Labels We Love – OJC – But Not on These Titles

What Are Some Good General Rules for Acquiring Records with the Highest Quality Sound?

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The Riverside pressings we’ve auditioned of both The Thelonious Monk Orchestra – At Town Hall and Thelonious Monk Quartet Plus Two – At The Blackhawk were just awful sounding. The OJC reissues from the ’80s, although better, were not overflowing with the rich, natural, relaxed sound we were looking for either.

Ah, but a few years back we happened to drop the needle on one of these good Milestone Two-Fers. Here was the sound we were looking for and had had so little luck in finding.

Which prompts the question that should be on the mind of every audiophile: What are the rules for collecting records with the best sound quality?

The answer, of course, is that there are no such rules and never will be.

There is only trial and error. Our full-time staff has been running trials — we call them shootouts and needle drops — for more than twenty years now, with far more errors than successes. Such is the nature of records. It may be a tautology to note that the average record has mediocre sound, but it nevertheless pays to keep that rather inconvenient fact in mind.

Even worse, if you make the mistake of pinning your hopes on a current reissue — and you unfortunately find yourself a member of that small minority of audiophiles with reasonably high standards and two working ears — your disappointment is almost guaranteed. (more…)

Sonny Terry ‎/ Sonny’s Story – Skip the OBC

More Classic Blues Albums

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Some OJC (or OBC) Pressings Sound Good, Some Don’t – This One Doesn’t

The copy we auditioned did not impress us sonically, so don’t expect to see Hot Stampers of this title on OJC coming to the Better Records website any time soon.

The music might be wonderful — we unreservedly follow the maxim de gustibus non est disputandum — but the sound of this pressing is unlikely to be of audiophile quality.

There may be great sounding pressings of the album – how could we possibly know there aren’t without playing every version ever pressed? — but we’re pretty sure the OJC will always fall short of the mark.

We created two sections for the OJC label: one for the (potentially, it’s what Hot Stampers are all about) good sounding OJC pressings and one for the (probably, see the paragraph above) bad sounding ones.

If you know of a great sounding pressing of the album, feel free to let us in on what pressing you have and we might just pick one up and give it a listen.

We’ve auditioned countless pressings like this one in the 33 years we’ve been in business — buying, cleaning and playing them by the thousands. This is how we find the best sounding vinyl pressings ever made.

Not the ones that should sound the best. The ones that actually do sound the best.

If you’re an audiophile looking for top quality sound on vintage vinyl, we’d be happy to send you the Hot Stamper pressing guaranteed to beat anything and everything you’ve heard, especially if you have any pressing marketed as suitable for an audiophile. Those, with very few exceptions, are the worst.

And if we can’t beat whatever LP you own or have heard, you get your money back.  It’s as simple as that.

Tom Port

Better Records (more…)

The Curtis Counce Group ‎/ You Get More Bounce With Curtis Counce, Vol. 2 – Skip the OJC from the ’80s

Potentially Good Sounding OJC Pressings

Not Very Good Sounding OJC Pressings

This album is findable on the OJC pressing from the ’80s, but we found the sound of the OJC pressings we played seriously wanting. They were thinner and brighter than even the worst of the ’70s LPs we had auditioned. They did not make the cut for our shootout. That is not our sound. It’s not the sound Roy DuNann was famous for, so why should we like it either?

Some OJC pressings are great — including even some of the new ones — some are awful, and the only way to judge them fairly is to judge them individually, which requires actually playing a large enough sample.

Since virtually no record collectors or audiophiles like doing that, they make faulty judgments – OJC’s are cheap reissues sourced from digital tapes, run for the hills! – based on their biases and inadequate sample sizes.

You can find those who subscribe to this approach on every audiophile forum there is. The methods they have adopted do not produce good results, but as long as they stick to them they will never have to worry about discovering that inconvenient truth. (more…)

Hampton Hawes – Four!

