I think DuNann's recording and mixing techniques evolved with time, specifically in 1957, 1958, and 1959 where these two albums fall. Something Else is is of the early stereo where the soundstage was still very left/right (Van Gelder has some similar "primitive" stereo recordings from 1957, with horns in the left channel and everything else on the right). Recorded about a year after the first album, Tomorrow is the Question benefits from the experience DuNann had accumulated in recording and mastering several Stereo Records in 1958-1959. (It should be noted that those early Contemporary/Stereo Records releases have a lot of panning done in the mastering so the instruments don't stay locked left or right, which DuNann and Koening seemed to understand was unnatural.) Maybe there was a microphone or tracking limitation that made the horns left/rhythm right style the simplest way of recording the ensemble, but then when engineers started listening and mastering in stereo, they developed new techniques to better balance the horns left to right. Bernie Grundman mentioned in a video with Chad Kassem that the early Contemporary sessions had dedicated stereo and mono tapes running, but the master tapes for Art Pepper Plus Eleven (recorded in 1959 a little after Tomorrow is the Question) are 50/50 stereo, so mono was cut by folding it down. I wonder if 50/50 stereo tapes became the norm for Contemporary from then on, like it became for Rudy Van Gelder as well. To develop that 50/50 technique would have required (I imagine) trial and error with regards to balancing and phasing between all the microphones. In all that testing, new ways to naturally distribute the instruments between the channels could have concurrently evolved, birthing the natural stereo soundstage.
Very interesting! Thank you very much for a knowledgable answer! I actually heard that interview (actually there's quite a few interviews out), but sometimes my thoughts drift away. I'm going to listen to the records a lot more later this summer. Tomorrow I'm going to one of the biggest festivals in Europe (last time was in 2019!!!). I'm so hyped! And after that traveling to Bosnia, Montenegro and Albania for a couple of weeks. Lovely summer, even though I would like to have some records with me. Maybe I should buy a Crosley and take a handful of Tone Poets and Contemporary Records with me in a bag?
Not THAT big, haha! Roskilde Festival in Denmark. EDIT: Honestly thought it was bigger compared to other European festivals. It seems absolutely huge when 100.000 people are watching McCartney and singing along to Hey Jude
Because there is no piano on Tomorrow is the Question. The producer wanted melody instrument on each side.
Well, the dates coincided. Glastonbury was the first one that popped in my head. Just saw the line up for Roskilde and it looks like you'll have a freakin great time!
I've been listening to The Poll Winners quite a bit the last few days. I'm a big fan of guitar-led jazz so this really hits the spot for me. The sound quality on my system is very very good--certainly no problems to note. I do notice that the stereo is pretty hard panned, but my speakers aren't that far apart so perhaps that's why it doesn't bother me. I think it might be worth it to track down an OG mono at some point, but I don't feel any rush to do so. One last thing: When Kessel comes in with the melody on B4 Minor Mood I am 99.9% certain that he is quoting Hungarian Rhapsody No. 2 in c# minor by Liszt. Definitely a "whoa" moment for me.
I have a Japanese Poll Winners stuck in Japan at the moment. As compensation I found this in a local second hand record shop today... 1984 reissue, perfect condition, very engaging music.
Very pleased with what I'm hearing on the The Poll Winners. More depth and bottom end lift compared to my 80's OJC. I'm actually hearing less spread on Bernie's version but maybe due to the better definition and extension of the instruments. Cymbals sound clear and crisp, perhaps not as bright as the OJC. I've always loved the music on this, but this reissue takes it to another level.
One of the SACDs is listed as “order” rather than pre-order. I think it was Art Pepper + 11. I haven’t received any shipping notice yet, despite pre-ordering them all.
What's going on with the Benny Carter "Jazz Giant" release date? Amazon has it bumped to Dec 16, 2022 https://www.amazon.com/Giant-Contemporary-Records-Acoustic-Sounds/dp/B09TTG75NK Amazon Canada has just put it up in the last day or two, but with "Four" as the album title (?) with a July ship date (and lost their minds? $58. preorder price) https://www.amazon.ca/dp/B09TTG75NK Acoustic Sounds still shows it for Aug 12. Hopefully that's still on track. Benny Carter-Jazz Giant-180 Gram Vinyl Record|Acoustic Sounds
All titles after the upcoming Hampton Hawes have been pushed back on every site including Craft, only one who hasnt is AS. Its a shame the next one after Hawes isnt until december
A bit off-topic but I am seeing a lot of Prestige records showing up at my local RS that are new pressings but priced at around $22. I see the same ones, like Coltrane 7105 for example, on the Craft website. What are these? Are they digital masterings on vinyl? They certainly are not the same level as the Craft Contemporary recordings. Are these any good or should I wait for the AP represses instead? Thanks!
Based on the description, they sure sound like modern OJCs. Either that or Euro gray market records. I still buy and enjoy modern OJCs sometimes, but don’t listen to me I’m not an audiophile.
Its on SE but its double the price and uses an OJC image: https://www.amazon.se/Four-Contempo...2618&sprefix=four+hampton+hawes,aps,92&sr=8-1
I think the answer came that they are proper mono cuts... don't know about the cutting stylus, though.
