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| A Night in Tunisia - Live at Bach Dynamite and Dancing Society [ ÉLŐ ] |
| Art Pepper |
első megjelenés éve: 1989
47 perc |
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| (1989)
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CD |
| 6.819 Ft
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| 1. | Mr. Yohe
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| 2. | The Golden Gate Bridge
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| 3. | The Trip
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| 4. | Lost Life
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| 5. | A Night in Tunisia
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Jazz / Post-Bop, Jazz Instrument, Saxophone Jazz
Art Pepper Sax (Alto)
Bob Meuse Engineer
Brad Bilhorn Drums
Chris Olesen Cover Design
Jim Nichols Bass
Laurie Pepper Photography, Liner Notes, Producer
Smith Dobson Piano
Tonstudio Bauer Mastering
Altoist Art Pepper was nearing the turning point in his career at the time that he performed the concert at Half Moon Bay, CA, that is included on this Storyville CD. He had been back on the scene for two years and had not quite broken through to the wider jazz audience yet, but major successes were in the near future. It is obvious from his talking to the audience that Pepper was still unsure about his future, but his playing on this date (with a pickup group comprised of pianist Smith Dobson, bassist Jim Nichols and drummer Brad Bilhorn) finds him in top form, creating emotional versions of "A Night in Tunisia" and his three originals "Mr. Yohe," "The Trip" and "Lost Life." Since there are only 40 minutes of music on the CD and this was not one of Pepper's strongest groups, the release is not essential for all jazz fans, but fans of the unique altoist will want to pick up these interesting performances. ~ Scott Yanow, All Music Guide
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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