- Outstanding sound on this Contemporary Yellow Label pressing with Double Plus (A++) grades or BETTER throughout
- Another Classic Roy DuNann recording, this one is from 1957 and it is going to be very hard to beat for audiophile sound
- Counce is a wonderful bassist and here he’s joined by Jack Sheldon, Harold Land, Carl Perkins and Frank Butler; I think you’ll be very impressed with how good this music from the late ’50s still sounds today
- 4 1/2 Stars: “Bassist Curtis Counce led one of the finer West Coast-based groups of the 1950s, a quintet that was greatly underrated… This excellent music falls somewhere between hard bop and cool jazz.”
Many years ago, our good customer Victor sent us this note to tell us how much better his real Contemporary jazz album sounded compared to the Fantasy 45 180g pressing he owns.
We should point out that we sold him a sealed ’70s reissue, something (selling sealed records) we stopped doing a decade or so ago, and that we really have no way of knowing what the record actually sounded like. Given our experience with anything released on the consistently dreadful Analogue Productions label, what were the chances that they could actually beat the real thing? As a practical matter, the answer should be obvious: none, of course.
None? Too harsh you say? Here are two of their worst crimes against jazz-loving audiophiles, crimes they committed using 2 Heavy Vinyl discs mastered at 45 RPM for all the world to hear:
Yes, they had the temerity to charge money for their crappy, pointless reissues. The key takeaway here is that any label that would release records that sound as bad as these cannot be trusted to do anything right.
Having played many of their remastered releases, we are still waiting for the record on AP that is not either a disaster or, at the very least, clearly worse sounding than many other pressings which are widely available.
And I will never tire of pointing out how bad the two albums linked below are, so bad that I wrote many hundreds of words about their astonishing awfulness.
After playing the above four, what would possess us to ever play another?
Now to the letter.
Wanted to let you know I did a comparison between the yellow label Contemporary label Curtis Counce, Counceltation Vol. 2 (which I bought sealed from you) and a Fantasy 45 rpm from Analogue productions: Curtis Counce – You Get More Bounce With Curtis Counce – which is in fact the same album but with a different title and cover.
Well I was very anxious to try this comparison, but was not expecting the results. The yellow label was so transparent and tonal weight to the Fantasy 45 rpm there was no contest. The 45 rpm sounded like someone turned on a high bypass filter. The yellow label was balanced throughout. Clean.
I am a subscriber of the Fantasy 45s and own all of them. Don’t get me wrong, there are some nice sounding ones in the series, but this is a prime example that not all records are as well mastered.
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.
- 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…)
- A superb sounding copy on the real Contemporary label, boasting outstanding Double Plus (A++) sound from start to finish – fairly quiet vinyl throughout
- This vintage pressing has the studio space, presence, driving energy, and midrange magic that’s almost always missing from whatever 180g reissue (at 33 or 45, don’t fall for that BS) has been made from the 59 year old tapes
- “Although the Curtis Counce Quintet was not a commercial success, their four Contemporary albums were all timeless in their own way, undated examples of high-quality hard bop from the late ’50s. Excellent music that still sounds fresh four decades later.”
Side one is White Hot, side two nearly so, and both contain swingin’ West Coast Jazz from 1956. These 1983 reissues on Boplicity are dynamic and lively, perfectly suited to the energy of the music. The 1956 All Tube mono recording here has this Hot/Cool jazz sounding the way it should.
The 1983 version we are offering here says stereo on the label, but the sound is pure mono, a good reason not to trust labels! (more…)