The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- Boasting two superb Double Plus (A++) sides, this vintage Contemporary pressing was giving us the sound we were looking for on this compilation LP of previously unreleased material
- It’s airy, open, and spacious with superb clarity and an extended top end – the beautiful reading of "Autumn Leaves" on side two has Demo Disc quality sound, with Pepper really pouring his heart into it
- Included are three tracks left off some of Pepper's best albums on Contemporary - Meets the Rhythm Section, Intensity and Gettin' Together
- 4 1/2 stars: "Despite his very erratic lifestyle, altoist Art Pepper never made a bad record. The first four titles team together Pepper with tenor-saxophonist Warne Marsh for generally intriguing explorations of four standards... this album finds Art Pepper in top form."
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This vintage Contemporary Records pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of ...The Way It Was Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes beginning in 1956
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren't veiled or smeary of course. So many things can go wrong on a record! We know, we've heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
Side one of this album boasts unreleased material Art recorded with famous West Coast tenor Warne Marsh. 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 outstanding -- it's yet another triumph for one of our favorite engineers, Roy DuNann.
Side two features material left off other albums recorded at the peak of Pepper's prime period for Contemporary, 1957 to 1960. The sound varies from track to track, but much of the time it is brilliant. Just listen to how punchy the kick drum is during the drum solo in "The Man I Love."
What We're Listening For On ...The Way It Was
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight, full-bodied bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- I Can't Believe That You're in Love With Me
- All the Things You Are
- What's New?
- Tickle Toe
- The Man I Love
- Autumn Leaves
- The Way You Look Tonight
AMG 4 1/2 Star Review
Despite his very erratic lifestyle, altoist Art Pepper never made a bad record. This collection is better than most. The first four titles team together Pepper with tenor-saxophonist Warne Marsh, pianist Ronnie Ball, bassist Ben Tucker and drummer Gary Frommer for generally intriguing explorations of four standards. One can feel the influence of Lennie Tristano (with Pepper in Lee Konitz's place), although Pepper had his own sound and a more hard-swinging style.
The success of the Pepper-Marsh frontline makes one wish that they had recorded together again. The other three selections are leftovers from a trio of classic Pepper albums and all are quite worthwhile... Overall, this album sticks to bop standards and finds Art Pepper in top form.
- #A1-A4: recorded Nov. 26, 1956. Previously unreleased.
- #B1: recorded Jan. 19, 1957. Previously unreleased from session for “Art Pepper Meets The Rhythm Section” (Contemporary S7532)
- #B2: recorded Nov. 23, 1960. Previously unreleased from session for “Art Pepper: Intensity” (Contemporary S7607)
- #B3: recorded Feb. 29, 1960. Previously unreleased session for “Art Pepper: Gettin’ Together” (Contemporary S7573)