Contemporary Jazz Records Available Now
The OJC versions of Contemporary Records are typically thin and somewhat opaque, as well as tizzy up top, the kind of sound one often hears on CDs (and that CD lovers for some reason never seem to notice).
Some OJC pressings, however, can be excellent when you chance upon the right copy.
The pressings that were mastered and put out by Contemporary in the mid-’70s (until they were bought by Fantasy) are almost always superior to the OJCs, but these rules of thumb break down so badly and so often that the only workable approach is just to play as many different copies of the album as you can get your hands on and simply let them sort themselves out sonically.
This of course is exactly how we conduct our shootouts. We make a lot of mistakes, but when all is said and done, we rarely fail to come up with the goods, the goods being phenomenal sounding pressings of important music, pressings that are dramatically superior to any others.
Although we’ve liked the OJC of Jazz Giant in the past, last time around the OJC versions were quite a bit thinner, smaller and less energetic than our “real” Contemporary stereo pressings. They were a big step down from our killer shootout winner.
The notes read “100x better” if that tells you anything (!)
A clear case of Live and Learn.
The Players
Alto Saxophone – Benny Carter
Bass – Leroy Vinnegar
Drums – Shelly Manne
Guitar – Barney Kessel
Piano – André Previn
Piano – Jimmie Rowles
Tenor Saxophone – Ben Webster
Trombone – Frank Rosolino
Trumpet – Benny Carter
TRACK LISTING
Side One
Old Fashioned Love
I’m Coming Virginia
A Walkin’ Thing
Side Two
Blue Lou
Ain’t She Sweet
How Can You Lose
Blues My Naughty Sweetie Gives to Me
AMG Review
Benny Carter had already been a major jazz musician for nearly 30 years when he recorded this particularly strong septet session for Contemporary. With notable contributions from tenor saxophonist Ben Webster, trombonist Frank Rosolino and guitarist Barney Kessel, Carter (who plays a bit of trumpet on “How Can You Lose”) is in superb form on a set of five standards and two of his originals. This timeless music is beyond the simple categories of “swing” or “bop” and should just be called “classic.”
Scott Albin Review
Nat Hentoff’s liner notes for the original Jazz Giant described it as “the first all-jazz, hot, small combo blowing album under Benny Carter’s name” since the advent of the LP about 10 years earlier. That was a shame, but since Carter was almost completely immersed in his second career in Hollywood writing for film and TV, he primarily appeared on Norman Granz impromptu jam session dates and little else.
Whoever assembled this intriguing ad hoc septet was either a creative genius or just plain lucky, for it works beautifully. “Blue Lou” is a case in point. First introduced by Carter on a 1933 big band recording, “Blue Lou” was a Swing Era favorite, and the riffing melody with its animated bridge is given a respectful and enthusiastic performance.
Ben Webster reminds us that he could still improvise fleetly and forcefully when the setting is right. Andre Previn is bluesy and flashy in an Oscar Peterson vein. Frank Rosolino’s pungent trombone adds texture, and his solo features nimble, incisive phrasing. Barney Kessel’s twangy improv is a joyful attention grabber.
Finally, Carter takes command with an enticing logic and clever thematic reworkings, swinging relentlessly all the while. Vinnegar and Manne drive the group throughout, maintaining a stimulating pulse. The riffing conclusion comes across as a fitting salute to the big band era.