- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish – exceptionally quiet vinyl too
- It’s airy, open, and spacious with superb clarity and an extended top end – the beautiful reading of Autumn Leaves on side two has demo disc quality sound
- Included are three tracks left off some of Pepper’s best albums on Contemporary – Meets the Rhythm Section, Intensity and Gettin’ Together
- 4 1/2 stars: “Despite his very erratic lifestyle, altoist Art Pepper never made a bad record. The first four titles team together Pepper with tenor-saxophonist Warne Marsh for generally intriguing explorations of four standards… this album finds Art Pepper in top form.”
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.
Longstanding customers know that we have been relentlessly critical of most audiophile LPs for years, especially in the case of these Analogue Productions releases from back in the early ’90s. A well-known reviewer loved them, I hated them, and he and I haven’t seen eye to eye on much since.
Just dug up part of my old commentary discussing the faults with the orginal series that Doug Sax cut for Acoustic Sounds. Check it out!
In the listing for the OJC pressing of Way Out West we wrote:
Guaranteed better than any 33 rpm 180 gram version ever made, or your money back! (Of course I’m referring to a certain pressing from the early ’90s mastered by Doug Sax, which is a textbook example of murky, tubby, flabby sound. (Too many bad tubes in the chain? Who knows?)
This OJC version also has its problems, but at least the shortcomings of the OJC are tolerable. Who can sit through a pressing that’s so thick and lifeless it communicates none of the player’s love for the music? If you have midrangy bad transistor equipment, go with the 180 gram version (at twice the price). If you have good equipment, go with this one.
[We are no longer fans of the OJC of Way Out West, and would never sell a record that sounds the way even the best copies do as a Hot Stamper. It’s not hopeless the way the Heavy Vinyl pressing is, but it’s not very good either. It’s yet another example of a record we was wrong about. Live and Learn, right?
The following commentary comes from our catalog from the mid- to late-’90s, back when I could still find great jazz records like Alternate Takes. Note also that the AP records were in print at the time. (more…)
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 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…)
The Contemporary 1957 sax sound is so smooth and tubey it will have you drooling. All Music Guide gives it 5 Stars and so do we. Such a classic album. If you don’t own a top quality Sonny Rollins album this would be a great place to start.
The best pressings sound rich and full-bodied with plenty of low end weight. This is the Contemporary sound we love!
It’s our favorite jazz label for sonics by a long shot. Roy DuNann always seems to get The Real Sound out of the sessions he recorded — amazingly realistic drums in a big room; full-bodied, breathy horns; Tubey Magical guitar tone; deep, note-like bass; weighty pianos; vocal immediacy, and on and on. (more…)
- A big, bold, lively stereo copy of this exceptional Art Pepper release from 1960 – Triple Plus (A+++) on side one and Double Plus (A++) on two – reasonably quiet vinyl too
- If you buy only one Large Group Hot Stamper jazz record from us, make it this one – the music is swingin’ fun and the sound is going to be very impressive, especially if you own any modern reissue
- Rich, warm and full-bodied, the brass is phenomenal on this pressing – here is the Tubey Magic of the originals without the problems that cause many originals to be opaque and uninvolving
- A personal favorite – 5 stars: “This is a true classic. Essential music for all serious jazz collections.”
This Contemporary stereo LP has got that Modern Jazz Classics Magic. On a great copy such as this one you can really pick out each of the musicians and follow them throughout the course of the track. When you’re able to appreciate everyone’s contributions you really get a sense of how much work went into the making of this album. It’s nothing short of epic.
This is one DYNAMIC jazz record — drop the needle on any track and prepare yourself to be very impressed. The sound is full-bodied and energetic with tight bass, breathy brass, and lots of ambience. (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…)
- This superb collaboration has KILLER Shootout Winning Triple Plus (A+++) sound or very close to it on both sides
- Musically, this is by far our favorite Poll Winners record – these guys got back together after 15 years and were eager to prove that they still had their youthful exuberance, and even better chops, which they did have and did prove!
- 4 1/2 stars: “Kessel in particular is heard in excellent form… Overall this is the best all-around recording by The Poll Winners and is easily recommended to bop fans.”
These guys play with more spunk here than on any other album of theirs 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, mentioning that Roy DuNann had lost none of his engineering skills in the intervening years either.
This is a very dynamic recording, one of his best. 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. (more…)