Cables again. For Arny, et al.

I've made no bones about my firm commitment to the proposition that in
audio, 
there is simply nothing that a cable can do to affect the sound of a
system 
at all (unless that cable were purposely designed to be a filter or the
runs 
are so long (for interconnects) that they roll-off the extreme top). 

So it was with some interest that I read Wayne Garcia's excellent article 
('The Big Beat"  Page 36) in the latest TAS about Blue Note's Vinyl
reissues 
of Rudy Van Gelder's often stunning jazz recordings of the late '50's and 
early '60's. 

That these recordings were, are, and will continue to be viewed as the
best 
of the best is not at issue here. What somewhat startled me was that
Garcia, 
the author, received two sets of four review pressings of some of these 
reissues. The first set he found to be excellent, but the second set blew
him 
away. What was the difference? He asked Producer/Engineer Joe Harley via 
E-mail. Why does the second set sound so much more immediate, present, and

dynamic, in short, more musically thrilling than the first? 

Harley answered back that he wished he could go back and remaster the
first 
set of releases because after they were done, he went back and re-wired 
AcousTech's (the studio doing the transfers) mastering system with
upgraded 
AudioQuest cabling! 

How can this be that Wayne Garcia, not knowing that anything had changed 
(ostensibly), immediately noticed that something had changed for the
better 
in the second set of releases and found it significant enough to mention
it 
to Blue Note? Does this mean that interconnects can and do make an audible

difference (something that my electronic engineering degree makes it hard
for 
me to believe). 

Arny? Anyone?