Giant Steps

Recording history and tape provenance

The sessions took place at Atlantic's "office studio" – not a purpose-built acoustic space – on West 56th Street in Manhattan. This contributes to the recording's dry, close-miked character. Tom Dowd and Phil Iihle recorded to an Ampex 300-8R eight-track, giving Dowd the ability to produce discrete mono and stereo mixes from separate mix-downs.

Personnel on May 4–5: Coltrane (tenor saxophone), Tommy Flanagan (piano), Paul Chambers (bass), Art Taylor (drums). The intensity of the session is audible in the performances: "Giant Steps" runs at around 300 beats per minute, and the harmonic language was new enough that Flanagan, who had little preparation time, plays sparingly behind Coltrane's solos – navigating the changes in real time. The album title for each track carries personal significance: "Cousin Mary" (his cousin), "Naima" (his wife), "Syeeda's Song Flute" (his step-daughter), "Mr. P.C." (bassist Paul Chambers).

"Naima" was recorded separately on December 2, 1959 with Wynton Kelly, Chambers, and Jimmy Cobb – the only track without editing and the most conventionally structured piece on the album.

Tape situation: Both mono and stereo mixes have legitimate provenance from the original sessions; no fold-down is involved. The tapes have remained in the Atlantic/Rhino/Warner archive. One complication documented by LJC and the HRAudio.net reviewer is that the tape shows deterioration compared to Van Gelder's Prestige recordings of the same era – audible flutter on some pressings, and a hardness in the upper frequencies that RVG's Hackensack work does not share. Tom Dowd's R&B background gave him mastery of rhythm and separation, but Coltrane's horn sounds less naturally captured here than on the Prestige or Impulse! sides.

Cover: The cover photograph is by Lee Friedlander – a silhouette of Coltrane's profile; cover design by Marvin Israel.

Original US Atlantic pressings

Released in both mono and stereo:

• Mono: Atlantic 1311
• Stereo: Atlantic SD 1311

The label controversy – definitively resolved

There is a persistent and widespread belief that stereo first pressings of Giant Steps should have green labels. This is incorrect, and has been thoroughly documented by Martin at the Into Somethin' blog after searching over 100 Popsike auction listings back to 2006 without finding a single verified green-label stereo first pressing.

The actual situation:

• Mono first pressing (1311): Unambiguously uses Atlantic's deep groove black label with silver lettering, "Long Playing Unbreakable." This is consistent with LJC's Atlantic labelography showing the black label was used for titles in this catalogue range at the time of mono release.

• Stereo first pressing (SD 1311): Uses Atlantic's bullseye label – green upper half and blue lower half, divided by a white horizontal bar containing the Atlantic fan logo, with concentric rings around the spindle hole. The stereo was not released simultaneously with the mono; it followed in early 1960. By that point, the bullseye was in use for new stereo releases. The Into Somethin' blog author owns a deep-groove bullseye copy where the earliest variant has "STEREO" printed in blue/white text – a key indicator of the first stereo copies.

Green-label copies of Giant Steps in the bullseye era that have been represented as "first pressings" are almost certainly escaped copies from The Heavyweight Champion box set or audiophile reissues.

Key detail from Into Somethin' blog: The stereo deadwax on the author's bullseye first pressing reads AVCO ST-A-~~59202~~ 59201 on Side One (with 59202 struck through in error and 59201 hand-etched) and AVCO ST-A-59202 on Side Two.

Mono first pressing identification: - Black label with silver lettering - Deep groove pressing ring – the critical identifier - Matrix: ST-A-59201-A AT (Side A), ST-A-59202-A AT (Side B) – "AT" hand-etched by Atlantic mastering - 157 West 57 Street, New York address on rear sleeve - Pressed by Abbey Record Manufacturing ("AB" in deadwax)

Stereo first pressing identification: - Blue/green bullseye label - Matrix: AVCO ST-A-59201 (Side A), AVCO ST-A-59202 (Side B) - "STEREO" text on blue background on front cover (earliest variant); later has "STEREO" on black - Deep groove also present on bullseye first pressings

Market values: NM mono black label deep groove originals command the highest prices. NM stereo bullseye deep groove copies sit a clear step below. Non-deep-groove second pressings (same stampers) are sonically very close and much cheaper than either.

Mono vs. stereo on this album

LJC, who owned both a stereo and a mono original, sold the stereo: "the separation got to me after a while." The Deep Groove Mono blog's head-to-head comparison: on speakers both sound good, but "Coltrane commands more presence in the mono mix" where he occupies the centre rather than hard left, and "the mono also seems to favour the midrange, where the saxophone's timbre is largely defined." The stereo has superior drum detail, particularly cymbal, and the rhythm section has more room in the mix. On headphones the hard panning becomes uncomfortable in stereo. Collector consensus: mono for Coltrane's voice, stereo for the rhythm section.

