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
John Coltrane
My Favorite Things
c. 1962-1965 · Atlantic 1361 · Mono · US · LP · 33 1/3 RPM
Pressing details
| Label | Atlantic |
| Catalogue number | 1361 |
| Year | c. 1962-1965 |
| Mono / Stereo | Mono |
| Country | US |
| Format | LP |
| Speed | 33 1/3 RPM |
| Genre | Jazz - Modal/Post-Bop |
| Producer | Nesuhi Ertegun (supervision) |
| Musicians | John Coltrane (soprano & tenor saxophone), McCoy Tyner (piano), Steve Davis (bass), Elvin Jones (drums) |
Matrix / Runout
Side A: 11755-A AT W
Side B: 11756-A AT W
Condition
- Cover
- VG+
- Vinyl
- NM-
Variant chronology
1961 - US Atlantic black label, white "fan" logo, deep-groove mono first pressing (matrix 11755/11756 series)
1961 - US Atlantic SD stereo, deep-groove, Avco-cut lacquers (ST-A-60303/60304)
1962-65 - US Atlantic red/plum label mono repress, box logo, no deep groove <- this copy
1966-74 - US Atlantic mono/stereo reissue pressings, various label updates - No documented sale distinct from above
This Pressing
Mono repress (c. 1962-65) - US Atlantic red/plum label, box logo, no deep groove, catalogue plain "1361".
The Album
My Favorite Things was recorded at Atlantic's New York studios across three sessions in October 1960, shortly after Coltrane left Miles Davis's band to lead his own quartet full-time. It is most famous for introducing Coltrane's soprano saxophone to the wider public, an instrument he had only recently taken up, on a radically reworked reading of the Rodgers and Hammerstein title tune that stretched a show tune into a hypnotic, modal vamp far removed from its Broadway origins. The record paired that landmark performance and a soprano take on Gershwin's "Summertime" with two tenor ballads, showing Coltrane's dual command of both horns within a single session. Coming directly after Giant Steps, the album marked Coltrane's pivot from dense harmonic "sheets of sound" writing toward the more open, vamp-based modal playing that would define his mid-1960s work. The quartet here - McCoy Tyner, Steve Davis and Elvin Jones - previewed the rhythm section (with Jimmy Garrison soon replacing Davis) that anchored Coltrane's celebrated Impulse! group. Critically and commercially, the title track became one of Coltrane's most recognized recordings and helped popularize the soprano saxophone in jazz for a generation of players who followed. The album is now regarded as a pivotal bridge session in Coltrane's development, standing alongside Giant Steps and Africa/Brass as evidence of an artist reshaping his musical language within a single year.
Tracklist
Side 1
1. My Favorite Things (Rodgers-Hammerstein)
2. Everytime We Say Goodbye (Cole Porter)
Side 2
1. Summertime (Heyward-Gershwin)
2. But Not For Me (Gershwin-Gershwin)
The Label
The label on this copy is the all-colour "red/plum" Atlantic design: salmon-red top half, magenta/plum bottom half, black print, a white center band reading ATLANTIC with the black box "swirl" logo at right - no deep groove ring is present. This design superseded the earlier black label with the white/multicolor "fan" pinwheel logo that carried Atlantic's first mono pressings of 1361 in 1961; the plum/orange all-colour label ran roughly 1962 through the mid-1960s before pressing-plant identification began appearing on labels around 1965. The catalogue number here is printed plain "1361" with no "SD" prefix and no STEREO wording, confirming mono. This copy is a mono repress issued once Atlantic had moved to the plum label, circa 1962-65, rather than the true 1961 first mono pressing on the black/white-fan label. Deep groove: not present - flat label.
Fidelity
The mono mastering here derives from Atlantic's original in-house lacquers (matrix 11755/11756, "AT" suffix), the same audio source used for the true 1961 first pressing, but cut on later stampers for this repress rather than the earliest deep-groove metalwork. Collectors on the forums generally rate the earliest deep-groove Atlantic mono and stereo pressings of this title as sonically superior, prizing the warmth and immediacy of the vintage tube-era mastering over later pressings and the 1961 stereo issue's Avco-cut lacquers, which some find thinner. Modern 180g reissues (e.g. Rhino/Atlantic reissue series and Atlantic-catalogue audiophile pressings) offer quieter, more consistent surfaces but are sourced from later-generation tape transfers and generally rank below a clean original-lacquer pressing for tonal immediacy. This copy, as a later flat-label mono repress, sits in the middle of that hierarchy: same mono mix and lacquer lineage as the first pressing, but not the earliest, most prized deep-groove stamper.
Notes
This copy carries the plain "1361" catalogue number and mono label, with the runout reading 11755-A/11756-A "AT W" - the original Atlantic mono lacquer series, distinct from the ST-A-60303/60304 Avco-cut stereo runouts of the stereo pressing. The label design - all-colour red/plum halves, black print, box swirl logo, no deep groove - corresponds to Atlantic's later plum-label mono pressings rather than the true 1961 first mono issue's black label with the white "fan" logo. This is a mono repress from roughly 1962-65 rather than the first pressing. General condition (NM- vinyl, VG+/EX cover) is consistent with a well-kept later mono copy rather than a scarce deep-groove original.
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