Incredible sound throughout for this later Contemporary pressing with both sides earning Shootout Winning Triple Plus (A+++) grades; exceptionally quiet vinyl too!
Both of these sides are textbook examples of the kind of rich, smooth, natural, effortless Contemporary Jazz sound that Roy DuNann’s All Tube Recording Chain was famous for in 1958
“The last of the classic Sonny Rollins albums prior to his unexpected three-year retirement features the great tenor with pianist Hampton Hawes, guitarist Barney Kessell, bassist Leroy Vinnegar and drummer Shelly Manne… Great music.”
This Contemporary Yellow Label LP has THE BIG SOUND — rich and so full-bodied with amazing presence and immediacy. The bass is PERFECTION — deep, rock solid, and note-like. There’s lots of extension on the top end, letting Shelley Manne’s fantastic work on the cymbals really come to life.
The clarity on this copy is superb — just listen to those leading edge transients on Sonny’s sax. The guitar has the tubey qualities that we love here at Better Records — it’s warm, rich, and sweet with lots of ambience.
Sonny is backed here by a heavy-hitting lineup of Barney Kessel, Shelley Manne, Leroy Vinnegar and Hampton Hawes — all favorite players of ours here at Better Records.(more…)
Newborn’s wonderful 1966 release makes its Hot Stamper debut with Shootout Winning Triple Plus (A+++) sound from start to finish
The timbre of the instruments in this brilliant jazz trio is so spot-on it makes all the hard work and money you’ve put into your stereo more than pay off
This vintage Contemporary pressing boasts exceptionally natural piano sound (courtesy of Howard Holzer) and live-in-the-studio jazz energy
4 1/2 stars: “As is usual on his Contemporary recordings, the pianist explores superior jazz compositions… Newborn’s remarkable control of the piano was still unimpaired, and he is heard giving Oscar Peterson a run for his money.”
Mean to Me is a favorite test track for side one, with real Demo Disc quality sound. Roy DuNann at Contemporary was able to get all his brass players together in one room, sounding right as a group as well as individual voices. The piano, bass, and drums that accompany them are perfectly woven into the fabric of the arrangement. What makes this song so good is that when the brass really starts to let loose later in the song, with the right equipment and the right room you can get the kind of sound that is so powerful you would almost swear it’s live.
Helen was recorded in a booth for this album, and her voice is slightly veiled relative to the other musicians playing in the much larger room required for so many players. When you get the brass correct, the trick is to get her voice to become as transparent and palpable as possible without screwing up the tonality of the brass instruments.(more…)
SUPERB SOUND AND MUSIC! We’ve been finding great copies of Helen’s Songs I Like To Sing! for some time, but this is the first knockout copy we’ve ever found of this great title from 1961. Both sides have A+++ sound, As Good As It Gets (AGAIG).
Whoever takes this one home is in for a treat. Make sure your electricity is really cookin’, turn down the lights, and turn up the volume — Helen and her top-notch backing band will be RIGHT THERE IN THE ROOM WITH YOU! The other copies we played sounded pretty good, but this one is MAGICAL.
Both sides have mindblowing clarity and transparency — something that you wouldn’t likely find on an earlier pressing — matched with the kind of tubey magic that’s almost always missing from OJC pressings.(more…)
This Contemporary LP has WONDERFUL SOUND AND MUSIC! It’s rich and full a very extended, very natural top end. The cymbals on this record sound AMAZING! Roy DuNann sure knew how to record this kind of jazz. Just listen to the leading edge transients of the trumpet or the punchiness of the drums. There’s no trace of phony EQ or bad mastering whatsoever.(more…)
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…)
Leroy Vinnegar’s debut album finally arrives on the site with a KILLER Shootout Winning Triple Plus (A+++) side two and a truly oustanding Double Plus (A++) side one
The Contemporary LP stereo sound here is completely natural in every respect, yet still rich, warm and smooth
Roy DuNann and Howard Holzer 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
4 stars: “…Vinnegar generously features his talented sidemen… A fine, straight-ahead session.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good an 1958 All Tube Analog Contemporary recording can sound, this killer copy will do the trick.(more…)
This EXCEPTIONALLY QUIET Contemporary Recording has wonderful sound on both sides. It’s got SHOCKINGLY DYNAMIC VOCALS — just listen to Miss Humes really belting it out on a great reading of Stardust! The sound is really rich and full with a BIG punchy bottom end. The clarity and transparency are superb, and you can really hear the leading edge transients on the various horns (Carter on trumpet, Rosolino on trombone).(more…)
SUPERB SOUND ON BOTH SIDES! This Contemporary Green Label LP has THE BIG SOUND — rich and so full-bodied with amazing presence and immediacy. The bass is PERFECTION — deep, rock solid, and note-like. There’s lots of extension on the top end, letting Shelley Manne’s fantastic work on the cymbals really come to life. The clarity on this copy is superb — just listen to those leading edge transients on Sonny’s sax. The guitar has the tubey qualities that we love here at Better Records — it’s warm, rich, and sweet with lots of ambience.
This copy has big time presence and immediacy that makes it seem as if this all-star quintet was swingin’ in your living room! Both sides have A++ sound — it’s transparent and dynamic with just the right amount of bite to the sax. I don’t think there’s anything you could do to this music to make it sound any better than this.
Sonny is backed here by a heavy-hitting lineup of Barney Kessel, Shelley Manne, LeRoy Vinnegar and Hampton Hawes — all favorites here at Better Records.