This Autographed copy of The Trip has WONDERFUL SOUND AND MUSIC! The title ain’t lying — this album is a TRIP! We dropped the needle on this Contemporary Yellow Label pressing and immediately stopped listening critically and began just enjoying the music and the sonics. That’s the sign of a truly exceptional album. The sound on this album is so alive and so real, you’ll feel like there’s a West Coast Jazz quartet in your living room.(more…)
This Minty Contemporary Demo LP has WONDERFUL SOUND AND MUSIC! The highlight of this pressing is the well-defined DEEP bass — all the intricacies really come to life. The sound is rich and sweet! And holy crap, that piano sounds really nice. On More for Les, Pepper switches from sax to clarinet and the result is a wonderful, bluesy track that is completely original. The clarinet sounds like it is in the room with you.
If I had to find a fault with this album, the sax can be a bit honky. The top end has its problems, but there are elements, like that piano, that REALLY COOK!
Overall, I’d say this is one of the better sounding live jazz albums you could hope to find from the late ’70s.
This album features the great Elvin Jones on drums, plus Geoge Cables on piano and George Mraz on bass.
This Original Contemporary LP has EXCELLENT MUSIC AND SOUND! The real highligh of this volume is the version of Caravan — just listen to Art playing both alto AND tenor! There’s also a great version of Pepper’s bossa-influenced track Labyrinth. The sound is rich and full-bodied. Listen to the cymbal crashes to hear how extended the top end is. The piano has real weight to it, but the sax sounds a little bit compressed and the bass could be a bit tighter.
WOW — the first Smack Up Hot Stamper to hit the site in over two years! We love this album and wish we could find more great copies, but it sure ain’t easy. Here’s a Contemporary Yellow Label pressing that’s very good on side one and INCREDIBLE on side two. The first track on side one doesn’t sound quite as good as the rest of the material, but by the second track this thing is SMOKIN’.
You’re going to flip out over this side two, mark my words. The sound is lively and dynamic with a powerful bottom end. The saxophone sounds just right — breathy, full-bodied and realistic. This side has all the tubey magic of the best black label originals, without their bad vinyl and bloated bass. I get black label original Contemporary pressings in all the time, but few of them are mastered right and most never make it to the site. Some are pure muck. Some have bloated bass that is hard to believe. (more…)
This Contemporary Yellow Label LP has WONDERFUL SOUND AND MUSIC ON BOTH SIDES! It’s airy, open, and spacious with superb clarity and an extended top end. The beautiful reading of Autumn Leaves on side two is DEMO DISC QUALITY!
Side one of this album is made up of unreleased material Art recorded with Warne Marsh, the tenor It’s great to hear Art play against another sax man. Fans of straight ahead mainstream jazz will find much to enjoy here. Of course the Contemporary studio sound is wonderful — it’s yet another triumph for one of our favorite engineers, Roy DuNann.(more…)
Baker Bigsby, one of our favorite engineers, recorded about half the album at Kendun right here in LA, specifically the songs Blues For Blanche, So In Love and Stardust. Is there a difference in the sound of those tracks compared to the others on the album? We’ll leave that little game to be played by those of you who are so inclined. (more…)
AN EXCELLENT A++ SIDE TWO for this album — this is an excellent recording from 1980, one of the best of the later Art Pepper period during which Art was signed with Galaxy and was devoting his remaining years to playing and recording as much as possible. The album is engineered by Baker Bigsby, as is Art Pepper Today (1978), my personal favorite Art Pepper album and amazing sounding if you can find the right pressing (we’re working on it!). (more…)
This Jazz Classic boasts solid Double Plus (A++) sound, or close to it, from first note to last. The two long ballads, “September Song” at over ten minutes, and “Nature Boy” at just under ten, give Art and the boys a chance to stretch out and take it to another level.
Art Pepper’s saxophone sound is just right – present, breathy and airy with clear leading edge transients. The lineup on this LP is truly stellar, especially for 1979, with the legendary Tommy Flanagan on piano, Billy Higgins on drums, and the great Red Mitchell on bass. (more…)
This is absolutely the right sound for this music. There was simply nothing that could beat the Triple Plus side, in any area of reproduction. If you like the sound of relaxed, All Tube jazz recordings, you can’t do much better than Some Like It Hot. Many of the copies we played suffered from blubbery bass and transient smearing, but the clarity and bass definition here are surprisingly good.
This copy is spacious, sweet and positively dripping with ambience. The liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
One of our original pressings had an amazing side two but side one was just a dull, thick, blubbery mess. We may try to sell it someday because even half of an amazing sounding record is worth owning, in my opinion anyway. (Considering that most audiophiles don’t seem to pay much attention to the sonic variations in the sound of their records from side to side, you can be sure that most collectors have plenty of records with only one good side. They just never noticed.)(more…)
Intensity is right — this is some SERIOUSLY GOOD SOUNDING alto saxophone led quartet jazz. AMG was right to give this one 4 1/2 stars — the musicianship is top notch and Pepper’s playing is INSPIRED throughout.
The real surprise was how well recorded this album from 1963 is. I can’t recall a more DYNAMIC Contemporary. Pepper’s sax gets seriously LOUD in some passages. This is very much a good thing. Not only is he totally committed to the music, but the engineers are getting that energy onto the record so that we at home can feel the moment to moment raw power of his expression.(more…)