Art Blakey – Somethin' Else
Tracklist
A1 | Autumn Leaves | |
A2 | Love For Sale | |
B1 | Somethin' Else | |
B2 | One For The Daddy-O | |
B3 | Dancing In The Dark |
Companies, etc.
- Record Company – Blue Note Records Inc.
- Published By – Groove Music (3)
- Pressed By – Plastylite
Credits
- Alto Saxophone – Julian "Cannonball" Adderley*
- Bass – Sam Jones
- Design [Cover] – Reid Miles
- Drums – Art Blakey
- Lacquer Cut By – RVG*
- Photography By – Francis Wolff
- Piano – Hank Jones
- Producer – Alfred Lion
- Recorded By – Rudy Van Gelder
- Sleeve Notes – Leonard Feather
- Trumpet – Miles Davis
Notes
Address on labels: Blue Note Records Inc. • 47 West 63rd • NYC
Address on back cover: Blue Note Records Inc., 43 West 61st St., New York 23
Catalog number on front cover, back cover, and spine: 1595
Catalog number on labels: BST 1595
B1 and B2: Groove Music - BMI
Identifying characteristics:
- Blue and white deep groove 'West 63rd St.' labels
- 'RVG STEREO' stamped in the runout grooves
- Plastylite 'ear' symbol etched in the runout grooves
- Front laminated cover
A gold 'Stereo' sticker was affixed to the front cover of some copies.
Address on back cover: Blue Note Records Inc., 43 West 61st St., New York 23
Catalog number on front cover, back cover, and spine: 1595
Catalog number on labels: BST 1595
B1 and B2: Groove Music - BMI
Identifying characteristics:
- Blue and white deep groove 'West 63rd St.' labels
- 'RVG STEREO' stamped in the runout grooves
- Plastylite 'ear' symbol etched in the runout grooves
- Front laminated cover
A gold 'Stereo' sticker was affixed to the front cover of some copies.
Barcode and Other Identifiers
- Matrix / Runout (A-side label): (BNST 1595-A)
- Matrix / Runout (B-side label): (BNST 1595-B)
- Matrix / Runout (A-side runout): (the Plastylite "ear") RVG STEREO BN-ST-1595-A
- Matrix / Runout (B-side runout): BN-ST-1595-B (the Plastylite "ear") RVG STEREO
- Rights Society: BMI
Other Versions (5 of 241)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
---|---|---|---|---|---|---|---|
Recently Edited
|
Somethin' Else (LP, Album, Mono) | Blue Note | BLP 1595, 1595 | US | 1958 | ||
New Submission
|
Somethin' Else (LP, Album, Repress, Mono) | Blue Note | BLP 1595, 1595 | US | 1959 | ||
New Submission
|
Somethin' Else (LP, Album, Repress, Mono) | Blue Note | BLP 1595, 1595 | US | 1959 | ||
New Submission
|
Somethin' Else (LP, Album, Repress, Mono, 1st cut) | Blue Note | BLP 1595, 1595 | US | 1959 | ||
Recently Edited
|
Somethin' Else (LP, Album, Repress, Mono) | Blue Note | BLP 1595 | US | 1960 |
Recommendations
Reviews
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To add to the confusion- the labels here seem to indicate this is a post 1960 pressing, with the “Blue Note Records Inc” near the deep groove and the trademark beneath “Note” at the bottom of the label. What’s going on here?
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Edited 8 months agoWow. Non-Canon is right. Playing this record is an experience. The depth and clarity of the recording, the nuance, the fluid movement of playing, it is as if you can hear the vibrations of air, at times you hear the sound of the players moving while playing their instruments, Miles come in and it is almost shocking. This captures the essence of "being there" . I'm not into audiophile hype, but I had no idea this record would sound so amazing. If you juxtapose this with the RVG CD reissue it is as if you are listening to a different recording.
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this, simply put, sounds incredible. if you were to get a clean copy it would sound like it was made yesterday. it's a very relaxed, yet CLEAR sound to it. and the horns as far as I can tell don't distort whatsoever. highly recommend this cut
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Mine matches everything noted here, except the addresses for Blue Note Inc. match. Both the disc and back cover have the 47 West 63rd St. address. Insights anyone?
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Edited one year agoRVG’s original Stereo cut for this album is somethin’ else! Many go gaga for the original, bold-sounding Mono, but in this particular case, Rudy did Stereo right and tight. Meaning that the Stereo field and staging is not wide here, it’s close quarters, and instead plays with great depth and richness. Usually “depth” is left for Mono players, but Rudy did somethin’ special here, he somehow got this early Stereo cut to play like a Mono cut, but better. He did Stereo properly (in my opinion) way back in 59’, not with an exaggerated soundstage (that comes across too spacial where the instruments lose presence), but within a narrow setting that feels intimate, warm, and very inviting. This one comes off sophisticated…and I found that he did something similar in Stereo on Coltrane’s “Blue Train”.
Release
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9 copies from €66.00