More Hampton Hawes

More Barney Kessel

More Shelly Manne

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More Contemporary Label Jazz

  • Four! finally makes its Hot Stamper debut with stellar Shootout Winning Triple Plus (A+++) sound or close to it from first note to last
  • The timbre of the instruments in this brilliant jazz quartet is so spot-on it makes all the hard work and money you’ve put into your stereo more than pay off
  • Roy DuNann engineered some of the best sounding records we have ever heard – here’s a textbook example of what the audiophiles at Contemporary were able to achieve in the studio
  • 5 stars: “Pianist Hampton Hawes’ 1950s recordings for the Contemporary label are at such a high level that they could all be given five stars.”

(more…)

The Curtis Counce Group – Volume 1 – Landslide

More Contemporary Label Jazz

More Jack Sheldon

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  • A STUNNING copy of the group’s 1956 release with Shootout Winning Triple Plus (A+++) sound on both sides – fairly quiet vinyl too
  • The clarity and transparency on this vintage pressing are wonderful, but more importantly it’s the unerringly correct tonality that’s most impressive when you play these real Contemporary pressings against the competition
  • Yet another amazing All Tube Contemporary recording from Roy DuNann and Lester Koenig at the beginning of the stereo era
  • 4 1/2 stars: “During 1956-1957, bassist Curtis Counce led an excellent Los Angeles-based hard bop quintet… All of Counce’s recordings are well-worth getting by collectors [and especially audiophiles] interested in 1950s straight-ahead jazz [with top quality sound].”

Jack Sheldon is absolutely amazing and completely original on trumpet here. Check out his stellar work on the first track, Landslide. Not only that, but the sound of his instrument is wonderful — you’ll never hear a trumpet sound so rich and full on a Rudy Van Gelder recording, that’s for sure!

Both sides are over twenty minutes, giving you a lot of well-played West Coast Jazz for your money. (more…)

The Original Jazz Classics (OJC) Series Got Off to a Bad Start with Sonny’s Worktime Album

Hot Stamper Pressings of Sonny Rollins’s Albums Available Now

OJC 007, the first Sonny Rollins title they picked to remaster. Too bad they did such a poor good job with it.

The copy we auditioned did not impress us sonically, so don’t expect to see Hot Stampers of this title on OJC coming to the Better Records website any time soon.

The music might be wonderful — we unreservedly follow the maxim de gustibus non est disputandum — but the sound of this pressing is unlikely to ever be of audiophile quality.

There may be great sounding pressings of the album – how could we possibly know there aren’t without playing every version ever pressed? — but we’re pretty sure the OJC will always fall short of the mark.

We created two sections for the OJC label: one for the (potentially, it’s what Hot Stampers are all about) good sounding OJC pressings and one for the (probably, see the paragraph above) bad sounding ones.

If you know of a great sounding pressing of the album, feel free to let us in on what pressing you have and we might just pick one up and give it a listen.

We’ve auditioned countless pressings like this one in the 33 years we’ve been in business — buying, cleaning and playing them by the thousands. This is how we find the best sounding vinyl pressings ever made.

Not the ones that should sound the best. The ones that actually do sound the best. (more…)

Benny Carter / Swingin’ the ’20s – Skip the OJC from the ’80s

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This album is fairly common on the OJC pressing from 1988, but we found the sound of the OJC pressings we played seriously wanting. They have the kind of bad reissue sound that that plays right into the prejudices of most record collectors and audiophiles for whom nothing but an original will do. They were dramatically smaller, flatter, more recessed and more lifeless than even the worst of the ’70s LPs we played.

The lesson? Not all reissues are created equal. Some OJC pressings are great — including even some of the new ones — some are awful, and the only way to judge them fairly is to judge them individually, which requires actually playing a large sample.

Since virtually no record collectors or audiophiles like doing that, they make faulty judgments – OJC’s are cheap reissues sourced from digital tapes, run for the hills! – based on their biases and inadequate sample sizes.

You can find those who subscribe to this approach on every audiophile forum there is. The methods they have adopted do not produce good results, but as long as they stick to them they will never have to worry about discovering that inconvenient truth.

