Top Artists – Benny Carter

Benny Carter and Tube Versus Transistor Tradeoffs

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More Thoughts on Tubes in Audio

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Here’s how we weighed the tradeoffs in the sound of the originals versus that of the reissues, with VTA advice to follow.

This superb sounding ORIGINAL Black Label Contemporary pressing of Benny Carter’s swingin’ jazz quartet is the very definition of a top jazz stereo recording from the late ’50s mastered through an all tube chain.

There’s good extension on the top end for an early pressing, with TONS of what you would most expect: Tubey Magic and Richness. If that’s what you’re looking for, this copy has got it!

We prefer the later pressings in most ways, but this record does something that no later pressing we have ever played can do — get Benny’s trumpet to sound uncannily REAL. If you want to demonstrate to your skeptical audiophile friends what no CD (or modern remastered record) can begin to do, play side two of this copy for them. They may be in for quite a shock. (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.

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Benny Carter – Swingin’ the ’20s

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With superb sides rating Double Plus (A++) or BETTER, this Contemporary pressing was one of the best we played in our shootout
These excellent sides are so much bigger and more open, with more bass and energy – the saxes and trumpets are immediate and lively
Mr. Earl Hines himself showed up, a man who knows this music like nobody’s business – Leroy Vinnegar and Shelly Manne round out the quartet
“Great musicians produce great results, and most of the LP’s tracks were done in one or two takes. The result is ‘a spontaneous, swinging record of what happened’ when Carter met Hines ‘for the first time. . . .'”

For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good a 1959 All Tube Analog recording can sound, this killer copy will do the trick. (more…)

Billie Holiday – Stormy Blues

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Outstanding throughout with Triple Plus (A+++) sound on the second side and solid Double Plus (A++) sound on the other three sides
All four sides here have intimate, relaxed, breathy vocals – the only way to hear Lady Day in her prime sounding the way she should
This double LP set captures Billie from 1954-1955 and features Benny Carter, Jimmy Rowles, Tony Scott, Harry Edison, Chico Hamilton and other jazz greats
“The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever.”

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Benny Carter – Meets Oscar Peterson – Reviewed in 2007

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More Meets Oscar Peterson

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A distinguished member of the Better Records Jazz Hall of Fame.

“Benny Carter had recorded with pianist Oscar Peterson back in the early ’50s for Norman Granz’s Verve label. More than 30 years, later he teamed up with Peterson again, this time for Granz’s Pablo company. There was no sign of decline or disillusionment in either of the co-leaders’ playing; in fact, if anything, they had improved with age. Joined by guitarist Joe Pass, bassist Dave Young and drummer Martin Drew, Carter and Peterson are both in a joyous mood and in typically swinging form on six standards and a blues.” — AMG (more…)

Benny Carter – Further Definitions

KILLER sound throughout for this original Impulse stereo pressing with each side earning Shootout Winning Triple Plus (A+++) grades – exceptionally quiet vinyl too
These sides are clean, clear, spacious and natural, yet overflowing with the rich, Tubey Magical sound of vintage ANALOG
There’s not a chance in the world the current 180 gram reissue can hold a candle to this early stereo pressing
5 stars: “The all-star group (which also includes Hawkins, altoist Phil Woods, Charlie Rouse on second tenor, pianist Dick Katz, guitarist John Collins, bassist Jimmy Garrison, and drummer Jo Jones) performs a particularly inspired repertoire. Carter’s charts, which allow Hawkins to stretch out on “Body and Soul,” give everyone a chance to shine. …Very highly recommended.”

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The Recordings of Benny Carter – These Three Didn’t Make the Grade

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More of that Didn’t Make the Grade

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These are just some of the recordings by Benny Carter that we’ve auditioned and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place in your collection, and may even belong in our Hall of Shame.

A Free Service provided to the Audiophile Public, courtesy of Better Records.

Benny Carter – Jazz Giant

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More Jazz Giant

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With two Triple Plus (A+++) Shootout Winning sides, this copy blew the doors off of everything else we played
If you still think that Analogue Productions is remastering records properly, you have definitely never heard a real Contemporary that sounds like this(!)
The sound of Contemporary Records is alive on this copy, with space, size, clarity and richness that no other pressing can match
“Benny Carter had already been a major jazz musician for nearly 30 years when he recorded this particularly strong septet session for Contemporary … This timeless music is beyond the simple categories of “swing” or “bop” and should just be called “classic.”

If you like the sound of Contemporary Records, you won’t find a better example than this! Midrange magic doesn’t get anymore magical. (more…)

Julie London – Julie

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This outstanding vintage Liberty stereo pressing boasts solid Double Plus (A++) sound or close to it from top to bottom – exceptionally quiet vinyl for a Julie London album too (don’t get me started)
In-the-room presence, preternaturally breathy vocals, and boatloads of wonderful Tubey Magic
This amazing sleeper of a record belongs right up at the top of Ms. London’s oeuvre (25 albums strong) along with Julie Is Her Name – high praise indeed
4 stars: “Usually put into a torch song setting, this release allows London to shed that garment and become jazzy. Instead of being sultry, she becomes dazzling and sparkling. She also becomes more adept at phrasing and timing and takes a risk or two in the tradition of a jazz singer.”

The great Jimmy Rowles plays piano, handled the arrangements and fronts the big group here, taking the music in a wonderfully jazzy direction that suits Julie’s vocal style perfectly. (more…)

Benny Carter – Jazz Giant – Analogue Productions Fails Spectacularly Right Out of the Gate

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Sonic Grade: F

You may remember this Acoustic Sounds’ version from back in the ’90s, which was a complete disaster. I haven’t heard the new 45 RPM version, but I seriously doubt that it sounds like our good pressings. We have yet to hear a single Heavy Vinyl 45 that sounds any good to us, judged by the standards we set in our shootouts. (Actually the records themselves set the standards; we simply grade them on the curve they establish.) (more…)