More Shelly Manne
- This early MONO pressing was doing practically everything right, with both sides earning INCREDIBLE Shootout Winning Triple Plus (A+++) grades or close to them
- The first track here is by far the best sounding — it’s amazing and the perfect illustration of just how good 1956 mono sound can be if you know what you are doing
- The sound may be a bit dated but the horns are enchantingly sweet and Tubey Magical, with solos that show off the jazz chops of “His Men” about as well as any Manne and His Men album ever has
- Tube mastering is essential for this recording – without vintage tubes in the chain, you end up with the kind of modern sound that the average OJC pressing suffers from (this is especially noticeable on side two of the OJC pressings we played, which were mostly awful)
- Contemporary in 1956 was making some awfully good jazz records, with room-filling, natural and realistic mono sound, the kind of sound that still holds up today and doesn’t need a lot of “mastering help” to do it
- Good luck finding quieter early copies of this title — we sure couldn’t do it, not with top quality sound anyway
- 5 stars: “The music has plenty of variety yet defines the era… Highly recommended and proof (if any is really needed) that West Coast jazz was far from bloodless.”
- If you’re a fan of West Coast Jazz, this is a Top Title from 1956, and one that certainly belongs in any right-thinking audiophile’s collection.
This Contemporary recording from 1956 has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of The West Coast Sound, Vol. 1 Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1956
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We’re Listening For On The West Coast Sound, Vol. 1
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight, full-bodied bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Players and Personnel
- Alto Sax – Art Pepper, Bud Shank, Joe Maini
- Baritone Sax – Jimmy Giuffre
- Bass – Curtis Counce, Joe Mondragon, Ralph Pena
- Drums – Shelly Manne
- Engineers – John Palladino, Val Valentin
- Piano – Marty Paich, Russ Freeman
- Producer – Lester Koenig
- Tenor Sax – Bill Holman, Bob Cooper
- Valve Trombone – Bob Enevoldsen
Side One
Grasshopper
La Mucura
Summer Night
Afrodesia
You And The Night And The Music
Gazelle
Side Two
Sweets
Spring Is Here
Mallets
You’re Getting To Be A Habit With Me
You’re My Thrill
Fugue
AMG 5 Star Rave Review
Drummer Shelly Manne’s first sessions for Contemporary contain plenty of definitive examples of West Coast jazz. This [album] has four titles apiece from a 1953 septet date with altoist Art Pepper, Bob Cooper on tenor, baritonist Jimmy Giuffre, and valve trombonist Bob Enevoldsen, four from a few months later with Bud Shank in Pepper’s place, and four other songs from 1955 when Manne headed a septet with altoist Joe Maini and Bill Holman on tenor in addition to Giuffre and Enevoldsen.
With arrangements by Marty Paich (who plays piano on the first two dates), Giuffre, Shorty Rogers, Bill Russo, Holman, and Enevoldsen, the music has plenty of variety yet defines the era, ranging from Russo’s “Sweets” (a tribute to trumpeter Harry “Sweets” Edison), Giuffre’s “Fugue,” and the Latin folk tune “La Mucura” to updated charts on older swing tunes. Highly recommended and proof (if any is really needed) that West Coast jazz was far from bloodless.