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| 4.017 Ft
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| 1. | You'd Be So Nice to Come Home To
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| 2. | Red Pepper Blues
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| 3. | Imagination
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| 4. | Waltz Me Blues
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| 5. | Straight Life
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| 6. | Jazz Me Blues
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| 7. | Tin Tin Deo
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| 8. | Star Eyes
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| 9. | Birk's Works
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| 10. | The Man I Love
bonus track
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Jazz / Post-Bop; Cool; West Coast Jazz; Bop
Recorded. Jan 19, 1957, Contemporary's Studio, Los Angeles, California
Art Pepper (alto saxophone)
Red Garland (piano); Paul Chambers (acoustic bass); Philly Joe Jones (drums)
Album notes don't always tell the whole story. Contemporary president Lester Koenig, who rightly felt that Art had yet to record with musicians who were his equal, wanted to take advantage of Miles Davis's quintet being in L.A. But Pepper hadn't been playing for several months, and his horn was in a state of disrepair.
To minimize anxiety, the session was kept secret from Art until the last minute. But Pepper always rose to a challenge: he taped up his dried-out cork, arrived for the date, and proceeded to record an album widely considered the most important of his career.
Includes liner notes by Lester Koenig
Packing a dried-out cork taped to his sax with a Band-Aid, Art Pepper appeared at L.A.'s Contemporary Studios to jam with guys he idolized, had never met, and had no idea he'd meet until that morning in January of 1957. No one had discussed which songs to play, but as soon as Pepper arrived (late), Philly Joe Jones of the Miles Davis rhythm section suggested Cole Porter's "You'd Be So Nice to Come Home To." No one objected, and after a single rehearsal, the historic collaboration was in full swing. Widely accepted as a singular landmark in a career built of singular landmarks, Pepper said he felt as though this recording convinced him that emotion was the paramount impulse of jazz performance. Working "fresh" with Jones, Paul Chambers, and Red Garland, Pepper forgave his own occasional "squawking," saying that in the studio he "...finally realized that in playing I've got to play exactly as I feel it," adding, "I want the emotion to come out rather than try to make everything perfect." The unpredictably stunning "Imagination" and Pepper's signature "Straight Life" are testament to such commitments to impulse, and the stark dynamics of the battery of percussion in congress with his saxophone are breathtaking. The knowledge that they play all the songs for the first and only time together, in the order you hear them on the record, suggests a kind of jazz narrative genius on behalf of the man behind the plan, Contemporary president Les Koenig. A diamond of recorded jazz history.
---Becky Byrkit, AMG |
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