Contemporary Records "Art Pepper + Eleven": Which is BEST VERSION?*

It seems audiophiles have a generous amount of options for digital versions of this title: OJC, MOFI silver, SACD, Analogue Productions gold, 20-bit, etc.

I bought the MOFI years ago. Are any of the other options definitely worth an upgrade? (apart from not having the bonus tracks)

 

the Hoffman 45rpm is as close to hearing them in the studio as you are going to get....in other words, THE BEST

IMHO of course

 

Order of (digital) preferences:
SACD
APO gold
XRCD
20-bit remaster
Earlier OJC version
The SACD is significantly superior to all of them IMHO.

 

This is one of the few great sounding SACDs mastered by Fantasy.

I've had the K2 20bit before, it's good but inferior to the SACD.

 

What tape was the original Contemporary vinyl cut from Steve?

 

Mobile Fidelity MFCD 805.

 

I have both the 45rpm and the original old stereo pressing. Sound quite different.

 

The SACD is very nice.

 

I'm not into vinyl, but one of these days...When I eventually move back to the States I plan to get a turntable soon. But here in Korea, all my vinyl purchases would have to be international orders.

I still got a slew of LPs at my parents' house. I gave up my turntable years ago and never looked back....until I found this forum.

 

I've got an original US mono. I've always liked it but I'm afraid to admit it's the only version I've ever heard

 

What about the original Analogue Productions lp? The OJC lp? What does one find on those?

 

The MOFI silver is so fine...great room sound.

 

OK I just ordered this. Look forward to it.

What would be the best version of Art Pepper Meets the Rhythm Section?

It would be outstanding if Steve could post what other originals had such severe compromises. Think I'd end up replacing more originals!

 

does the SACD have the reverb? SH's post above suggests that it might!

 

I'd say the XRCD (VICJ-61039)....but then again, I've always been fond of the Lee Morgan 'Leeway' JRVG (TOCJ-9065) that most folks seem to gag over.

 

Based on forum opinion I picked this up on SACD. I love it, but I've never heard any other version. The only thing I have to compare it to is the Fantasy Best of Art Pepper that came out in 2004, which I also think sounds really good. However on the tracks that are on both, the SACD has an almost ... not sure how to describe it ... almost dry sound. To me it sounds like the horns are in the room wiht you.

In my opinion, its a killer SACD.

 

Steve, do you mean the original first pressing of "..and eleven" had all this echo, filtering etc.?

Maybe I misunderstood...but I'd be interested in the special (in this case) or maybe general technical differences between Contemporary Stereo originals and you 45RPM issues, thanks!

 

That's so interesting, that I'd like to open a thread like "originals vs. reissues" if I was sure, that there are not 5 others like this...

So does this really generally mean, the Contemporary staff adding echo after recording were even the good guys, while (all?) others even eq'ed, echoed, limited or compressed (or all at once) their first issues? Is this really true for let's say Columbia 6eyes, Riverside, Verve, Blue Note and all the labels in the 50s-60s era? If yes, can you give an overview who tweaked what and by which reissue companies this was tried to be corrected (I know this question might be too demanding ;-)?

This would mean that with Contemporary there's the only chance to completely "correct" the final vinyl product, while in all other cases the tape is already tweaked and can only be retweaked again...

It would also imply that most originals are clearly worse sounding or let's say "less untweaked" sounding than reissues.

I'd really be thankful for a clarification

To tell an example of my impressions comparing original first pressings to high quality audiophile reissues:

In some cases the reissues are clearly better
In some cases the reissues just sound more extended top and bottom, but lack the atmosphere immediacy and pace of the originals. Then they sound as you described in another thread about Neumann microphones "unnaturally extended" while the bass boost leads to less pace and the overall tonality towards loudness or as you say doublesmiley.

I would wonder if this impression would really be based on a complete misinterpretation of in reality dynamically and tonally limited originals.

Do you i.e. have a personal technical and/or listening experience information comparing "Way out West" and "Sounds unheard of" as Stereo version first pressings to the Analogue Productions reissues? Or i.e. the Armstrong/Ellington Great Reunion original vs. Classic Records?

Thanx for your fantastic forum answering questions like these!

 

Let me extend one more thing regarding the reissue quality not always leading to overall better results:

...or is it possible that there are also some uninteded negative influences introduced by the remastering processes, maybe even digital remasterings within the otherwise analog processes?

I anyway wondered if the tweaking that's done for the (only speaking of HQ) reissues can be done all analog!?

 

...or is it just the age of the mastertapes that also has some impact on being used 50-60 years later now?