the recording engineer who initialy mastered the tapes is Rudy Van Gelder who had the advantage to be in direct contact with the musicians and the sound we hear on the original records or every reissue with RVG stamped in is the sound the artists wanted to have. Sould be interesting to ask living legends like Sonny Rollins or Lou Donaldson what they think about that.
Another problem with very quiet noise floor pressings is when there is a small click or pop you hear it like an explosion !
Of course the price of originals is ridiculously high, but 50 buck's ain't nothing, and limiting the copies like they do is producing a collectible , lots of sellers buy them to make profit on e-bay, like mosaic boxes, but the quality of the mosaic is far superior, because they are historicaly complementary of the original release, not just plain reissues.I am scared to see time passing , mastering engineers passing, the original musical message fainting, like most of actual blue note remixes.
Limiting the number of copies of a plain reissue is not deserving the music lover and audiophile, it is just making more money to those e-bay thiefs who are just robbing you, audiophiles. That is why I prefer to give my money to Blue Note who is maybe producing (very little) lesser quality reissues, but the profit goes to promote new artists . Music should reach everyone, not a limited quantity numbered of persons. This is democracy.

I must add that the whole thing about this hobby is EMOTION.
The way music makes you cry sometimes. Easier in a jazz club with live musicians than on your sofa. If the recording is too accurate and dry , all the emotional impact is vanishing. I think it depends a lot of the emotional mood of the engeneer at that time. Maybe Steve Hofman was in a bad mood on that record . I have a friend who has them all to now . I'll post my opinion .
It must be difficult to master without musician, just tapes. Virtual world.