Older Jazz

Looking Ahead! – Live and Learn

Hot Stamper Pressings of Contemporary Jazz Available Now

The Contemporary Yellow Label stereo reissue from the 70s we played way back when, probably fifteen or twenty years ago, was a good record, but not nearly as good as some of the other Contemporary pressings we’d come across since we began collecting them in the early 90s.

(Yes, we admit, we got a late start, but by the time 1995 rolled around we knew just how good this label’s records could sound, something that not everybody else did.)

Live and learn is our motto — and that approach turns out to be a feature, not a bug, of record collecting at the most advanced levels.

Experimenting with records is the only sure way to learn about them.

Our notes for the copy we put up years ago:

Another wonderful Contemporary LP. This Yellow Label Stereo pressing was a nice step up from most of what we heard, earning an A++ on side one and an A+ on side two. Side one was particularly good — the bottom end is superb, the vibra-harp sounds great and the piano has good weight. There’s lots of energy and the overall sound is big and open.

Side two was clean, clear and transparent but not quite as dynamic as side one.

Not an easy record to come by, and they usually don’t sound this good when you manage to track one down.

A top quality pressing of the album is a very different animal, a jazz Demo Disc of the highest order.

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Jimmy Smith / Any Number Can Win

More of the Music of Jimmy Smith

  • Any Number Can Win is back on the site for the first time in years, here with solid Double Plus (A++) grades on both sides of this early Verve pressing
  • With richness, clarity, space and timbral accuracy, this is guaranteed to be one of the best sounding big band jazz records you’ve heard in a while
  • Another top jazz recording from Rudy Van Gelder (among others) – big, bold and lively, just the right sound for this music

This is one of Rudy Van Gelder’s triumphs and one of the best Jimmy Smith albums we’ve ever heard. All of side one and the last cut of side two sound stunning! This is dynamic, big speaker sound.

Lots of old Verves weren’t mastered right, but this one was. It’s as good as it gets — it’s right up there with Bashin’.

RVG did not record this entire album. Some songs are recorded by other engineers and don’t have the dynamic slam that his do but the best tracks are amazing.

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Shelly Manne & His Men / At The Blackhawk, Volume 2

More of the Music of Shelly Manne

  • With solid Double Plus (A++) sound or BETTER from first note to last, this early Contemporary stereo pressing will be very hard to beat
  • This is West Coast Jazz at its best, and if anyone can capture the realism of a live jazz club, it’s the engineers and producers at Contemporary
  • Each instrument here sounds right – the piano is weighty and percussive; the drums are punchy; and the brass has lovely leading edge transients
  • 4 stars: “These lengthy performances (“Vamp’s Blues” is over 19 minutes long) give trumpeter Joe Gordon, the cool-toned tenor-saxophonist Richie Kamuca, pianist Victor Feldman, bassist Monty Budwig and the leader/drummer a chance to really stretch out. Fine 1950s bebop.”

Wonderful sound and music! This is West Coast Jazz at its best. The sound is superb — airy, open, and spacious with a stunningly good bottom end. You won’t believe how alive the bass sounds — the depth and definition are out of this world! Each instrument here sounds just right — weighty, percussive piano; punchy drums; and lovely leading edge transients on the brass. Contemporary got live nightclub jazz sound down to a “T” here.

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Duke Ellington / Newport Jazz Festival 1958

Hot Stamper Pressings of the Music of Duke Ellington Available Now

If you are a fan, this record on the original 6-Eye label will be a thrill. If you’re unfamiliar with the Duke’s music, I can’t imagine a better introduction than this.

This LP also includes Gerry Mulligan’s only performance with the Ellington band.

Paul Gonsalves’s saxophone performance is superb and worth the price of the album alone.

The clarinet parts on Princess Blue are out of this world — Ellington at his best!

This is an older jazz review.

Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we developed in the early 2000s and have since turned into a full-time practice for our staff of ten.

We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For Hot Stamper listings, the sonic grades and vinyl playgrades are listed separately.)

We were often wrong back in those days, something we freely admit.

There is no reason to hide the fact that we know a great deal more now than we used to. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.

