Contemporary Records
Logo used from 1979 to the mid-2000s
Parent company	Concord Bicycle Music
Founded	1951 (1951)
Founder	Lester Koenig
Defunct	1984 (1984)
Status	Inactive
Genre	Jazz, West Coast jazz
Country of origin	U.S.
Official website	concord.com

Contemporary Records was a jazz record company and label founded by Lester Koenig in Los Angeles in 1951. Contemporary produced music from a variety of jazz styles and players.^[1]

West Coast players

Contemporary became identified with a style of jazz called West Coast jazz as exemplified by Art Pepper, Chet Baker, Shelly Manne, and André Previn.^[1]

In the mid-1960s the company fell into relative limbo, but limited new recordings were made in the late 1970s, including a series of albums by Art Pepper recorded at the Village Vanguard club in New York. After Les Koenig's death in 1977, the label was run for seven years by his son,^[1] John, who produced albums by George Cables, Joe Farrell, Joe Henderson, Bobby Hutcherson, Peter Erskine, and Chico Freeman.

In 1984 Contemporary was purchased by Fantasy Records, which used the name for a short time. Most Contemporary titles were reissued by Fantasy. Also, some titles have found new life among today's audiophiles as high-quality LP remasters from Analogue Productions and other audiophile labels. The Fantasy catalog, including Contemporary and its associated labels, Good Time Jazz Records, Society for Forgotten Music, and Contemporary Composers Series, was sold to Concord Records in 2004.

Over the years, a number of major figures in the music business worked for Contemporary. Among them were Atlantic Records executive Nesuhi Ertegun, writers Nat Hentoff and Leonard Feather, producer Joe Boyd, recording engineer and studio designer Howard Holzer, and mastering engineer Bernie Grundman.

Recording

Lester Koenig was very particular about high-fidelity sounds.^[2] In 1956 Koenig hired away Roy DuNann from Capitol Records, and DuNann provided some creative recording techniques for the label.^[3] He said Koenig provided him with German (Neumann/Telefunken U-47) and Austrian (AKG C-12) condenser microphones and he immediately noted the very high output of these microphones, especially close-in on jazz musicians' dynamic playing. DuNann achieved his signature sound—crisp, clear and balanced without distortion or unpleasant "peak presence"—by keeping his microphone setups very simple (generally one per musician) and avoided the use of pre-amplifiers for them.

He built a simple passive mixing system that directly fed the electronics of his Ampex 350 and 351 tape machines. Also, DuNann told Stereophile that Contemporary sessions were recorded "dry" (without electronic echo added or in a reverberant room). Sometimes, such as in the case of Sonny Rollins' Way Out West, a plate reverb unit was inserted between the tape machine and the LP disc cutting lathe. This is why some later LP and CD reissues of Contemporary albums sound "dry" and "dead" compared to the original LPs mastered by DuNann.

Discography

See also

• Cool jazz
• Modal jazz
• Bebop
• List of record labels

References

External links

• Conrad, Thomas. "The Search for Roy DuNann" (April 2002; Stereophile Web site)
• Contemporary Records Listing
• Lester Koenig, Contemporary Records, Shelly Manne, AKG