Labels We Love – Contemporary

Sonny Rollins – Alternate Takes

The Music of Sonny Rollins Available Now

Reviews and Commentaries for the Music of Sonny Rollins

With two superb Double Plus (A++) sides, you’ll have a hard time finding a copy that sounds remotely as good as this vintage Contemporary pressing
One of our favorite Sonny Rollins records for sound – both sides here are incredibly big, full-bodied and Tubey Magical
4 1/2 stars: “This LP contains alternate versions of selections from two famous Sonny Rollins albums: Way out West and Sonny Rollins and the Contemporary Leaders. These ‘new’ renditions… hold their own against the classic versions. [T]he music is hard-swinging and frequently superb.”

The album is made up of alternate takes from the Way Out West and Sonny Rollins and the Contemporary Leaders sessions, and as such there is a bit of sonic variation between these tracks and the ones on the actual albums. The best-sounding songs here, particularly the material from Way Out West, can sound amazing!

All Tube in ’58

The best copies are rich and tubey; many pressings were thin and modern sounding, and for that they would lose a lot of points. We want this record to sound like something Roy DuNann recorded with an All Tube chain in 1958, and the best copies give you that sound, without the surface noise and groove damage the originals doubtless suffer from.

Some copies have much more space; some are more present, putting the musicians right in the room with you; some are more transparent, resolving the musical information much better than others, letting you “see” everyone in the studio clearly. Some have more rhythmic drive than others. On some the musicians seem more involved and energetic than they do on the average pressing.

The copies that do all these things better than other copies are the ones that win our shootouts.

This is one of the better copies we have ever played. We think you will enjoy it immensely.

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Barney Kessel – Vol. 3: To Swing Or Not To Swing

More Barney Kessel

More Contemporary Label Jazz Recordings

Boasting seriously good Double Plus (A++) grades from start to finish, this early Contemporary MONO pressing is guaranteed to blow the doors off any other Vol. 3, To Swing Or Not To Swing you’ve heard – reasonably quiet vinyl too
Tubey Magic, richness, sweetness, dead-on timbres from top to bottom – this is a textbook example of Contemporary sound at its best
For some reason, the guitar sound from this era of All Tube Chain Recording is seems to have died out with the times – it can only be found on the best of these vintage pressings, like this one
5 stars: “The unusual repertoire on this set … would by itself make this bop/cool set noteworthy. Add to that a very interesting lineup of players (trumpeter Harry “Sweets” Edison, Georgie Auld or Bill Perkins on tenor, pianist Jimmy Rowles, the rhythm guitar of Al Hendrickson, bassist Red Mitchell, and Shelly Manne or Irv Cottler on drums) … and the overall result is a recording highly recommended to fans of straight-ahead jazz.”
If you’re a fan of Jazz Guitar, this All Tube MONO Recording from 1955 belongs in your collection.

Man, this music is a blast when it sounds this good. I don’t think there’s a whole lot you could do to make this music sound any better! It’s one of the best early mono Contemporary LPs we’ve ever played. It’s so Tubey Magical. Kessel’s guitar sound is out of this world.

The music here matches the sound for excellence. The whole band just swings. There’s a real old rag-timey feel to the songs. Look at this list of all-star players: Harry Edison, Jimmy Rowles, Red Mitchell and Shelly Manne — this is some serious jazz talent.

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What I Couldn’t Hear on My ’90s Tube System

Hot Stamper Pressings of Contemporary Jazz Available Now

More Piano Recordings that Are Good for Testing

I have a very long history with this album, dating back to the ’90s. My friend Robert Pincus first turned me on to the CD, which, happily for all concerned, was mastered beautifully and is highly recommended if you want to work on your digital playback. We used it to test and tweak some of the stereos in my friends’ systems.

Playing the original stereo record, all I could hear on my ’90s all tube system was blurred mids, lack of transient attack, sloppy bass, lack of space and transparency, and other shortcomings too numerous to mention, all of which I simply attributed at the time to the limitations of the vintage jazz pressing I owned.

A classic case of me rather foolishly Blaming the Recording.

I know better now. The record was fine. I just couldn’t play it right.

Well, things have certainly changed. I have virtually none of the equipment I had back then, and I hear none of the problems with this copy that I heard back then on the pressing I owned. This is clearly a different LP, I sold the old one off years ago, but I have to think that much of the change in the sound was a change in cleaning, equipment, setup, tweaks and room treatments, all the stuff we prattle on about endlessly on this blog.

By the mid-’90s I had been seriously into audio for more than twenty years.

I had the Legacy Whisper Speaker System with 8 15″ woofers and added subs.

I had a Triplanar tonearm and a VPI Aries turntable sitting on Aurios with the Synchronous Drive System for the outboard motor.

I had custom tube amps and a custom tube preamp and phono stage. They were the best of their kind that I’d heard, at any price.

In short, I had a lot of expensive, high-quality equipment that sounded great to me.

Now, looking back on those days, I can see I was not at the level I needed to be in order to play Bells Are Ringing with any real fidelity to what was actually recorded on to the master tape.

My stereo was simply not resolving enough.

This system can play the record and make it sound like live music. I thought my old one could too, because I didn’t have a clue as to just how good audio in the home could get.

Clearly I had a lot to learn.

This is, once again, what progress in audio in all about. As your stereo improves, your good records should sound better, and your mediocre-to-bad records should show you how mediocre to bad they really are. You need high quality sound before you can tell which are which.

This title of this letter gets right to the heart of it: “My stereo upgrades have widened the sonic chasm between good, old-fashioned records and their nouveau imposters.”

