Louis Armstrong on Columbia/Legacy or JSP

I was wondering about the preferences among Head-fiers for the digital transfers of the original Hot Five and Hot Seven recordings by Louis Armstrong.  In 1999-2000, both Columbia/Legacy and JSP released 4-disc boxed sets of the recordings and at the time there was some discussion about their comparative sound quality.  I would be interested in comments from anyone that has heard both sets.  In 2003 Columbia/Legacy reissued an abbreviated version of the box on three individual discs.  I assume these are the same transfers as the 2000 box.

I knew that I hear from you on this one bigshot.  You confirmed my suspisions on the matter.  I have the two disc set from JSP of Louis fronting big bands 1930-1932 and it sounds very good as well. This era produced some great music.

Not knowing much about sound engineering, I've always found it something of a mystery why the quality of analog-to-digital transfers varies so greatly.  While this is less of an issue today than say in the 80's when CDs hit the scene, it amazes me than major labels would reissue substandard material, while J.R.T. Davies (presumably working independently) was capable of bringing the music on these '78s to life.  Did this represent his meticulous approach to his work or did he have some technical secrets.  I suspect it was the former.  btw, I've also found that the reissues by David Lennick for the Naxos Jazz Legends are generally of a high quality.  However, NJL is a topic for another day!

@bigshot. That's interesting,  Obviously there is as much "art" in good transfers as "science".  My guess is that eliminating surface noise on these old recordings takes presendence; which to my ears leaves the transfers sounding flat- quiet yes- but sonically unengaging.  I have a Lennick disc of the Hot 5s/7s and thought it was quite good, but I'll defer to your comments and look forward to getting the JSP box.

I've read on some old blogs (Steve Hoffman's, I think) where they discussed this topic and it was mentioned that Columbia/Legacy boosted the treble frequencies to produce a brighter sound on the 5s/7s tranfers.  I'm outside of my knowledge base on this sort of thing, however.  I just enjoy the music.

I thought the metal "master?" was used to press the vinyl.  So in theory the major label would have access to a new pressing before going to the transfer process.  Whereas, Mr. Davies would have to relying on well preserved vintage 78s for his work.  Have I got that right?