ART PEPPER The Way It Was MFSL, Low number, SEALED

$

33

A  word about freight:   No matter what Ebay says, we charge $ 5.90 for media mail and $8.00 for priority mail for domestic shipping. Overseas is $16.00 for first lp and $3.00 for each thereafter, if you get over 4 lps then the rate goes up to $4 each, because we have to ship priority mail.  When you place a bid on this item, you acknowledge this.  They do not take into account, the box price nor any other expense in mailing (petrol, employees etc). This is our rate period. We've had a few complaints about this, but we are in business to make a profit (god forbid).  Thanks for understanding. Also, if you do not register your parcel if ordering overseas (An additional $10.50), we cannot be responsible for loss.  Thanks for understanding.  IF YOU DO NOT ACCEPT THIS SHIPPING RATE PLEASE DO NOT BID!!!

THIS ITEM MUST BE PAID FOR WITHIN ONE WEEK OF THE AUCTION ENDING.

What you are bidding on is a hard to find copy of ART PEPPER: THE WAY IT WAS!. 

Sometimes, odd circumstances get in the way of great records and make the final product that much more rewarding. Art Pepper’s …The Way It Was! is an example of such an album. Released in 1972 by the legendary Contemporary Records label, the set is actually a compilation of phenomenal tracks recorded by the saxophone giant at four separate dates and with four different ensembles from 1956-1960. The material sat in the can for more than a decade until Pepper, particularly influenced by what he heard on the four unissued takes from a November 1956 session with tenor saxophonist Warne Marsh, decided to release it at a time when modal jazz dominated the landscape.
 
Pepper’s instincts proved correct. Everything here is stellar. It’s unthinkable that this music almost never saw the light of day. Despite pulling from various sessions, …The Way It Was! maintains continuity and showcases all of Pepper’s myriad musical dimensions. In conversation with Marsh—who, incredibly, recorded only one other time with his alto sax peer—Pepper makes improvised solos sound like planned compositions. Such is the natural ease, delightful flow, and seamless chemistry that define performances like as the summery “All the Things You Are,” Dixieland-flavored “I Can’t Believe That You’re In Love With Me,” and jam-spawned version of Lester Young’s “Tickle Toe.” The non-Marsh cuts are equally strong, with “The Man I Love” and “The Way You Look Tonight” featuring two Miles Davis rhythm sections, respectively. Bassist Paul Chambers plays with both; Philly Joe Jones and Jimmy Cobb take turns behind the drums.

Mastered directly from the original master tapes, Mobile Fidelity’s 180g LP brings the all-star affair to another level. MoFi went to great lengths to preserve these historic sessions. After auditioning the master tapes, the engineers discovered that the commercial CD version had artificial echo added and that the bass was summed. (Having the bass summed is common practice for LP cutting when the bass is recorded to one side; summing the bass moves the lower frequencies closer to the middle of the soundstage and therefore allows the cutter head to inscribe the lacquer more effectively.) Of course, there was no need for the bass to be summed in MoFi’s version. And since the original tapes had no artificial echo, MoFi engineers saw no reason to manipulate the master tapes in this way.

In fact, the tapes sounded so good that no equalization was done in the transfer process. The Tim de Paravicini modified Studer A-80 was plugged in directly to the Meitner A/D converters with nothing in the signal path, just a straight wire. As always special attention was made to calibration and getting the azimuth spot on. The results are stunning, what can be easily heard now is the natural tone of the room, improved detail, better soundstage and depth of field, and the most natural instrument tonality. Now, for the first time, listeners can hear the unaltered versions of these classic Art Pepper sessions.

Distinguished by a remarkably wide-open soundstage, superb depth, and unlimited ceiling, the reissue allows you to hear into Pepper’s creamy tones, spirited leads, and emotional nuances. This is a luxurious mood painting in which you’ll easily get lost.

THIS IS #631 OF 2000 only