Jackie McLean Sextet – Fat Jazz  Label: Jubilee – 1093, Jubilee – JGM 1093 Format: Vinyl, LP, Album, Reissue, Mono Country: US Released: 1960 Genre: Jazz Style: Hard Bop A1 Filidé Written-By – Jackie McLean, Ray Draper 7:21 A2 Millie's Pad Written-By – Webster Young 8:32 B1 Two Sons Written-By – Ray Draper 7:17 B2 What Good Am I Without You? Written-By – Don Rodney, Sammy Gallop 7:35 B3 Tune Up Written-By – Miles Davis 5:31 Mastered At – Longwear Plating Alto Saxophone – Jackie McLean Bass – George Tucker Cornet – Webster Young Design [Cover] – Sy Leichman Drums – Larry Ritchie Liner Notes – Jack Travis Photography By – Charles Varon Piano – Gil Coggins Producer – Charlie Mack (2) Tuba – Ray Draper Recorded in New York, December 27, 1957.

USA MONO SECOND PRESSING VINYL ALBUM WITH GENERIC INNER SLEEVE.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR. INNER SLEEVE VERY GOOD+.

DISC: VERY GOOD+. A DECENT LOUD PLAYER BUT DOES HAVE A COUPLE OF LIGHT SCRATCHES AND PLAY SCUFFS. CLEAN LABELS.

Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?

First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl.  Why  experience the worse elements of both formats?  These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared.  They are nearly always compressed with murky transients and a general lifelessness in the overall sound.  There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.

First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider.  Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive.  Inner details are clearer, the music tends to sound more ‘alive’ and vibrant and you 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.