Later Atlantic label variants

Plum/orange white fan label (1960s): Second pressings; excellent sound and very affordable. LJC notes orange/red Atlantic pressings of this title sound "absolutely stellar" and praises the George Piros-mastered 1970s copies (look for "AT/GP" in deadwax – AT = Atlantic Studios, GP = George Piros the mastering engineer, not Art Taylor the drummer) as better than the 2005 Kevin Gray Rhino reissue.

Red/green Warner-era (1970s): Thin vinyl but the "AT/GP" (Atlantic Studios/George Piros) deadwax variants are notably dynamic. Note: AT stands for Atlantic Studios, not Art Taylor – the session drummer's name is a coincidence. Discogs and LJC forum voices recommend these ahead of some modern reissues. Worth buying if the price is right.

The reissue hierarchy

The Heavyweight Champion 12×LP box set (1995/2000)

Cat. R1 71984 | Format: 12×LP box set, numbered limited edition; first edition 1995, second unnumbered edition 2000. Remastered from the original stereo master tapes by Gene Paul. All-analog 150g facsimiles of the original LPs. Stereo throughout. The box includes Giant Steps, all Atlantic Coltrane albums, rare outtakes, and a 44-page booklet.

One Discogs owner who compared directly with the 2020 Rhino 60th Anniversary stereo: "I sold my 2020 Rhino 2LP reissue of Giant Steps after comparing it to this, as that had some unwanted hardness and harshness to it. Across the board every album here has a rich and full analog resolution that comes to life through my system." The 150g pressing is quieter than many heavier modern vinyl runs. Worth seeking for the full Atlantic Coltrane context; for Giant Steps alone, less cost-effective than later mono pressings.

Kevin Gray / Acoustech 180g 33rpm stereo (c.2005)

Cat. R1-75203 | Format: single 180g stereo, Rainbo pressing. Mastered by Kevin Gray at AcousTech Mastering, indicated on the hype sticker. This is the older Kevin Gray stereo cut. LJC notes it shows "evidence that the tape is no longer in good condition" with audible flutter absent on 1970s reissues. One Discogs reviewer found it warm but "lacked some high-end sparkle." One reviewer who owns both this and the AP 75 45rpm: "The copy I settled on before was that Kevin Gray cut at Acoustech which was very warm but lacked some high-end sparkle." The pressing quality (Rainbo) received complaints.

Rhino 60th Anniversary 180g 33rpm stereo (2020)

Cat. SD 1311 | Format: 2×180g, 33⅓, deluxe gatefold. Mastered by Ryan K. Smith at Sterling Sound, AAA, from the original master tape. Stereo. 2LP set – LP1 contains the original album; LP2 contains eight alternate takes. Comes in a replica sleeve with replica bullseye labels on the discs. Includes booklet by Ashley Kahn.

The current stereo benchmark at an accessible price. Discogs: "I spent much of my first listen to this record with my hand over my heart, my head tilted back, my eyes closed, and my jaw dropped.. I've certainly never heard it with such clarity and power." Another comparing it to the AP 75 45rpm: "The Rhino Stereo 33 perhaps even is overall preferable.. the Rhino has a smidge more punch." The Ryan K. Smith mastering is the same engineer as the AP 75th edition; differences are attributable to the 45rpm speed advantage, not a different source.

Analogue Productions Atlantic 75 45rpm 2LP stereo (2024)

Cat. AAPA 010-45 | Format: 2×180g 45rpm, gatefold, Stoughton tip-on jacket. Mastered by Ryan K. Smith at Sterling Sound, AAA, from the original master tape. Pressed at QRP. Stereo.

"One of the absolute best sounding jazz records in my collection; it's straight up UHQR quality imo." "Coltrane's saxophone virtuosity is so much clearer." However a vocal contingent finds it bass-shy against the Rhino: "Abit bass shy, abit lacking in overall clarity. On these fronts the recentish Rhino Stereo 33 perhaps even is overall preferable." The hard-panning issue of the stereo mix cannot be resolved by any mastering; Coltrane will always sit hard left. One reviewer who compared the AP 75 editions of the Atlantic Coltrane series against ORG editions found "the ORG editions of Plays the Blues and My Favorite Things sounding notably better (that's Bernie Grundman for ya!)."