And We’re Still at It

We constantly strive to improve the quality of our cleaning and playback.

And we’re still at it. With this much money on the line, we had better be able to deliver the goods every time out.

Our customers seem to like the records they’ve been getting. They’ve written us hundreds of letters telling us so.

And we especially like the letters they write to us once they’ve compared our Hot Stamper pressings to the copies they owned that were Half-Speed Mastered or pressed on Heavy Vinyl, or both!

The Recording

The piano sounds uncannily lifelike right from the start, a beautiful instrument in a natural space, tonally correct from top to bottom. I can’t think of any record off the top of my head that gets a better piano sound than this one.

Listen to the tambourine on the third track on side one. Shelly Manne messes about with lots of percussion instruments on this album and all of them are recorded to perfection.

Which makes it a great test disc for percussion.

Better Than a Dream, the second track on this side, has one of the best sounding jazz pianos I have ever heard. My notes say “you cannot record a piano any better” and I stand behind that statement one hundred percent.

There is not a modern reissue on the face of the earth that can hold a candle to the sound of this record.

For any of you out there who doubt my words, please take this record home and play it against the best piano jazz recordings you own. If it doesn’t beat them all, we are happy to pay the domestic shipping back.

Even our amazing sounding 45 RPM pressing of The Three does not present the listener with a piano that sounds as real as the one on this record.

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Improving Your Critical Listening Skills

Important Lessons We Learned from Record Experiments

Hampton Hawes – All Night Session, Vol. 2

More Hampton Hawes

More Jazz Recordings on Contemporary

These sides are doing everything right – they’re rich, clear, undistorted, open, spacious, and have jazz quartet energy to rival the best recordings you may have heard
Tubey Magic, richness, sweetness, dead-on timbres from top to bottom – this is a textbook example of Contemporary sound at its best, thanks to the engineering brilliance of Roy DuNann and producer Lester Koenig
The second of three albums of material recorded by Hawes, guitarist Jim Hall, bassist Red Mitchell, and drummer Eldridge “Bruz” Freeman on the night of November 12 and into the morning of November 13, 1956
4 1/2 stars: “Although Hampton Hawes spontaneously created five original tunes at this extraordinarily inspired date, everything on Vol. 2 comes directly out of the standard bop musician’s working repertoire.”
“It’s hard to put into words how good it feels to play jazz when it’s really swinging…I’ve reached a point where the music fills you up so much emotionally that you feel like shouting hallelujah — like people do in church when they’re converted to God. That’s the way I was feeling the night we recorded All Night Session!” – Hampton Hawes
If you’re a fan of jazz piano trios playing live-in-the-studio, this Contemporary from 1958 surely deserves a place in your collection.

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Shelly Manne & His Friends – Bells Are Ringing

Contemporary Jazz Records Available Now

Reviews and Commentaries for Contemporary Jazz

You’ll find solid Double Plus (A++) sound or BETTER throughout this outstanding Black Label original on vinyl that’s about as quiet as they ever play
The piano sounds lifelike right from the start, a beautiful instrument in a natural space, tonally correct from top to bottom
This copy makes it clear that this is a Demo Disc Quality Recording for Contemporary, and that’s saying a lot
It’s also our favorite jazz piano performance by Andre Previn on record
Only a handful of copies of this title have made it on the site in the last few years – finding them in audiophile condition is getting harder (and more expensive) than ever these days
“Previn’s piano is the lead voice and his virtuosity, good taste, melodic improvising, and solid sense of swing are chiefly responsible for the music’s success.”

I have a very long history with this album, going back decades. My friend Robert Pincus first turned me on to the CD, which, happily for all concerned, was mastered beautifully. We used it to test and tweak all the stereos in my friends’ systems.

Playing the original stereo record, which I assumed must never have been reissued due to its rarity (I have since learned otherwise), all I could hear on my ’90s all tube system was blurred mids, lack of transient attack, sloppy bass, lack of space and transparency, and other shortcomings too numerous to mention that I simply attributed at the time to vintage jazz vinyl.

Well, things have certainly changed. I have virtually none of the equipment I had back then, and I hear none of the problems with this copy that I heard back then on pressing I owned. This is clearly a different LP (I sold off the old one years ago) but I have to think that much of the change in the sound was a change in cleaning, equipment, tweaks and room treatments, all the stuff we prattle on about endlessly on the site.

In other words, if you have a highly-resolving modern system and a good room, you should be knocked out by the sound of this record. I sure was.

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Art Pepper – Smack Up

More Art Pepper

More Contemporary Label Jazz

This is a classic from Pepper – all the songs were written by saxophonists and he tears into them with gusto and naked emotion, hallmarks of his style of play
This is some seriously good-sounding saxophone-led jazz, thanks to Roy DuNann and Lester Koenig
4 1/2 stars: “Pepper is very much on top of his game throughout, ably demonstrating a capacity for precision and intimidating passion. Nowhere is proof more readily available than on these sides, which project Pepper at the peak of his craft.”
If you’re a fan of classic jazz from the ’50s and ’60s, this Contemporary from 1960 undoubtedly belongs in your collection
The complete list of titles from 1960 that we’ve reviewed to date can be found here.

The horns are really jumpin’ out of the speakers here, but they never get hard or squawky like they do on some pressings. This combination of clarity and fullness is not easy to come by, but it lets the music flow in glorious waves of All Tube 1960 analog. With the always wonderful Jack Sheldon on trumpet, this is a great date from the Golden Age of Jazz Recordings. (more…)

The Poll Winners – Poll Winners Three!