Top Engineers – Roy DuNann

Benny Carter – Swingin’ the ’20s

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  • 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…)

Shelly Manne & His Friends – Bells Are Ringing

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  • 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…)

Sonny Rollins – Way Out West – Our Shootout Winner from 2014

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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…)

Art Pepper + Eleven – Modern Jazz Classics

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  • 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…)

Sonny Rollins – Sonny Rollins & the Contemporary Leaders

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  • 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…)

The Poll Winners – Straight Ahead

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  • 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…)

Sonny Rollins – Alternate Takes

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  • This STUNNING copy boasts a Shootout Winning Triple Plus (A+++) side two mated with outstanding Double Plus (A++) sound on side one – exceptionally quiet vinyl too
  • One of our favorite Sonny Rollins records for sound – both sides here are incredibly big, full-bodied and Tubey Magical
  • 4 1/2 stars: “This LP contains alternate versions of selections from two famous Sonny Rollins albums: Way out West and Sonny Rollins and the Contemporary Leaders. These “new” renditions… hold their own against the classic versions. …the music is hard-swinging and frequently superb.”

The album is made up 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, can sound amazing!

The best copies are rich and tubey; many pressings were thin and modern sounding, and for that they would lose a lot of points. We want this record to sound like something Roy DuNann recorded with an All Tube chain in 1958, and the best copies give you that sound, without the surface noise and groove damage the originals doubtless suffer from.

Some copies have much more space; some are more present, putting the musicians right in the room with you; some are more transparent, resolving the musical information much better than others, letting you “see” everyone in the studio clearly. Some have more rhythmic drive than others. On some the musicians seem more involved and energetic than they do on the average pressing.

The copies that do all these things better than other copies are the ones that win our shootouts.

This is clearly one of the best copies we have ever played. We think you will enjoy it immensely. (more…)

Joe Gordon – Lookin’ Good!

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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, such as this pressing, recorded in 1961 and pressed 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…)

The Curtis Counce Group – Vol. 2: Counceltation

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  • Insanely good sound throughout for this Contemporary Yellow Label pressing with both sides earning nearly Triple Plus (A++ to A+++) grades, just shy of our Shootout Winner 
  • These sides are superb — clean, clear, full-bodied and dynamic with tons of energy
  • Counce is a wonderful bassist and here he’s joined by Jack Sheldon, Harold Land, Carl Perkins and Frank Butler; I think you’ll be very impressed with how good this music from the late ’50s still sounds today
  • “Bassist Curtis Counce led one of the finer West Coast-based groups of the 1950s, a quintet that was greatly underrated… This excellent music falls somewhere between hard bop and cool jazz.” – All Music, 4 1/2 Stars

These Nearly White Hot Stamper pressings have top quality sound that’s often surprisingly close to our White Hots, but they sell at substantial discounts to our Shootout Winners, making them a relative bargain in the world of Hot Stampers (“relative” being relative considering the prices we charge). We feel you get what you pay for here at Better Records, and if ever you don’t agree, please feel free to return the record for a full refund, no questions asked.

This vintage Contemporary Yellow Label pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What amazing sides such as these have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1957
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We Listen For on Vol 2: Counceltation

  • Energy for starters. What could be more important than the life of the music?
  • Then: presence and immediacy. The instruments aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
  • 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, not the smear and thickness so common to these LPs.
  • Tight punchy bass — which ties in with good transient information, also 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 instruments.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

TRACK LISTING

Side One

Complete
How Deep Is The Ocean
Too Close For Comfort
Mean To Me

Side Two

Stranger In Paradise
Counceltation
Big Foot

 

The Curtis Counce Group – Carl’s Blues

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  • A superb sounding copy on the real Contemporary label, boasting outstanding Double Plus (A++) sound from start to finish – fairly quiet vinyl throughout
  • This vintage pressing has the studio space, presence, driving energy, and midrange magic that’s almost always missing from whatever 180g reissue (at 33 or 45, don’t fall for that BS) has been made from the 59 year old tapes
  • “Although the Curtis Counce Quintet was not a commercial success, their four Contemporary albums were all timeless in their own way, undated examples of high-quality hard bop from the late ’50s. Excellent music that still sounds fresh four decades later.”

(more…)