One detailed direct A/B against an original US stereo copy found the AP 75 cut noticeably louder than the original – worth accounting for when comparing the two, since level differences alone can make a pressing sound "better." The same reviewer found drums specifically more distinct and better-separated on "Cousin Mary" on the reissue, while "Naima" remained the best-recorded track on either edition. Neither edition fully resolves the underlying muddiness in the bass/drums on the title track itself – a genuine tape-era limitation rather than something any mastering can fix. Note also: the jacket is a flat (non-laminated) tip-on rather than the glossier laminated treatment some Stoughton jackets receive.

Known defect: Some copies have the label on Side A unattached to the centre hole – cosmetic only, does not affect sound.

Rhino Reserve 180g stereo (2025)

Cat. ATL-1311 (Rhino Reserve) | Format: single 180g LP, 33⅓, stereo. Lacquers cut from the original analog stereo master by Matthew Lutthans at The Mastering Lab. Pressed at Fidelity Record Pressing, Oxnard, California. Part of Rhino's Rhino Reserve series; available through major retailers including Target. The matrix prefix "RES1-1311" in the deadwax identifies this pressing.

The most affordable new stereo pressing in the catalogue and receiving some of the strongest reviews of any modern pressing. Discogs: "This might be the best sounding record in my collection!" "I can only add to the positive reviews. I don't even like Giant Steps in stereo very much but this feels immediately different to every other way I've heard it. The mix has always felt quite muddy, sometimes even veiled. At least to me. But this is warm and inviting while also having a lot of detail."

There is also a Rhino Reserve mono edition (matrix prefix RM1 1311) in a gatefold jacket, confirmed from Discogs master page reviews. This is a separate product from the Rhino High Fidelity 2026 mono – it is a Rhino Reserve series release, also Kevin Gray–mastered per owner reports ("Get the full Kevin Grey treatment while you can"). The Reserve mono has received strong reviews: "I own three copies of this record and this, by far, is the best pressing. Everyone needs to experience this record in mono." A specific Discogs release number for the mono variant has not been confirmed at the time of writing.

Rhino mono 180g (2017)

Cat. 1311 (Rhino mono 2017) | Format: single 180g mono, 33⅓, tip-on jacket. The mastering credit is not printed on the sleeve, and some copies show no deadwax stamp – but other owners report finding "KPG@CA" (Kevin Gray at Cohearent Audio) hand-etched in the runout, suggesting this may be an uncredited Kevin Gray cut. Community consensus is divided on what the deadwax shows. Despite the uncertainty, it has accumulated very strong reviews: "Mastering wise this just has more life to the playing than the stereo which is abit softer." "Sounds better than the original mono vinyl pressing." "For Giant Steps in mono this is the new standard from what I've heard." One owner who compared it to a clean orange/purple deep-groove Atlantic mono found "the differences are negligible." If the KPG@CA attribution is confirmed on your copy, this may already be a Kevin Gray AAA cut – giving it more provenance than the "no credit" description suggests.

Rhino Hi-Fi mono 180g (2026)

Cat. 1311 (Atlantic) | Part of the Rhino High Fidelity series ("Start Your Ear Off Right 2026" indie exclusive, Jan. 9, 2026). Format: single 180g mono, 33⅓. Mastered by Kevin Gray at Cohearent Audio, AAA from the original mono master tapes. Pressed at Optimal Media. Heavyweight gatefold jacket with alternate French cover art on the front, original US art inside. Originally a breakout from the "John Coltrane: 1960–1964" Rhino High Fidelity box set (limited to 2,000 numbered copies). This is the first properly credited all-analogue mono pressing of Giant Steps, confirmed from the liner notes.

The reception has been divided: most owners praise it highly – "truly remarkable pressing.. the drums come through a lot clearer too. Very warm pressing, really sounds like Coltrane and his band are in the room with you." However one owner who also has the 2017 Rhino mono finds the 2026 "a softer listen. Clean, solid and safe. But maybe a bit too safe and soft. The 2017 is abit more fiery." For those who prefer warmth and refinement, this is the current best mono option. For those who want more forward, punchy mono, the 2017 may suit better – an unusual situation.

Electric Recording Company (ERC) mono – the collector's pinnacle

Limited to somewhere in the 300–345 copy range – the exact figure is genuinely disputed across sources: Discogs lists it as an edition of 315, one numbered copy sold on eBay reads 326/333, and one owner reading his own certificate on camera states 345; it commands a substantial premium on the secondary market regardless of the exact edition size. Mastered by Pete Hutchison at Electric Recording Company (London) using Lyrec/EMI tube tape machines and an Ortofon cutting head – no processing, no EQ, no compression. Stereophile reviewed it: "Coltrane's tenor sax pops out of the soundstage, 3D, brimming of brass, billowing with air: You can practically see him blowing into the mouthpiece... the piano's tones, chords, and overtones are perfectly clear, as are Chambers's bass walks – which you cannot say about any other reissue of this album." For those who have heard it, the consensus is that it is the finest vinyl presentation of this album in existence. For almost all collectors, the Rhino High Fidelity 2026 covers the same mono ground at a fraction of the price. Worth knowing about; essentially impossible to acquire at release price.

