Contemporary Records 70th: Art Pepper and Benny Carter

In the pantheon of great jazz record labels, the name Contemporary Records looms large among fans and collectors alike. Akin to their east coast competitor, Blue Note Records, Contemporary was well known for its refined presentations. From the characteristic covers and well-written liner notes to the quality pressings, Lester Koenig's labor of love was home to some of the best musicians on the west coast. In addition, thanks to the engineering skills of Ray DuNann and Howard Holzer, the recorded sound of the label's classic titles could be considered audiophile quality in comparison to the typical product being produced at the time.

Although the official 70th anniversary date for the founding of Contemporary fell in 2021, long-lasting effects of the pandemic and other matters preordained that a celebratory reissue series would not get under way until late 2022. Craft Recordings, the current owner of the catalog, has slowly been releasing classic titles and just recently announced that more albums will come out over the course of 2023. All vinyl sets are remastered by Bernie Grundman and pressed on 180-gram vinyl at QRP in Kansas. Records are housed in Stoughton Press Tip On jackets, along with coming in rice paper sleeves.

Art Pepper
Art Pepper Meets the Rhythm Section
Craft Recordings
1957/2023

One of the key artists at Contemporary, saxophonist Art Pepper left a stellar catalog of albums for the label, the most famous of those coming from a January 1957 session that proved to be a case of pure serendipity. Art Pepper Meets the Rhythm Section gets its title from the fact that the alto man would appear with the core band that Miles Davis was working with at the time. So the story goes, Davis was touring California and Koenig booked a date with Red Garland, Paul Chambers, and Philly Joe Jones to accompany Pepper, even as the saxophonist had been in and out of jail and was often strung out on drugs during this time period.

Not even told about the session until the last minute, Pepper shows no signs of weakness or vulnerability on a recording that is often named among his finest works. A cheerful "You'd Be So Nice To Come Home To" kicks off the sublime proceedings as Pepper proves himself more than capable of jousting with his distinguished bandmates. As a common ground for improvisation, several of the numbers are of the blues variety including the unusual choice of "Jazz Me Blues," first recorded by Bix Beiderbecke in 1924. Possibly enjoying the break from Davis for the day, Chambers takes several outstanding bowed solos and Garland breaks free from his usual block-chord approach to tackle some engaging single-note runs. Pepper is ebullient throughout, his sound captured brilliantly in all its beauty and coinciding rawness.

Benny Carter
Jazz Giant
Craft Recordings
1958/2023

First coming to prominence in the '20s and '30s while working with Fletcher Henderson and McKinney's Cotton Pickers, the great Benny Carter led a long and productive life in music. Already fifty years old by the time of the sessions heard here on Jazz Giant, Carter would make two records for Contemporary and both prove to be fine examples of the viability of swing and earlier jazz styles. Cut over three dates in 1957 and one in 1958, the record at hand speaks as much about Carter the saxophonist as it does about his arranging skills for a septet.

As was typical for mixes at the time, drums and bass are on one channel with the other instruments spread across the stereo spectrum. In DuNann's hands, it makes for a satisfying sound with Carter waxing poetically on such chestnuts as "Ain't She Sweet," "I'm Coming Virginia," and "Blues My Naughty Sweetie Give to Me." The guitar of Barney Kessel adds another texture to the solid rhythm section that includes house drummer Shelly Manne. Of particular value are the mature and breathy statements from tenor great Ben Webster on "Old Fashioned Love" and the Carter original "A Walkin' Thing."

As has been the case with all previous reissues reviewed in this series, both records featured here were found to be flat and quiet with no defects at all. Furthermore, the sound of these editions is on par with originals. The Benny Carter set was actually compared with a previous reissue from the folks at Analogue Productions and the results were a slight preference for the newer version. At the current price point, this series is surely one of the best values around and further titles are likely to be met with similar fanfare.

Associated equipment used for evaluation

VPI Scout 1.1 turntable with Soundsmith Aida Mk II cartridge
Musical Fidelity A3CR amplifier and preamp
Sutherland Insight phono preamp
Arcam SDS 50 SACD player
Bowers & Wilkins Nautilus 805 loudspeakers
Cardas cable and interconnects, Chang Lightspeed power conditioner
Solidsteel S3 Series audio rack

Tracks and Personnel

Art Pepper Meets the Rhythm Section

Tracks: You'd Be So Nice To Come Home To; Red Pepper Blues; Imagination; Waltz Me Blues; Straight Life; Jazz Me Blues; Tin Tin Deo; Star Eyes; Birks Works.

Personnel: Art Pepper: alto saxophone; Red Garland: piano; Paul Chambers: bass; Philly Joe Jones: drums.

Jazz Giant

Tracks: 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.

Personnel: Benny Carter: alto sax & trumpet; Ben Webster: tenor sax; Frank Rosolino: trombone; Andre Previn or Jimmie Rowles: piano; Barney Kessel: guitar; Leroy Vinnegar: bass; Shelly Manne: drums.

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