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| 3.324 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
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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)
An extension of the popular Original Jazz Classics series (est. 1982), the new OJC Remasters releases reveal the sonic benefits of 24-bit remastering-a technology that didn't exist when these titles were originally issued on compact disc. The addition of newly-written liner notes further enhances the illuminating quality of the OJC Remasters reissues. "Each of the recordings in this series is an all-time jazz classic," says Nick Phillips, Vice President of Jazz and Catalog A&R at Concord Music Group and producer of the series. "With these reissues, we get a fresh look and a new perspective on these artists and some of their most important work-not only from the meticulous 24-bit remastering by Joe Tarantino, but also from the insights we glean from the new liner notes that have been written for each title in the series."
Art Pepper Meets the Rhythm Section (1957)
Art Pepper Meets the Rhythm Section united the saxophonist with Miles Davis' crew at the time: pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. By all accounts, the early 1957 session should have been a disaster. Recently released from federal prison, Pepper was still struggling with a heroin addiction and severely out of practice. The gig had been set up by Pepper's girlfriend (unbeknownst to him until just hours before the sessions were to begin), and he discovered at the last minute that - after several months of not playing - the cork in the mouthpiece of his horn had come loose. "But in the end, the session proved to be a triumph rather than a disaster," says Phillips. "The camaraderie between Pepper and the Rhythm Section resulted in one of Art's greatest recordings."
Jazz writer/broadcaster Neil Tesser, who penned the new liner notes to the reissue, suggests that music in this set "reveals an obvious camaraderie, true artistic achievement, and a distinct lack of self-doubt or intimidation - perhaps because musically, Pepper actually had a great deal in common with the Rhythm Section." He adds: "The ‘meeting' between Pepper and this rhythm section was less a matter of confrontation, or even creative friction, than a matter of shaking hands in the middle of a bridge spanning east- and west-coast idioms."
"The Man I Love," a performance that was recorded at this session but was not included in the original album release, is included as a bonus track
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
Art Pepper
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Sep 01, 1925 in Gardena, CA
Died: Jun 01, 1982 in Panorama City, CA
Genre: Jazz
Styles: Opera, Bop, Cool, Post-Bop, Hard Bop, West Coast Jazz, Mainstream Jazz, Jazz Instrument, Saxophone Jazz
Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity.
After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period. The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also spent two periods in jail due to drug offenses during 1953-1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971). Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography -Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist.
--- Scott Yanow, All Music Guide |
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