Japanese pressings

The 2018 Warner Music Japan mono reissue (WPJR-10029) is the most praised specific Japanese pressing in collector discussions. One owner: "This is, hands down, THE best pressing I have and have ever heard! The sound is spectacular.. rich, fat and deep with no noise at all.. the sound is much better than my old murky US blue/green stereo issue. Detailed, still natural and 'live' sounding." The master engineer confirmed in an interview that "I did not use any digital equipment at all." This is a highly recommended pressing for those who can find it, typically with obi.

Toshiba-EMI pressed Atlantic Coltrane titles throughout the 1970s–80s and these are consistently praised for dead-quiet vinyl. The early 1970s black label Toshiba copies are the ones to seek; later Warner-Pioneer issues are also good. Typically found with obi.

Pressings to avoid

EU grey-market (DOL, Not Now Music, WaxTime, etc.): The Atlantic catalogue is heavily bootlegged. Any pressing without Warner Music Group licensing language and credentialed mastering provenance should be avoided.

Kevin Gray / Acoustech 180g (c.2005): Not bad but shows tape deterioration, variable pressing quality, and has been superseded by the 2020 Rhino and 2024 AP editions.

Buyer's guide by budget

$ (Budget): The Rhino 60th Anniversary 180g stereo (2020) for stereo, or the Rhino mono 2017 for mono. Both excellent value.

$ (Budget): The Rhino High Fidelity mono (2026) – Kevin Gray, AAA, Optimal; gatefold French cover art; the first properly credited all-analogue mono pressing at an accessible price.

$$ (Affordable): The AP Atlantic 75 45rpm 2LP for the stereo audiophile summit. Know that you're buying into the hard-panned stereo mix; if that doesn't suit you, the Rhino Reserve stereo is the more enjoyable listen for most ears.

$$$ (Mid-range): The 2018 Warner Music Japan mono – outstanding all-analogue pressing, engineer confirmed no digital; some of the strongest reviews of any modern pressing.

$$$$$ (Grail / Rare): A clean mono black label deep groove original – the authentic tube-cut mono experience. Ultrasonically clean before playing.

Pressing tier summary

References

• Discogs (master): https://www.discogs.com/master/32236-John-Coltrane-Giant-Steps
• LondonJazzCollector, "John Coltrane – Giant Steps (1960)": https://londonjazzcollector.wordpress.com/2012/05/18/john-coltrane-giant-steps-1960/
• LondonJazzCollector, "Atlantic First Pressing Guide Part 1 – Mono": https://londonjazzcollector.wordpress.com/record-labels-guide/5-atlantic/atlantic-first-pressing-guide-label-transitions/
• Deep Groove Mono, "Vinyl Spotlight: John Coltrane, Giant Steps (Atlantic 1311) Mono vs. Stereo Edition": https://dgmono.com/2015/01/19/vinyl-spotlight-john-coltrane-giant-steps-atlantic-1311-special-mono-vs-stereo-edition/
• Into Somethin' blog, "John Coltrane, Giant Steps (Atlantic SD 1311)": https://into-somethin.blog/2017/01/15/john-coltrane-giant-steps-atlantic-sd-1311/
• Stereophile, "Revinylization #30: Coltrane's Giant Steps from the Electric Recording Company": https://www.stereophile.com/content/revinylization-30-coltranes-giant-steps-electric-recording-company
• HRAudio.net, user review discussing tape condition and upper-frequency character
• Discogs release and community listings for all pressings referenced in the tier table above (original mono 1311, original stereo SD 1311, Rhino High Fidelity, AP Atlantic 75, Rhino 60th Anniversary, Rhino Reserve, 2017 Rhino mono, Electric Recording Company, Heavyweight Champion box, Kevin Gray/AcousTech, Japanese pressings)
• YouTube, WCB Jazz Vinyl, "John Coltrane's Giant Steps - Atlantic 75 Series by Acoustic Sounds": https://www.youtube.com/watch?v=H4wxnFPdy5Q
• YouTube, 45 RPM Audiophile, "ERC: John Coltrane Giant Steps + What Makes the ERC Releases So Very Special?": https://www.youtube.com/watch?v=YjQ5cnSMG_4

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