Thank you for buying this record. What follows is its documentation: the
pressing identified, the matrix / runout transcribed by hand from the dead
wax, and the condition as assessed before it was listed. It is yours to keep
with the record.
— Paul, Vinyl Curator
Anthony Williams
Life Time
1978 · Blue Note BST 84180 (Japan sub-catalog: GXK 8026) · Stereo · Japan (manufactured by King Record Co., Ltd.; label text is a facsimile of the original New York address) · LP, with obi (Japanese reissue) · 33 1/3 RPM
Pressing details
| Label | Blue Note |
| Catalogue number | BST 84180 (Japan sub-catalog: GXK 8026) |
| Year | 1978 |
| Mono / Stereo | Stereo |
| Country | Japan (manufactured by King Record Co., Ltd.; label text is a facsimile of the original New York address) |
| Format | LP, with obi (Japanese reissue) |
| Speed | 33 1/3 RPM |
| Genre | Jazz - Free Jazz/Post-Bop |
| Composer | Anthony Williams |
| Musicians | Sam Rivers (tenor saxophone), Bobby Hutcherson (vibraphone, marimba), Herbie Hancock (piano), Richard Davis (bass), Gary Peacock (bass), Anthony Williams (drums) |
Matrix / Runout
Side A: SILBT 7896-3
Side B: SILBT 7897-4
Condition
- Cover
- VG+
- Vinyl
- VG+
Variant chronology
1964 - US Blue Note, 47 West 63rd St label, Van Gelder/ear stamp (original stereo pressing)
1966-c.1970 - US Blue Note, 'New York, USA' label text
c.1970-73 - US Blue Note, A Division of Liberty/United Artists blue-and-white label
1977 - US Blue Note/United Artists reissue, BST-84180
1978 - UK Blue Note BNS 40018 reissue - No documented sale found for this variant
1978 - France Blue Note BSTF 84180 reissue
1978 - Japan Blue Note/King Record GXK 8026, Blue Note Masterpiece Selection 150 series, with obi <- this copy
1984 - Japan Blue Note BNJ 71043 reissue - No documented sale found for this variant
2020s - Blue Note Tone Poet Series 180g reissue
This Pressing
1978 Japanese King Record pressing (GXK 8026/BST 84180) with obi - a facsimile reissue of the original New York label design, not a US pressing.
The Album
Life Time was the first album released under the leadership of the drummer, who was still a teenager when he recorded it in August 1964 after already making his mark as the propulsive engine of the era's most acclaimed working quintet. Rather than lead a conventional working band, he split the record into two contrasting units - a trio-plus-tenor grouping for the side-long 'Two Pieces of One' and a larger sextet for the remaining pieces - using the instrumentation itself to explore ideas about pulse, space and simultaneity that were unusual for a drummer-led date. The compositions, all his own, lean away from standard song form toward open, through-composed structures that let the ensemble breathe and overlap in ways closer to contemporary classical and free-jazz thinking than to hard bop. The supporting cast, drawn from the most forward-looking corners of the scene at the time, gave the leader collaborators fluent in exactly the kind of structural freedom the music demanded. The album arrived at a pivotal moment in the drummer's career, just as his reputation as an innovator independent of his sideman work was taking shape, and it helped cement Blue Note's growing identity as a home for the label's more exploratory artists alongside its hard-bop mainstays. Critics and musicians have long regarded it as a striking and unusually mature leader debut, one that expanded the vocabulary available to a jazz drummer as composer and bandleader rather than simply as timekeeper. Its reputation has only grown over the decades as listeners revisited its structural ambitions, and it remains a touchstone for discussions of 1960s Blue Note's avant-leaning catalogue.
Tracklist
Side 2
1. Tomorrow Afternoon
2. Memory
3. Barb's Song to the Wizard
The Label
The side labels are white with a blue wedge, read 'BLUE NOTE RECORDS INC. . 47 WEST 63rd . NYC', and carry the original-style matrix text 'BST 84180 / GXK 8026' alongside a bracketed catalogue line '(SILBT 7896)' and '(SILBT 7897)' with a ℗ 1978 date, plus small print crediting manufacture to King Record Co., Ltd., Japan. This is a Japanese facsimile reissue of the New York W. 63rd St. design rather than a US pressing of that era: King Record licensed and repressed the catalogue in Japan from the mid-1970s, issuing titles with an obi as part of a numbered reissue series. The W. 63rd St. text here therefore dates the ARTWORK being copied, not this copy's manufacture, which the ℗ 1978 date and the King Record credit place in the 1977-78 Japanese reissue run.
Fidelity
The source for this pressing is Rudy Van Gelder's original stereo master tape, licensed to King Record for Japanese manufacture rather than cut from a fresh domestic master. Japanese King-era Blue Note reissues of this period are generally well regarded for quiet surfaces and a clean, if slightly softened, transfer compared with the Van Gelder-cut US originals. Collectors consistently rank the original 1964 New York stereo pressing above this reissue for immediacy and top-end presence, with later audiophile cuts such as the Tone Poet series regarded as the modern sonic benchmark; this Japanese pressing sits below both as a solid, accurately sourced but non-original listening copy.
Notes
This copy is a 1978 Japanese reissue manufactured by King Record Co., Ltd. under license, part of a numbered Blue Note reissue series sold with an obi. The label text replicates the original 47 West 63rd St. New York design, but the ℗ 1978 date, the King Record manufacturing credit in the small print, and the Japan-specific catalogue number GXK 8026 alongside BST 84180 identify it as a later Japanese pressing rather than a 1960s US original. The bracketed 'SILBT' numbers on each side are this Japanese pressing's own identifiers, distinct from the Van Gelder-stamped matrix found on the original US stereo pressing.
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