Analogue Productions Revival
DSD (Double Rate) 5.6MHz/128fs Download
|Only Available in the
Cover art and liner notes included
The jazz giant's most essential albums — now on DSD 5.6MHz/128fs (Double Rate)
"Sonically, the transfers that Gus Skinas did for Analogue Productions and SuperHirez.com are exceptional. ... the Double DSDs of these two albums are crystalline in musical presentation, and show that Double DSD is a real sweet spot in the space vs. audio quality trade-off. The additional bump in fidelity that Double DSD provides leads to an experience of these recordings that is eerie...like listening to the master mix tapes in your listening room. Close your eyes...you can imagine a reel-to-reel machine sitting right there in your presence. Isn't that what we want? I've have no choice: I've got to give them a real rave. Plenty of Pepper on these killer DSDs, and a "Very highly recommended!" from yours truly. Chad, Gus, and company have hit another home run with these new transfers of Art Pepper's brilliant work." — David W. Robinson, Positive Feedback, Issue 83
This classic lineup from 1979 features Art Pepper on alto sax, Hank Jones on piano, Ron Carter on bass and Al Foster on drums.
Art Pepper's New York Album hews closer to what some nostalgically call "the old Art Pepper," for it was this session that brought out the formidable bebopper Art always was. Brisk and bright, this is jazz, sweet and pure. And so for this Analogue Productions DSD release, we didn't mess with perfection. Gus Skinas from the Super Audio Center produced New York Album and So In Love for DSD from flat transfers from the original analog master tapes that were remixed from the multi-track tapes and transferred to 2-track analog by Rik Pekkonen and John Koenig. For The Intimate Art Pepper Skinas authored the DSD tracks from the remaster by Kevin Gray and Steve Hoffman created for the 2003 Analogue Productions SACD reissue.
Art Pepper was on probation for most of his working life. His deserved early celebrity and his ever-growing artistry created an ongoing demand for his music, so he recorded in Los Angeles over the years as he cycled in and out of state and county detention as a result of arrests for his drug use. Though some users managed to get through and over their addictions, Art, survivor of a rocky childhood (alcoholic neglectful mother, alcoholic violent father), unbalanced from the get-go, never did quite triumph over his, though he may have fought them to a draw.
In 1977 at the age of 52, Art embarked on what was to be his last and best comeback. No longer legally restricted from traveling, Art wasn't sure if he wanted to tour or if anyone anywhere cared if he did. John Snyder not only cared, he made it happen, and with Snyder promoting Art's first ever East Coast Tour, Art finally recorded for the first time outside Los Angeles and toured for the first time with his own band.
Snyder was then creative director of Horizon Records, A&M's jazz label, and a fan of Art's music. "John was a fan. He was a lawyer ... and he was, to us, a visionary, when he emphatically wondered in that sincere North Carolina drawl why Art wasn't touring. And it wasn't just talk. John made it happen," recalls Art's widow, Laurie Pepper.
Two years later, when Snyder started his own record company, "Artists House," he asked Art to record one LP for it.
"Art begn the tour with a great week in Toronto and followed that with a spectacular week in New York at the Village Vanguard. These gigs were played with pickup bands. At that point, John asked Les Koenig to permit him to record Art at the Vanguard with an all-star band. Les agreed it was a good idea but said he would record him.
"John was disappointed, but we promised him Art would eventually record a single album for John's brand-new startup label, Artists House. Les Koenig died, untimely, and Art then signed with Fantasy, but kept his promise to John Snyder. We made sure that the contract with Fantasy permitted John to record one album for his label.
"John then recorded way too much. Too much for just a single album. He recorded in Los Angeles and, when we visited New York again, John set up sessions there as well. And used the all-star bands he wanted. John Snyder honored Art, just as he'd hoped to do when we first met in 1977. These tracks are the sublime result," Laurie Piper says.
Laurie says Art was at his best when he had something to prove. He had something to prove at this date. This was a band — just like Miles's bands — that Art felt compelled to impress. So he threw one of his newest and most difficult charts at them, "My Friend John," and roared through that and everything else with spirit and vigor.
Art Pepper was in a good mood on this date, a fighting mood. Sublime result, indeed.
|1. A Night In Tunisia|
|2. Lover Man (Oh Where Can You Be)|
|3. Straight, No Chaser (Alternate Take)|
|4. Duo Blues|
|5. My Friend John|