May 2001
The longest number on +Eleven is 5:15, the normally brisk pace of "Shawnuff," for instance, being even more of a cardiovascular workout. And this makes sense, to me at least; with all those horns along with piano, bass and drums, why complicate matters with something other than comin-at-ya arrangements? "Walkin'" is sultry and sophisticated, and is reprised twice on the disc in alternate takes, another remaster goodie. Meets the Rhythm Section is a hard-left/hard-right stereo recording, Pepper in the left channel, the Rhythm Section in the right. The sound is astounding, once again, in its presence, but the inherent delicacy lends verisimilitude to the recording that belies its age -- or any age. An additional track not included on the original album, "The Man I Love," is part of the package too. Yes, the real sonic accomplishment is the way these recordings sound thoroughly contemporary. It will probably be years before an XRCD title makes it to DVD-A or SACD, but I for one will care only from an academic standpoint. The music here is what matters, and JVC has done exceedingly well by it. GO BACK TO: |
Art Pepper - Meets the Rhythm Section 
Art Pepper - +Eleven![[Reviewed on CD]](../format/regcd.gif)
These
two XRCDs (OK, +Eleven is technically an XRCD2) display the sonic importance of
JVC's commitment to their posh remastering techniques -- the presence of the horns on
these late-'50s recordings is amazing, especially at high volumes. But once again, JVC
shows its shrewdness in the choice of titles with which to work its magic. Art Pepper may
be the common denominator here, but on Meets the Rhythm Section he's part of a
quartet (with Miles Davis/John Coltrane sidemen Red Garland, Paul Chambers and Philly Joe
Jones) and on the other the "soloist" in swinging large-band arrangements of
"a treasury of modern classics." But Pepper's versatility is not the musical
point here; the lyricism of his alto sax is -- as he plays in both large and small groups,
on originals as well as covers.