DCC

This is one of the all time great Contemporary recordings. DCC was going to do this on CD at one time; I loaned Steve Hoffman an OJC LP back in the ’90s which he promptly fell in love with. Unfortunately DCC went out of business, and ANALOGUE PRODUCTIONS, the people doing the new jazz reissue series on 45 RPM heavy vinyl, wouldn’t recognize a great title like this if it bit them in the ass.

And if they did it their version wouldn’t sound good anyway — none of their stuff ever does, which is why you can find all of their reissues in our Hall of Shame.

(more…)

The Original Jazz Classics Series Got Off to a Bad Start with Sonny’s Worktime Album

The Music of Sonny Rollins Available Now

OJC 007, the first Sonny Rollins title they picked to remaster. Too bad they didn’t do a very good job with it.

The copy we auditioned did not impress us sonically, so don’t expect to see Hot Stampers of this title on OJC coming to the Better Records website any time soon.

The music might be wonderful — we unreservedly follow the maxim de gustibus non est disputandum — but the sound of this pressing is unlikely to ever be of audiophile quality.

There may be great sounding pressings of the album – how could we possibly know there aren’t without playing every version ever pressed? — but we’re pretty sure the OJC will always fall short of the mark.

We created two sections for the OJC label: one for the (potentially, it’s what Hot Stampers are all about) good sounding OJC pressings and one for the (probably, see the paragraph above) bad sounding ones.

If you know of a great sounding pressing of the album, feel free to let us in on what pressing you have and we might just pick one up and give it a listen.

We’ve auditioned countless pressings like this one in the 33 years we’ve been in business — buying, cleaning and playing them by the thousands. This is how we find the best sounding vinyl pressings ever made.

Not the ones that should sound the best. The ones that actually do sound the best. (more…)

Count Basie / Kansas City 3 – For The Second Time

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Super Hot Stamper sound on both sides of this killer piano trio recording. It’s a joy to hear Basie perform as a frontman, stretching out on tunes that were no doubt dear to him. Veterans of hundreds of sessions, Ray Brown and Louis Bellson are just as interesting as Basie, high praise. Recorded by the legendary engineer Ed Greene (Stan Getz/Charlie Byrd – Jazz Samba) – that accounts for the exceptional sound.

Naturally we pick up all the Pablo Basie titles we can get our hands on these days, having had very good luck with a great many of them. When we dropped the needle on a copy of this one a few years back we were amazed at the sound. My post-it, still on the record, reads “SUPERB DEMO DISC.” It certainly is. (more…)

What We Listen For – Timbre, Richness, Tubey Magic and Freedom from Artificiality

 

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This Home Audio Exercise entry was inspired by the wonderful qualities of the Contemporary recording you see pictured, qualities brought to our attention while doing a shootout of various pressings of the album in early 2009. 

We addressed a number of issues in our commentary: first and foremost what we were listening for on the album (and what we were hearing). A bit of mono versus stereo (in this case both can be good), followed by some Audiophile Equipment bashing.

We highly recommend you make every effort to find yourself a copy of this album and use it to test your own equipment. The right pressing can be both a great Demo Disc and a great Test Disc.

Two of the best sounding jazz guitar records in the history of the world were made by Barney Kessel for Contemporary: this one, and Music To Listen To Barney Kessel By. (We have a fabulous mono copy on the site as I write this.) I used to have them both in my personal collection. [This was written many years ago when I actually had a personal collection. With 40,000 records in stock I don’t need a collection of my own anymore. Any record I might want to play is in stock, waiting to be shot out.]

Such a wonderful idea for an album. The melodies from Bizet’s Carmen are unforgettable and perfect fodder for jazz improvisation. Don’t think that this is just guitar and rhythm. This is a full band with lots of horns, clarinets of all kinds, bassoons, oboes, flutes, piano, vibes — the variety of sounds to be found on this album is practically unlimited. And with Roy DuNann’s engineering, you will never hear richer, fuller sound with more accurate timbers for all the instruments mentioned above. The guy was a genius. His recordings define High Fidelity for me. I know of none better. (more…)