Art Blakey And The Jazz Messengers* – Art Blakey And The Jazz Messengers

Recorded on October 30, 1958.
Blue Note Records Inc. 47 West 63rd NYC

This 1st original mono issue:
- Deep groove labels with 47 West 63rd St. address
- No INC. and no ® under the E of 'Blue Note'
- Laminated front cover
- Runouts are etched aside from the "P" or "ear" symbol for Plastylite and "RVG" which are stamped

Regarding First Original Mono Issue of this album, per London Jazz Collector:
https://londonjazzcollector.wordpress.com/2023/12/01/art-blakey-blp-4003-moanin-1958-original-1st-pressing-status/

“Readers Emmett M and Bill D prompted me to re-examine my assumptions as to the history of BLP 4003, Art Blakey and The Jazz Messengers release “Moanin'”, in particular the status of the matrix etching 4003 A (previously not found) and 4003 A-1. I like pictures, much more revealing than words. They were able to send me pictures, real-time vinyl detective stuff.

Matrix Codes

At his Scully cutting lathe, Van Gelder’s first acetate cut for each LP side was denominated simply A and B. For example, BLP 4003-A is the first and original mastering of 4003 side one, and 4003-B is side two. However one matter of detail sometimes overlooked is where Rudy Van Gelder assigned a matrix code suffix, indicating a second remaster/acetate cutting.

If for any reason Rudy cut another acetate from a recording, the matrix suffix code -1 was added to the A: A-1, first re-master, A -2, to any subsequent second re-master, even an A-3 has been seen. The same numbering process was applied to side two: B as the first cutting, B-1 as the second cut and so on. Van Gelder used the same acetate cut numbering convention on masters for other labels like Prestige. Rudy’s disciplined work methodology maintained strict version control of acetate cuts.

Most Blue Note titles released are Van Gelder’s first cutting A/B, however on some titles, Van Gelder discarded his first attempt, the A and/or B matrix never appeared on the commercial release, all copies bear his second attempt at cutting, A-1 and/or B-1 suffix. Ever the perfectionist, possibly Van Gelder was unhappy with the sound quality of the first cutting, by chance there was loss or damage to the first master acetate necessitating a fresh acetate be cut, or the pressing capacity of original metal parts had been exhausted, requiring a new metal master. Some titles saw a second cutting at some point later in their reissue history. Unless you are aware of the significance of the -1 suffix, it is easily overlooked, and “not seen”.

The second mastering should be an improvement on the first mastering, though I have yet to read anyone make that claim. What is important to our friends, the First Pressing Fundamentalists, is the status of the original first pressing. In this particular example, BNLP 4003-A was Van Gelder’s first cut. Some sellers overlook the innocuous -1 matrix suffix in their haste to confirm the all-important Van Gelder Stamp, Plastylite Ear, and label text and address. BNLP 4003 A-1 should by rights be a later pressing, even though most but not all the detail – RVG, Ear, label address – remain the same as for the 4003-A.

Fred Cohen’s definitive guide to original first Blue Note pressings does not mention matrix code suffixes, and never formally documented them. Discogs ers are usually quite good at documenting etchings of specific editions, though not always, and it is not unknown that the “earliest” edition listed is not actually the earliest edition of that title, because no-one has ed an earlier edition. Be aware the Discogs “Year” field is ambiguous. “Year” may be the date of the recording session, the date of release, the copyright date printed on the label, the date a purchaser wrote on the back cover, or be date unknown. It is important that, where possible, the status of Original First Pressing is established unambiguously.”