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Wes Montgomery – The Alternative Wes Montgomery (Revisited)

Hot Stamper Pressings of the Music of Wes Montgomery Available Now

UPDATE 2025:

Many years ago, back in our pre-shootout days, we played a copy of this album and liked what we’d heard.

We just got another copy in and thought the sound was not worthy of a Hot Stamper shootout.

We judge it to have middling sound quality.

If you see one for cheap, pick it up, but don’t expect the sound to be anything special.

Our Old Review

This Milestone Two-Fer LP with EXCELLENT sound has 14 unreleased alternate versions of songs recorded in a variety of settings by guitarist Wes Montgomery during his period with Riverside. In many cases, the versions here are dramatically different from the versions that appear on his original albums. 

Producer Orrin Keepnews, who assembled this collection, notes, “With an artist who insisted on several takes, and the obvious need to eventually pick only one for release, we had to make some rather arbitrary, borderline decisions that at the time seemed to have doomed some excellent music to oblivion.”

This set helps to rescue some of that excellent music. The tracks feature Montgomery playing with notable musicians such as include Milt Jackson, Wynton Kelly, Kenny Burrell, Philly Joe Jones and Victor Feldman.

On compilations of unreleased material such as this, the master tapes are used to make the record. There’s no need for a copy tape to have ever been made.

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Chet Baker / It Could Happen To You – Reviewed in 2010

More of the Music of Chet Baker

More Jazz Recordings Featuring the Trumpet

This is a very nice looking RARE original Riverside LP. Side one has good sound but side two really shows you how WONDERFUL this record is. The sound on side two is rich, full and transparent, with lots of Tubey Magic.

Hard to imagine it could get much better. 

[In 2004 we started doing shootouts so we could know whether it could get much better, not just imagine it.]

Skip the OJC, by the way. The sound is awful. The CD is probably better.

Further Reading

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Airto / Free

More of the Music of Airto

Hot Stamper Pressings of Jazz Fusion Albums Available Now

This CTI LP has VERY GOOD SOUND. 

We’re on a winning streak with RVG these days (September 2006), three in a row, in fact: Chet Baker (She Was Too Good To Me), Freddie Hubbard (Red Clay), and now this wonderful Airto record.

The best music is found on side two, especially the last two tracks.

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The Ray Brown Trio – Soular Energy

This Concord Jazz LP has excellent sound.

There is also a Half-Speed mastered audiophile version of this record cut by Stan Ricker himself.

Now hold on: Half-Speed mastering by its very nature causes a dramatic loss of bass definition, not to mention the fact that much of the deep bass usually goes completely missing. This is a record built around the sound of Ray Brown’s double bass. Do you really want the lowest octave of bass to disappear and the bass above it to turn to mud on a record that features a bass player as its leader? It’s crazy, right?

I’ve never heard the Half-Speed and don’t plan to track one down in order to audition it, but I guarantee you that this “full-speed” mastered version will blow the doors off any version mastered by Stan Ricker.

There is plenty of commentary on the website about his incompetent mastering and I recommend you take a moment to read some of it before you buy any Half-Speed mastered record. (We of course do not offer such records, with the exception of John Klemmer’s Touch, which is a Half-Speed mastered record that actually does sound good, superb in fact.)

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Milt Jackson & Wes Montgomery / Bags Meets Wes!

More Wes Montgomery

More Jazz Recordings Featuring the Guitar

These two guys were made for each other; they have the same musical sensibilities.

Credit must also go to Wynton Kelly; his every solo is a thing of beauty. The three principals here are at the tops of their games and the sound will have you drooling. Good luck finding a more involving and enjoyable jazz record with this kind of sound — they just aren’t out there. That’s why, even with some surface problems, we think you are getting your money’s worth and more with this one.

If you’re a jazz fan, this Must Own Title from 1962 belongs in your collection

The complete list of titles from 1962 that we’ve reviewed to date can be found here.

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To Swing Or Not To Swing in 1955 with Barney Kessel

xxxMore Jazz Recordings Featuring the Guitar

If you’re a fan of Jazz Guitar, this 5 Star All Tube MONO Recording from 1955 belongs in your collection.

Definitely one of the best early Contemporary LPs we’ve ever played – this is why audiophiles love mono.

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 I’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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