- This superb bossa-nova classic finally makes its Hot Stamper debut with Shootout Winning Triple Plus (A+++) sound from first note to last on this original Capitol stereo pressing
- Here is the Tubey Magical richness, size and space that only the best vintage pressings are capable of conveying to the critical listener
- The brilliance of this All Tube Chain recording from Capitol in their heyday makes all the hard work you’ve put into your system pay off
- Music To Listen To Barney Kessel By finally returns to the site with KILLER Shootout Winning Triple Plus (A+++) Contemporary Stereo sound on both sides
- Their stuff just doesn’t get any better than this. Tubey Magic, richness, sweetness, dead-on timbres from top to bottom — this is a textbook example of Contemporary sound at its best
- For those of you who appreciate what Roy DuNann (and Howard Holzer on other sessions) were able to achieve in the ’50s at Contemporary Records, this LP is a Must-Own
- Unless you already have it, which is doubtful considering how hard it is to find a copy in clean condition
- Barney Kessel and his five reed players take these standards and make magic with them — for fun, relaxing jazz it’s hard not to love this one
This vintage Black Label Contemporary Stereo LP from has DEMO DISC QUALITY SOUND. No other copy we played was in a class with this bad boy — it does it ALL.
How can you beat a Roy DuNann recording of five reeds, piano, guitar and a rhythm section that includes Shelly Manne and Red Mitchell? The timbre of the instruments is so spot-on it makes all the hard work and money you’ve put into your stereo more than pay off.
The Demo Disc sound on this copy is really something to hear – all tube, live-to-two-track direct from the Contemporary studio. It’s pretty much everything you want in a recording from this era. I’d love to keep it but when would I have time to play it? I can assure you I will sleep very well knowing that it’s going to a good home. (more…)
- A stunning sounding copy with a shootout winning Triple Plus (A+++) side one backed with a solid Double Plus (A++) side two
- This is West Coast Jazz at its best, and if anyone can capture the feeling of hearing jazz in a small club, it’s the engineers and producers at Contemporary
- The sound is SUPERB – airy, open, and spacious with a solid bottom end – the depth and definition are out of this world
- “Considering how much music was documented, it is fortunate that trumpeter Joe Gordon, tenorman Richie Kamuca, pianist Victor Feldman, bassist Monty Budwig and drummer Shelly Manne were in top form for this enjoyable gig. The music is high-quality straightforward and uncomplicated bebop.”
- You’ll find superb nearly Triple Plus (A++ to A+++) Tubey Magical sound from 1958 on both sides of this Turquoise Capitol pressing – just shy of our Shootout Winner
- Balanced, musical, present and full-bodied throughout – this pressing puts a living, breathing, big-as-life June Christy performing at the peak of her vocal powers right in your listening room
- June Christy is one of our favorite Cool School vocalists – we just wish we could find more clean copies of her classic ’50s albums
- The vinyl is relatively quiet and no marks play – how rare is that? In our experience very rare
- All the top West Coast jazz guys are here: Shorty Rogers, Shelly Manne, Bud Shank, Bob Cooper, and swinging arrangements by Pete Rugolo
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.
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.
This Home Audio Exercise entry was inspired by the wonderful qualities of the Contemporary recording you see pictured, qualities brought to our attention while doing a shootout of various pressings of the album in early 2009.
We addressed a number of issues in our commentary: first and foremost what we were listening for on the album (and what we were hearing). A bit of mono versus stereo (in this case both can be good), followed by some Audiophile Equipment bashing.
We highly recommend you make every effort to find yourself a copy of this album and use it to test your own equipment. The right pressing can be both a great Demo Disc and a great Test Disc.
Two of the best sounding jazz guitar records in the history of the world were made by Barney Kessel for Contemporary: this one, and Music To Listen To Barney Kessel By. (We have a fabulous mono copy on the site as I write this.) I used to have them both in my personal collection. [This was written many years ago when I actually had a personal collection. With 40,000 records in stock I don’t need a collection of my own anymore. Any record I might want to play is in stock, waiting to be shot out.]
Such a wonderful idea for an album. The melodies from Bizet’s Carmen are unforgettable and perfect fodder for jazz improvisation. Don’t think that this is just guitar and rhythm. This is a full band with lots of horns, clarinets of all kinds, bassoons, oboes, flutes, piano, vibes — the variety of sounds to be found on this album is practically unlimited. And with Roy DuNann’s engineering, you will never hear richer, fuller sound with more accurate timbers for all the instruments mentioned above. The guy was a genius. His recordings define High Fidelity for me. I know of none better. (more…)
- With Triple Plus (A+++) Shootout Winning sound or close to it on both sides, this copy had some of the best sound we have ever heard for the album
- This early pressing was hard to fault – it will put Tom Waits right between your speakers, with a batch of great session players behind and to the side, all playing live in the studio
- “The album contains more ballads than most of his records do, but they were the most effective vehicles for the kind of storytelling he was trying to get to. Produced and engineered by Bones Howe, Foreign Affairs was recorded live in studio by a quintet that included West Coast jazzmen Jack Sheldon on trumpet, saxophonist Frank Vicari, bassist Jim Hughart, and drummer Shelly Manne.
- 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…)
- Incredible Shootout Winning Triple Plus (A+++) sound on vinyl that’s about as quiet as these Black Label originals ever play
- The piano sounds lifelike right from the start, a beautiful instrument in a natural space, tonally correct from top to bottom
- This copy makes it clear that this is a Demo Disc Quality Recording for Contemporary, and that’s saying a lot
- It’s also our favorite jazz piano performance by Andre Previn on record
- “Previn’s piano is the lead voice and his virtuosity, good taste, melodic improvising, and solid sense of swing are chiefly responsible for the music’s success.”
I have a very long history with this album, dating back close to twenty years. My friend Robert Pincus first turned me on to the CD, which, happily for all concerned was mastered beautifully. We used it to test and tweak all the stereos in my friends’ systems.
Playing the original stereo record, which I assumed must never have been reissued due to its rarity (I have since learned otherwise), all I could hear on my ’90s All Tube system was blurred mids, lack of transient attack, sloppy bass, lack of space and transparency, and other shortcomings too numerous to mention, all of which I simply attributed at the time to Old School vintage jazz vinyl.
Well, things have certainly changed. I have virtually none of the equipment I had back then, and I hear none of the problems with this copy that I heard back then on the pressing I owned.
To be fair, this is of course a different pressing. I sold the old one off years ago, but I have to think that much of the change in the sound was a change in cleaning approach, equipment, tweaks and room treatments, all the stuff we prattle on about endlessly on the site.
In other words, if you have a highly-resolving modern system and a good room, you are should be knocked out by the sound of this record. I sure was. (more…)
- 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…)