Some sections on our site are hard to find. Here’s one with lots of cool records in it:
A distinguished member of the Better Records Jazz Hall of Fame.
Side two is huge, rich and energetic like no other. Side one was nearly as good, with especially rich, Tubey Magical sound. Musically this is the best of Pepper’s later period, and exceptionally well recorded by Baker Bigsby. Today has been a personal favorite of mine for close to 30 years.
Side two of this copy is White Hot, which is where the extended ballad Patricia is, in our opinion the single most beautiful song Art Pepper ever recorded. It’s ten solid minutes of emotion, at the end of which you may be as exhausted as he no doubt was. The big finish for the song is unbelievable on this copy.
There’s an interesting story behind this record which I’d like to relate in some detail, but it’s fairly long so I’ve put it at the end of this copy’s description. You can find it below under the heading The Story of Today.
By the second track on side one the sound is doing it all — it’s bigger, richer and more spacious, and there’s plenty of Tubey Magic to go around. Nearly White Hot.
Truly White Hot – -huge, with the most extension up top, the biggest bass, the most energy, the greatest dynamic contrasts, you name it, this side is doing it. Demo Disc Quality sound and then some.
The Story of Today
We’ve wanted to do Art Pepper Today for more than a decade, but the original Galaxy pressings were just too thick and dark to earn anything approaching a top sonic grade. Thirty years ago on a very different system I had one and liked it a lot, but there was no way I could get past the opaque sound I was now hearing on the more than half-dozen originals piled in front of me.
So, almost in desperation we tried an OJC reissue from the ’90s. You know, the ones that all the audiophiles on the web will tell you to steer clear of because it had been mastered by Phil DeLancie and might be sourced from digital tapes, or digitally remastered, or somehow was infected with something digital somehow.
Well, immediately the sound opened up dramatically, with presence, space, clarity and top end extension we simply could not hear on the originals. Moreover, the good news was that the richness and solidity of the originals was every bit as good. Some of the originals were less murky and veiled than others, so we culled the worst of them for trade and put the rest into the shootout with all the OJCs we could get our hands on.
Now, it’s indisputable that Phil DeLancie is credited on the jacket, but I see George Horn’s writing in the dead wax of the actual record, so I really have no way of knowing whether Mr Delancie in fact had anything to do with the copies I was auditioning. They don’t sound digital to me, they just like other good George Horn-mastered records I’ve heard from this period.
And of course we here at Better Records never put much stock in what record jackets say; the commentary on the jackets rarely has much to do with the sound of the records inside them in our experience.
And, one more surprise awaited us as we were plowing through our pile of copies. When we got to side two we found that the sound of the Galaxy originals was often competitive with the best of the OJCs. Which means that there’s a good probability that some of the original pressings I tossed for having bad sound on side one had very good, perhaps even shootout winning sound on side two. This is a lesson I hope to take to heart in the future. I know very well that the sound of side one is independent of side two, but somehow in this case I let my prejudice against the first side color my thinking about the second. Of all the people who should know better…