This superb sounding Black Label Stereo Contemporary pressing has close to Triple Plus (A++ to A+++) sound on side two. Side one earned a Double Plus, which makes this by far the best copy to ever hit the site and a great way to hear this classic piano trio swingin’ in 1959. This is yet another Demo Disc for Contemporary, more brilliant work from house engineer Roy Dunann.
One of Previn’s best piano trio records, this album was recorded in 1959 by Roy Dunaan when he was at the height of his engineering powers. You will not find many piano trio records with sound better than this.
Note on the vinyl condition: it’s rare to find any Black Label original in audiophile playing condition, and almost none will play better than the Mint Minus Minus this one plays.
Something’s Coming Jet Song Tonight I Feel Pretty
Gee, Officer Krupke! Cool Maria America
The last of a series of showtune albums recorded by the trio of pianist Andre Previn, bassist Red Mitchell and drummer Shelly Manne finds the all-star group focusing on the music of West Side Story. As usual, the melodies are treated respectfully yet swingingly, and Andre Previn in particular excels in this setting. Recommended.
HUGE DEMO DISC QUALITY SOUND ON BOTH SIDES! This Contemporary LP sounds AMAZING — it has a wide and open soundfield that really allows you to hear into the music. Drop the needle on track three (Carter’s Own ’A Walkin’ Thing’) to hear these guys really swinging! The sound is so natural, and it really jumps out of the speakers. This knocked our original Stereo Records pressing out of the ballpark — it wasn’t even close.
Sometimes the OJC versions of Contemporary Records are excellent. Those tend to be the ones we sell. But most of the time the pressings that were mastered and put out by Contemporary in the mid-’70s (until they were bought by Fantasy) are superior.
My understanding is that Bernie Grundman was cutting a lot of records for Contemporary in those days. If that’s true he was doing a great job because those are some wonderful sounding records.
If you like the sound of Contemporary Records, you won’t find a better example than this! You may remember that Acoustic Sounds did a version back in the ’90s, which was a complete disaster. I haven’t heard the recent 45 RPM version, but I seriously doubt that it sounds like this.
Old Fashioned Love I’m Coming Virginia A Walkin’ Thing Blue Lou Ain’t She Sweet How Can You Lose Blues My Naughty Sweetie Gives to Me
Benny Carter had already been a major jazz musician for nearly 30 years when he recorded this particularly strong septet session for Contemporary. With notable contributions from tenor saxophonist Ben Webster, trombonist Frank Rosolino and guitarist Barney Kessel, Carter (who plays a bit of trumpet on “How Can You Lose”) is in superb form on a set of five standards and two of his originals. This timeless music is beyond the simple categories of “swing” or “bop” and should just be called “classic.”
This is a Minty looking Contemporary Records LP with SUPERB MUSIC AND SOUND! We pulled together enough copies to do a small shootout, and this copy was the champion for BOTH SIDES! The sound is very clean and clear, yet tubey magical.
You almost never hear cymbals sound this good on an RVG Blue Note, that’s for sure. The bass definition on this record is amazing — you can really hear Ray Brown pulling and bending the strings of the instrument. He’s tearing it up.
Musically, this is my favorite Poll Winners record! These guys got back together for this album and wanted to prove to the world that they still had their youthful excuberance!
They play with more spunk here than on any other album I’ve ever heard. And you have to love those ’70s leisure suits they’re wearing on the cover. I remember my commentary when this record was around mentioned that Roy DuNann, the famous recording engineer, had lost none of this skill in the intervening years either. This is a very dynamic recording, one of his best.
An absolutely killer pressing of one of our favorite jazz albums! The album is comprised of alternate takes from the Way Out West and Sonny Rollins and the Contemporary Leaders sessions, and as such there is a bit of sonic variation between these tracks and the ones on the actual albums. The best-sounding songs here, particularly the material from Way Out West, sound amazing! (more…)
I played this record a while back — it’s one of the Mobile Fidelity’s I remember liking from the old days — and sure enough it still sounds good. It does not have the phony boosted bottom and top that most MoFis do. Since it’s such a well recorded album, the sound is very impressive. Also the music is great. This is one of Previn’s best piano trio records. And Shelly Manne drums up a storm here.
