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| 6.249 Ft
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| 1. | Holiday Flight
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| 2. | Too Close For Comfort
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| 3. | Webb City
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| 4. | Surf Ride
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| 5. | Body and Soul
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| 6. | Begin The Beguine
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| 7. | The Breeze and I
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| 8. | Without a Song
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| 9. | Fascinatin' Rhythm
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| 10. | Long Ago And Far Away
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| 11. | I can't believe that you're in love with me
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| 12. | Summertime
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| 13. | Blues Rock
Previously Unreleased Bonus Track
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| 14. | Rock Blues
Previously Unreleased Bonus Track
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Jazz / Cool, Post-Bop, West Coast Jazz, Jazz Instrument, Saxophone Jazz
Recorded at Audio Arts Studio, Hollywood, April 1 & 2, 1957
Art Pepper, alto sax
Carl Perkins, piano
Ben Tucker, bass
Chuck Flores, drums
Contains the unissued tracks "Blues Rock" and "Rock Blues" (listen the samples).
Digital remastering in 24 bit high resolution
Limited edition digipack cover sleeve.
Comprehensive notes, 24-page booklet fully illustrated.
This CD presents the complete master takes from the legendary 1957 "Omega Sessions". The first eleven tracks were originally marketed on two 7 1/2 ips reel-to-reel stereophonic tapes by the Omegatape label, between 1957 and 1958. "Summertime" was not issued until the early 1980's on Lp on the Nadja label in Japan. The two previously unreleased tracks appear here for the first time. However, both tracks are missing from the so-called "The Complete Art Pepper Aladdin Recordings" marketed by the Mosaic and Blue Note record labels.
The recordings were made on April 1 & 2, 1957 at the small Audio Arts Studio in Hollywood and the man who made them possible was Don Clark, a young disc jockey, concert promoter and Pepper fan, who in June 1956, become a good friend of the altoist. At that time, Art Pepper had been just released after serving 19 months in prison for heroin possession and Clark began acting as his personal manager, contributing to Pepper's rapid and successful return to the jazz scene. Clark after being directly involved in booking gigs and also in some of the most brilliant LPs Art Pepper recorded in those days, was finally able to reach his dream of becoming a record producer when he was appointed president of Intro Records at the end of 1956. "Clark brought Art Pepper to the label and that's how he got the job. THAT was his connection. ART was his ticket. It provided Clark with a job, and it got Art on wax, as we used to say in the old days," stated West Coast journalist John Tynan. The full history of how these recordings came out originally on Omegatape (and not on LP by intro) can be read in the outstanding booklet.
Shortly after Art Pepper was released from prison after serving a year for heroin possession, he made a series of brilliant recordings. Oddly enough, the music reissued on this CD, The Complete Omega Sessions Master Takes, was originally released on reel-to-reel tapes for the Omegatape label and was not widely available. It deserved better and fortunately, it has been reissued a couple times since the original recording was made, in a more cleaned-up and accessible form. This reissue of Master Takes augments the original dozen songs with the previously unreleased "Blues Rock" and "Rock Blues," both of which are lightweight honking jams that were recorded with hopes of taking advantage of the then-new rock & roll craze. In addition, highlights include "Too Close for Comfort," "Webb City," "Fascinatin' Rhythm," and "I Can't Believe That You're in Love With Me." Pepper, pianist Carl Perkins, and the quiet rhythm section are in top form throughout this high quality bop set. ~ 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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