Labels We Love – OJC – But Not on These Titles

John Coltrane / Soultrane – The Original OJC Sucks

The early OJC reissues of this title are awful, and whatever Heavy Vinyl they’re churning out these days is probably every bit as bad, but in the opposite way.

The OJC is thin and bright, and the modern reissue (I’m guessing, based on playing scores of them) is probably thick, veiled, overly smooth, lacking in space and boosted in the bass — because that’s the sound that audiophiles record buyers seem to like these days.

 

Without the excellent sounding ’60s and ’70s reissues that we are still able to find in audiophile playing condition, all that we would have available with which to do our shootouts would be the originals. At the big bucks those records go for nowadays, shootouts would simply be impossible.

So our thanks go to Rudy for doing a good job on these later pressings!

And brickbats to George Horn, who seems to be the guy who cut the original OJC pressings. We like a lot of his work, but in this case he’s let us down.

Potentially Good Sounding OJC Pressings

Not Very Good Sounding OJC Pressings

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The Original Jazz Classics Series Got Off to a Bad Start with Concorde

Here Are Some Potentially Good Sounding OJC Pressings

These Are Not Very Good Sounding OJC Pressings

OJC-002! Fantasy’s second release in the series, but not a very good one.

The copy (or copies; who can remember?) we’ve auditioned in the past 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 not likely 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 pictured here will always fall short of the mark.

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 to you as an audiophile.

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

Credits

Bass – Percy Heath
Drums – Connie Kay
Engineer – Van Gelder
Piano – John Lewis
Supervised By – Bob Weinstock
Vibraphone – Milt Jackson

Notes

Recorded in 1955.


What’s Number One? This Milt Jackson record.

I may have played it many years ago — I’ve played OJC’s by the hundreds at this stage of the game — but I don’t remember anything about it. Horace Silver on piano? Recorded by Rudy Van Gelder? Hey, maybe it’s a good one and the OJC series did get off to a good start. If I find one and it sounds good, I will admit my error and put this very listing in our We Was Wrong section.


FURTHER READING

We play mediocre-to-bad sounding pressings so that you don’t have to, a public service from your record loving friends at Better Records.

You can find this one in our Hall of Shame, along with more than 350 others that — in our opinion — qualify as some of the worst sounding records ever made. (On some records in the Hall of Shame the sound is passable but the music is bad.  These are also records you can safely avoid.)

Note that most of the entries are audiophile remasterings of one kind or another. The reason for this is simple: we’ve gone through the too-often unpleasant experience of comparing them head to head with our best Hot Stamper pressings.

When you can hear them that way, up against an exceptionally good record, their flaws become that much more obvious and, frankly, that much more inexcusable.

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Sonny Rollins Quintet / Rollins Plays For Bird – Live and Learn

A classic case of Live and Learn.

Previously we had written:

This is one of the BEST Sonny Rollins records around! Nobody seems to know anything about it but let me tell you, this is Rollins at his BEST. The sound is also EXCELLENT.

Recently we played the OJC pictured here and did not care for the sound in the least. It was much too thin and lacking in the Tubey Magic of the earlier pressings.

Potentially Good Sounding OJC Pressings

Not Very Good Sounding OJC Pressings

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Shelly Manne and his Friends / My Fair Lady – This Black Label Original Stereo Pressing Was Just Awful

In our experience, the Black Label stereo originals with D4/D5 stampers are terrible sounding.

With those stampers, My Fair Lady is undoubtedly a Hall of Shame pressing, as well as another early pressing we’ve reviewed and found wanting. Both sides graded “No,” our not-especially-technical term for a record that sounds bad.

Notes for Side One:

Track one is bright and unnatural up top. Track two is not very musical.

Notes for Side Two:

Track one is very weird sounding, thin and small.

(Obviously there was no need to play a second track.)

As you may have read elsewhere on the site, some Contemporary Label originals are very poorly mastered, which should put paid to the idea that Hot Stampers are only, or even usually, original pressings.

In our most recent shootout, the second-best sounding pressing was on the early Black Label. We would love to give out the stampers for that one, but we don’t do that.

Click here to read about the various labels that Contemporary used over the years. Some people like to search for relationships between the sound of the pressing and the label it has, but in our experience that is more often than not a fool’s game once you account for the confirmation biases that go along with that approach.

More Shelly Manne

More Stamper and Pressing Information


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Barney Kessel / Carmen – A Great Disc for Testing Transparency

More Barney Kessel

Reviews and Commentaries for the Music of Barney Kessel

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

Transparency Is Key

The best Hot Stamper Original pressings have the Tubey Magic we’ve come to expect from Contemporary circa 1958, with that warm, rich, full-bodied sound that RVG often struggles to get on tape. However, some pressings in our shootout managed to give us an extra level of transparency and ambience that most original pressings rarely did.

There’s a room around this drum kit. So many copies don’t show you that room, not if they have the full sound that a copy like this does.

It’s amazing all the detail you can hear in a leaned-out record, but what good is that? The sound is all leaned out.

If you like that sound, buy the OJC or the CD. Leave these originals to those of us who are after this sound. (more…)

Joe Gordon / Lookin’ Good! on Contemporary but Not So Hot on OJC

More Contemporary Label Jazz

Reviews and Commentaries for the Recordings of Roy DuNann

Avoid the OJC Pressing of This Album

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This Super Hot Stamper pressing has the Contemporary Jazz Sound we LOVE here at Better Records. If you want to know what’s wrong with the sound of your Rudy Van Gelder Squakfest Records, play this LP and bathe in the kind of relaxed, NATURAL tonality that Roy DuNann is justly famous for.

We love the sound of Contemporary Records — it’s our favorite jazz label by a long shot. Roy DuNann always seemed to get The Real Sound out of the sessions he recorded — amazingly realistic drum sound; full-bodied, breathy horns; lots of top end extension; deep, note-like bass; weighty piano, studio ambience, three-dimensionality, and on and on.

The Key to the Sound of the Best Copies

During this shootout we discovered what really sets apart the best copies from the also-rans: listen for the piano in the background, behind the horns. On the best copies it is so clear you can practically “see” it back there.

The copies with a clear piano have TRANSPARENCY that makes all the difference in the world on EVERY instrument. Now everything is clear. As long as the tonal balance is correct, that transparent quality is precisely what will make the best copies much more musically involving.

Let’s face it: many reissues, recorded in 1961 and pressed later on in the ’70s, have a veiled, dull quality. When they don’t, man, they can really beat the pants off even the best originals. (more…)

Harold Land / Harold In The Land Of Jazz – Skip the OJC from the ’80s

More Harold Land

More Jazz Recordings Featuring the Saxophone

Zero Tubey Magic! Whoever cut this record should have used tube mastering equipment, or a transistor cutting chain capable of reproducing the sound of tubes.

If you like the sound of CDs, this pressing has what you are looking for. We’ve never liked that sound, and we sure don’t like this pressing.

We found the sound of the OJC pressings we played of this title seriously wanting. They were thinner and brighter than even the worst of the ’70s LPs we auditioned. They did not make the cut for our shootout. That is not our sound and never will be. 

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.

Potentially Good Sounding OJC Pressings

Not Very Good Sounding OJC Pressings

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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

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.”

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