Insanely good sound throughout, just shy of our shootout winner with nearly Triple Plus (A++ to A+++) sound – quiet vinyl too
We love the amazingly natural, uncolored, un-hyped sound Roy DuNann and Howard Holzer were able to achieve at Contemporary back in the day
You will hear as we did playing this very copy that there’s simply nothing between you and the musicians
“Pepper utilizes Davis’ sidemen on this 1960 near-classic… as usual, Pepper brings something very personal and unique to his playing; he sounds like no one else.” – 4 1/2 Stars, All Music
This album, and this copy in particular, deliver some serious Art Pepper Contemporary Magic. We’re big fans of Pepper and this label, and we love the sound Roy DuNann and Howard Holzer were able to get out of these guys. On the best pressings, such as this one, there’s just nothing between you and the music. You will have a very hard time finding a much better sounding jazz record than either side of this copy, anywhere.
Superb sound from Contemporary — better than just about any other Pepper disc they recorded IMHO. We played a bunch of copies and few can compare to this one!(more…)
Outstanding sound throughout; Triple Plus (A+++) on the second side and Double Plus (A++) on the first
Both sides are big, full-bodied, clean and clear with lots of deep punchy bass and a nice extended top end
It’s not quite as ‘out there’ as some of his better known material, but those of you with a taste for adventurous jazz will still find much to love here
“… the most important thing about Something Else! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin’ daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene.” – All Music, 4 1/2 Stars
For us audiophiles the sound is shockingly good. If you’re looking to demonstrate just how good 1958 All Tube Analog sound can be, this killer copy will do the trick.(more…)
This superb pressing of Kessel’s brilliant 1959 larger group outing has a shootout-winning Triple Plus (A+++) side one and an outstanding Double Plus (A++) side two
With Tubey Magic, richness, sweetness, and dead on tonality from top to bottom, this is a textbook example of Contemporary’s sound at its best
An All Star West Coast lineup came together for this one: Art Pepper (on sax and claritnet!), Shelly Manne, Joe Gordon and others
4 1/2 stars: “Such tunes as “I Wanna Be Loved by You,” “Runnin’ Wild,” “Down Among the Sheltering Palms,” and “By the Beautiful Sea” are given fairly modern arrangements…”
This copy is spacious, sweet and positively dripping with ambience. The liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.(more…)
With a Triple Plus (A+++) shootout winning side two and a Double Plus (A++) side one, this copy took top honors in our recent shootout
These good 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. . . .'”
We finally built up enough copies of this great album to do a shootout, our first since 2012, which ought to tell you something about the used record market these days. This copy had most of the Tubey Magic of the originals we played, with all of the amazing clarity and freedom from distortion the later pressings are capable of reproducing — the best of both worlds.
Our Yellow Label Contemporary pressing in stereo of Benny Carter’s swingin’ jazz quartet is the very definition of a top jazz recording from the late ’50s mastered through a modern, very high quality cutting chain. There’s good extension on the top end, with TONS of what you might not expect: Tubey Magic and Richness. If that’s what you’re looking for, this copy has got it!(more…)
With two seriously good Double Plus (A++) sides, this copy was one of the best we played in our recent shootout
These guys are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one
An amazing 1958 All Tube Live-in-the-Studio Jazz recording by the legendary Roy DuNann
“Tenor saxophonist Bob Cooper’s only Contemporary album is a near-classic and one of his finest recordings … This set is an underrated gem.”
This is a superb sounding Contemporary recording from 1958. Cooper is joined by top West Coast musicians like trombonist Frank Rosolino, vibraphonist Victor Feldman, pianist Lou Levy, bassist Max Bennett, and drummer Mel Lewis. On some parts of the Jazz Theme the group grows to be ten pieces. Normally this might present a problem for a recording engineer, but Roy DuNann is up to the task! If you want to hear the sound of brass recorded properly, Roy is your man.
Both sides are Tubey Magical, rich, open, spacious and tonally correct. These guys are playing live in the studio and you can really feel their presence on every track — assuming you have a copy that sounds like this one.
What do the better Hot Stampers pressings like this one give you?
Energy for starters. What could be more important than the life of the music?
The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
Then transient information — fast, clear, sharp attacks for the horns and drums, not the smear and thickness so common to most LPs.
Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt — Roy DuNann — would have put them.
Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Based on what I’m hearing my feeling is that most of the natural, full-bodied, smooth, sweet sound of the album is on the master tape, and that all that was needed to get that vintage sound correctly on to disc was simply to thread up that tape on a reasonably good machine and hit play.(more…)