As one of the first live albums to be recorded in the hallowed space that is New York City's Village Vanguard, Sonny Rollins's A Night at the Village Vanguard (recorded November 3, 1957, released in 1958) set the template, proving that recording in the odd, triangular club could not only work but could also produce distinctive, satisfying sound. Soon after the recording of the Rollins album, Bill Evans and John Coltrane added live Vanguard albums to their recording catalogs.

Now reissued by Blue Note Records as part of its Tone Poet Series, this three-LP edition, which comes from a different source than previous releases, is that rare audiophile reissue where the sonic differences are immediately audible.

The death of KMET in Los Angeles was a turning point in my young father's life. I was 6 years old when it signed off permanently, ending commercial viability of the progressive, freeform rock format on L.A.'s FM dial.

It's also one of my earliest memories: Windows down and heater up on a cloudy February morning, sitting backseat in an Arby's parking lot before kindergarten, the sound of heresy on the airwaves. Its replacement was Smooth Jazz. We—my father and my 6-year-old self—hated it.

For several months, my wife and I had been living in a cozy studio apartment in New York's Financial District while our apartment underwent substantial renovations. All the old furniture was sold or donated, and decades of accumulated stuff was subjected to triage (sell, donate, or store). All my audio equipment, parts, and tools suffered the same fate. Downtown, my listening was via pretty decent headphones (B&W Px8, Audeze LCD-XC) connected to a Mytek Brooklyn+ DAC and my PC. Meanwhile, we were very busy shopping to equip the "new" apartment.

An all-in-one streamer-DAC-preamp would not have held much appeal for me if my old system was up and running. This, however, was a different time, and I was offered the Grimm MU2 for review with ideal timing.