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

Cannonball Adderley with Bill Evans

Know What I Mean?

1984 · Riverside (Original Jazz Classics reissue) OJC-105 (RLP-9433) · Stereo · US · LP · 33 1/3 RPM

Pressing details

Label	Riverside (Original Jazz Classics reissue)
Catalogue number	OJC-105 (RLP-9433)
Year	1984
Mono / Stereo	Stereo
Country	US
Format	LP
Speed	33 1/3 RPM
Genre	Jazz - Hard Bop
Producer	Orrin Keepnews
Musicians	Julian "Cannonball" Adderley (alto sax), Bill Evans (piano), Percy Heath (bass), Connie Kay (drums)

Matrix / Runout

Side A:  GH P OJC 105 A-1
Side B:  GH P OJC 105 B-1

Condition

Cover: NM-
Vinyl: NM-

Variant chronology

1962 - US Riverside RLP 433, mono
1962 - US Riverside RLP 9433 / RS 9433, stereo
1963 - Japan Riverside RLP-433 / R-5036, mono
1965 - UK Riverside RLP 433, mono
1965 - US Riverside RLP 433 / RM 433, mono repress
1966 - US Riverside RLP 9433 / RLP 433, stereo reissue
1974 - Japan Riverside SMJ-6051, stereo reissue
1983 - Italy Riverside OM 2013, stereo reissue
1984 - US Original Jazz Classics OJC-105 (RLP-9433), stereo  <- this copy
1984 - Germany Original Jazz Classics OJC-105 (RLP-9433), stereo
1984 - Japan Riverside VIJ-111, stereo
1985 - Mexico Gamma LP GX01 01394, stereo
1985 - Japan Riverside VDJ-1518, stereo, remastered
1989 - South Korea Yeh Eum YFJL 617 / OJC-105, stereo
2015 - Europe Riverside RLP 9433, stereo reissue
2024 - Craft Recordings OJC Series CRFLP00716, 180g stereo reissue
2024 - Analogue Productions APLP9433-45, 180g 45rpm 2LP, stereo

This Pressing

1984 Original Jazz Classics reissue (stereo) - white OJC reproduction Riverside labels, Pitman-pressed, catalogue OJC-105 (RLP-9433).

The Album

Know What I Mean? brought together Cannonball Adderley's working rhythm section of Percy Heath and Connie Kay with pianist Bill Evans for a one-off studio reunion, their first joint session since Evans had left Miles Davis's band and Adderley had gone on to lead his own hard-bop quartets and quintets. The pairing let Adderley, an exuberant, blues-rooted alto saxophonist, explore a gentler, more harmonically reflective setting shaped by Evans's impressionistic touch, with a program built from ballads and standards rather than the hard-driving originals typical of Adderley's working group. The session produced an early reading of Evans's own Waltz for Debby alongside pieces by Clifford Jordan, Earl Zindars and others, with Evans contributing the title track as well. It arrived during a particularly fertile period for both musicians - Adderley at the height of his commercial and artistic success on Riverside, Evans establishing himself as one of the most influential pianists in jazz - and the album has long been prized by critics and collectors as a rare, intimate crossing of their two musical worlds. Its relaxed, lyrical character distinguishes it within Adderley's catalogue and it remains regarded as one of the most rewarding latter-day studio pairings of the Miles Davis alumni.

Tracklist

Side 1

1. Waltz for Debby 5:14
2. Goodbye 6:12
3. Who Cares? 5:53
4. Venice 2:51

Side 2

1. Toy 5:05
2. Elsa 5:48
3. Nancy (With the Laughing Face) 4:07
4. Know What I Mean? 4:51

The Label

This copy's labels are the white Original Jazz Classics reproduction of the mid-1950s Riverside design: a pale grey-blue RIVERSIDE banner over the Riverside reels (side 1 a single reels logo, side 2 the reels-and-tape-head device), black/dark-grey print, and the Fantasy, Inc., Berkeley, California rim line rather than any New York Riverside address. Fantasy acquired the Riverside catalogue and began reissuing it under its Original Jazz Classics imprint beginning in the early 1980s, replicating the old Riverside label art on new white OJC stock while keeping the original catalogue number in parentheses. That places this pressing squarely as a 1980s OJC reissue of the 1962 Riverside stereo original, not an original-era Riverside pressing itself - the label's own reproduction design and OJC catalogue prefix rule out a first-pressing placement regardless of how closely the artwork mimics the 1950s original.

Fidelity

This OJC pressing was cut from the Riverside master tapes recorded at Bell Sound Studios and manufactured at the Columbia Pitman plant, a high-volume but generally reliable pressing facility used throughout Fantasy's early-1980s OJC reissue series. Collectors on the forums regard these OJC pressings as solid, musically faithful reissues that capture most of the warmth of the originals, though they are consistently ranked below the 1962 Riverside stereo first pressing and below the later audiophile 180-gram and 45rpm remasterings of this title in outright transparency and dynamic range. Within the reissue tier itself, this standard-weight OJC pressing sits in the middle of the fidelity hierarchy for the title - above budget foreign pressings but below the more recent heavyweight vinyl editions.

Notes

This is the 1984 Fantasy/Original Jazz Classics reissue of the 1962 Riverside stereo LP, pressed at the Columbia Records plant in Pitman as the etched "P" in the runout denotes. The white reproduction Riverside labels with the Fantasy, Inc., Berkeley, California rim text and the OJC-105 (RLP-9433) catalogue pairing identify it firmly as an early-1980s OJC pressing rather than an original Riverside issue. The runout etching GH/P OJC 105 A-1 and B-1 on both sides matches the catalogue numbers used for this particular OJC pressing run.

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