- You’ll find outstanding Double Plus (A++) sound throughout this vintage ABC pressing – fairly quiet vinyl too
- Clean, clear and dynamic with tons of space and transparency, this is the way to hear B.B. and this big group of master musicians
- Ringo, Peter Green, Klaus Voorman, Steve Winwood, Alexis Korner, Gary Wright and Dr. John are just a few of the artists featured on this record behind B.B. — quite a cast of luminaries
- “…this encounter with Brit second-liners (famed blues devotee Ringo Starr is the big catch) and L.A. session stars is substantial stuff. ‘Caldonia’ and ‘Ain’t Nobody Home’ are more than that.” – Robert Christgau
- If you’re a fan of the man, this classic from 1971 belongs in your collection.
This commentary is from 2010 or so.
We’d 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 has 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 in fact Mr Delancie had anything to do with the copies I was auditioning. They don’t sound digital to me, they’re 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…
- These sides are exceptionally low-distortion, lively, solid and dynamic – just what this live music needs
- “Altoist Art Pepper’s 1981 appearances at Los Angeles’ now-obsolete Maiden Voyage club were fully documented, resulting in three LPs… Although only a year away from his death, the great Art Pepper was still very much in his prime for this memorable outing.” 4 1/2 Stars
- KILLER sound from start to finish with both sides earning Shootout Winning Triple Plus (A+++) sound or very close to it
- Hooker’s albums are surprisingly good sounding – they have the open, immediate, dynamic qualities of a live-in-the-studio session – my understanding is that most of them are recorded precisely that way
- These sides are doing it right – they’re big, rich and Tubey Magical, with wonderfully present vocals and huge amounts of energy
- Free Beer And Chicken is one of the better sounding John Lee Hooker records we’ve ever played lately – an interesting lineup of guests too, including the one and only Mr. Joe Cocker!
- This outstanding pressing boasts solid Double Plus (A++) sound from start to finish
- Big, rich and full-bodied sound was not that easy to find on the album, but this copy managed to pull it off
- Full of classic material by the likes of Monk and Cole Porter, finally finishing with a very emotional rendition of Stardust
- “…Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations.”
Super Hot Stamper sound on BOTH sides of this wonderful Galaxy original pressing. There are four extended ballads, two on each side, and each of them is played with real passion and skill by this group of veteran horn men and their respective rhythm sections. The recording itself is one of the best I’ve heard on Galaxy, the other top Galaxy title being Art Pepper Today. Joe Henderson is the leader not mentioned in our listing title, so with his addition we have four of the best saxophone ballad players, backed by a top rhythm section, all performing material that has stood the test of time. This is the kind of record the world needs more of! (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…)