- 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.”
- Fans of exceptionally well-recorded West Coast jazz will find much to like on this recording from 1958.
- The complete list of titles from 1958 that we’ve reviewed to date can be found here.
- An outstanding copy of Coleman’s sophomore release, with solid Double Plus (A++) sound from first note to last – reasonably quiet vinyl too
- Our Contemporary Yellow Label Stereo LP here has have breathy, full-bodied brass and lots of tight, well-defined bass
- The top end is nicely extended, which results in excellent space, transparency and clarity
- 4 stars: “…this is one of the things that came to define Ornette — his willingness to let simplicity and its bright colors and textures confound not only other players and listeners, but also him too.”
- Another Must Own Title from 1959
The drum sound is OUT OF THIS WORLD — Roy Du Nann always seems to get amazing sound out of Shelley Manne’s kit.
Listen too for the interplay between Ornette and Don Cherry — they really drive each other to insane levels over the course of these nine tracks. (more…)
- This outstanding pressing boasts Shootout Winning Triple Plus (A+++) sound or close to it on all four sides – exceptionally quiet vinyl too
- The complete Tenor Madness album is found here, with big, full-bodied, MONO jazz sound at its BEST, courtesy of the great one, Rudy Van Gelder
- This is what classic ’50s jazz is supposed to sound like – they knew how to do these kinds of records forty years ago, and those mastering skills are in short supply nowadays, if not downright extinct
- The transfers from 1978 by David Turner are in tune with the sound of these recordings – there’s not a trace of phony EQ on this entire record
- “Tenor Madness was the recording that, once and for all, established Newk as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why a young Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz.”
This Two-Fer includes all of Tenor Madness and most of Work Time and Tour De Force.
Top jazz players such as Ray Bryant, John Coltrane, Red Garland, Kenny Drew, Max Roach and Paul Chambers can be heard on the album.
If you want all the tubey magic of the earlier pressings, a top quality pressing of the real Tenor Madness album on Prestige is going to give you more of that sound. David Turner’s mastering setup in the ’70s has a healthy dose of tubes, but it can’t compete in that area with the All Tube cutting systems that were making records in the ’50s and ’60s. Without one of those early pressing around to compare, we don’t think you’re going to feel you are missing out on anything in the sound with this killer copy.
And where can you find an early Prestige pressing with audiophile playing surfaces like these? (more…)
Sonic Grade: B-
Another MoFi LP reviewed and this one’s pretty good!
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.
Some Relevant Commentaries
With those stampers, My Fair Lady is undoubtedly a Hall of Shame pressing, as well as another early pressing we’ve reviewed and found wanting. Both sides graded “No,” our not-especially-technical term for a record that sounds bad.
Notes for Side One:
Track one is bright and unnatural up top. Track two is not very musical.
Notes for Side Two:
Track one is very weird sounding, thin and small.
(Obviously there was no need to play a second track.)
As you may have read elsewhere on the site, some Contemporary Label originals are very poorly mastered, which should put paid to the idea that Hot Stampers are only, or even usually, original pressings.
In our most recent shootout, the second-best sounding pressing was on the early Black Label. We would love to give out the stampers for that one, but we don’t do that.
Click here to read about the various labels that Contemporary used over the years. Some people like to search for relationships between the sound of the pressing and the label it has, but in our experience that is more often than not a fool’s game once you account for the confirmation biases that go along with that approach.
We highly recommend you make every effort to find yourself a copy of this album and use it to test your system. The right pressing can be both a great Demo Disc and a great Test Disc.
Transparency Is Key
The best Hot Stamper Original pressings have the Tubey Magic we’ve come to expect from Contemporary circa 1958, with that warm, rich, full-bodied sound that RVG often struggles to get on tape. However, some pressings in our shootout managed to give us an extra level of transparency and ambience that most original pressings rarely did.
There’s a room around this drum kit. So many copies don’t show you that room, not if they have the full sound that a copy like this does.
It’s amazing all the detail you can hear in a leaned-out record, but what good is that? The sound is all leaned out.
If you like that sound, buy the OJC or the CD. Leave these originals to those of us who are after this sound. (more…)
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 my stereo and many of those that were owned by friends.
Playing the original stereo record on the Black Label, 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 to the limitations of the vintage mastering.
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. This is clearly a different LP, 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, equipment, tweaks and room treatments, all the stuff we prattle on about endlessly on this blog.
In other words, if you have a highly-resolving modern system and a good room, you should be knocked out by the sound of this record. I sure was. (more…)
- 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.”
Another undiscovered gem, brought to you by the folks at Better Records who know a good sounding record when they hear one.
This is a superb 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.
The fact that nobody seems to be able to make an especially good sounding record — certainly not as good sounding as this one — these days tells me that in fact I’m wrong to think that such an approach would work. Somebody should have been able to figure out how to do it by now. In our experience that is simply not the case today, and has not been for many years. (more…)
This Super Hot Stamper pressing has the Contemporary Jazz Sound we LOVE here at Better Records. If you want to know what’s wrong with the sound of your Rudy Van Gelder Squakfest Records, play this LP and bathe in the kind of relaxed, NATURAL tonality that Roy DuNann is justly famous for.
We love the sound of Contemporary Records — it’s our favorite jazz label by a long shot. Roy DuNann always seemed to get The Real Sound out of the sessions he recorded — amazingly realistic drum sound; full-bodied, breathy horns; lots of top end extension; deep, note-like bass; weighty piano, studio ambience, three-dimensionality, and on and on.
The Key to the Sound of the Best Copies
During this shootout we discovered what really sets apart the best copies from the also-rans: listen for the piano in the background, behind the horns. On the best copies it is so clear you can practically “see” it back there.
The copies with a clear piano have TRANSPARENCY that makes all the difference in the world on EVERY instrument. Now everything is clear. As long as the tonal balance is correct, that transparent quality is precisely what will make the best copies much more musically involving.
Let’s face it: many reissues, recorded in 1961 and pressed later on in the ’70s, have a veiled, dull quality. When they don’t, man, they can really beat the pants off even the best originals. (more…)