AOW Week - December 11

[Leeway]

I've selected Art Pepper's "Straight Life" for AOW for the week of December 11.

It was Art that got me interested in jazz. I was drawn by his lyrical and expressive abilities on sax and clarinet, but most of all by his passion for the music. Fortunately, I was able to see him in concert shortly before he passed away.

I picked "Straight Life" because it is an excellent album, because it is a defining album for the second phase of Art's career, and because it doesn't often get talked about (it's usually "Art Pepper Meets the Rythym Section" or "Art Pepper +11" that gets the usual acknowledgments). "Straight Life" also contains a number of Art's "standards" that he had played in the earlier part of his career, and it could be interesting to compare his earlier and later treatments.

Although I'd like to focus attention on the musical aspects of "Straight Life," at least as a starting point, I'd also like to leave the discussion open to any aspect of Art's recordings, career or life. Hopefully, there are enough Pepper fans here to make for a lively discussion.

[Nate Dorward]

I don't know this one, but am a fan of Pepper in general--mostly the work up to 1960, though the later stuff is interesting too. What sets this one apart from the rest of Pepper's latterday output?

I've always liked "Straight Life" as a tune--a nifty reworking of "After You've Gone". I only have the version of it on Meets the Rhythm Section & a version from a late concert in Japan where it sorta gets the better of him.

[couw]

What sets this one apart from the rest of Pepper's latterday output?

Nothing much, considering the Galaxy era produced some uniformly excellent music. Also the personnel is nothing extraordinary as -- besides the strings album and the duets with George Cables -- all of the Galaxy output is in quartet format (or quartet plus guitar on Winter Moon). This album is a typical representative of this small group excellence. It has Tommy Flanagan on piano, which is a nice touch, and Red Mitchell on bass. Billy Higgins is on drums like on much of the 1979 output.

[White Lightning]

Excellent choice, Leeway! I'll spin this CD this weekend!

[Leeway]

Thanks all for the posts. Work has been HELL lately, so not as much time to post (or listen) as I would like.

Nate, I picked "Straight Life" because I thought it would make an interesting gateway to Art's later career. In a sense, it seemed to me to define the latter part of his career. Also, I felt that, in the title of this album, which is also the title of Art's autiobiography, Art was making a statement of sorts about his passage through drug addiction and his renewed commitment to the music, as exemplified in this album. At least that's my sentimental take on it

As I mentioned, I would be happy to discuss early or late Art, and, as some of the songs on this album were performed earlier in Art's career, it might give us a chance to draw some comparisons.

Art has really carved himself an almost unique niche in jazz history, but it might be that that very uniqueness worked both for and against him. He seems to stand apart from much of contemporary jazz history. Anyway, time to talk about that more in a couple of days.

If you like Art, grab the album.

[kh1958]

I prefer his late recordings myself, not that the 1950s ones aren't also great.

[Filthy McNasty]

Wonderful album!! Can't wait to read the discussion and, hell, maybe even take part. Pepper and Flanagan are two of my favourites bar none and this is probably my pick of the late Art releases. Mind you, the entire Galaxy box is never TOO far from my CD player(s) at any time...

[Leeway]

Wonderful album!! Can't wait to read the discussion and, hell, maybe even take part. Pepper and Flanagan are two of my favourites bar none and this is probably my pick of the late Art releases. Mind you, the entire Galaxy box is never TOO far from my CD player(s) at any time...

Thanks "Filthy" (or should I say McNasty ) for making your first board post in this thread - and welcome to Organissimo. Looking forward to your thoughts on Art. I expect to contribute a more detailed review of "Straight Life" tomorrow and go from there.

[Chuck Nessa]

All of my favorite "late Peppers" have Stanley Cowell on piano - Today and the live sessions from Maiden Voyage.

Red Mitchell is a distraction (for me) on Straight Life.

[Leeway]

“Straight Life” – recorded September 21, 1979 at Fantasy Studios, Berkeley, California. Art Pepper, alto sax; Tommy Flanagan, piano; Red Mitchell, bass; Billy Higgins, drums. Kenneth Nash on cowbell and “reco-reco” on “Make a Wish” only.

The album opens with “Surf Ride,” a tune Art recorded early on, and then at various points in his career. This track is 6:57 in length. This is a fast tempo, swinging number. Flanagan, Mitchell solo effectively, Higgins adding some sharp punctuation. The feeling is upbeat throughout but Art wraps it up on a somewhat melancholy note; the “ride” is over. A 1953 version (on the CD “Surf Ride”), recorded either on March 29, 1953, or March 4, 1952, wit Russ Freeman on piano, Bob Whitlock, (b), and Bobby White (d), is only 2:51 in length. This early version has much more interplay between Freeman and Pepper- a nice, lively back and forth. In contrast, Flanagan doesn’t offer Pepper that kind of rapport. Pepper’s playing shows more sophistication, a fuller range of expression. Flanagan, I think, is a more sophisticated pianist here than Freeman and matches Pepper’s playing, but doesn’t match Freeman’s enthusiasm and sense of high spirits. The long solos by Flanagan and Mitchell stretch the piece further than it should go, probably.

The second cut is “Nature Boy,” a ballad. Art was a master of the ballad form. Starts with a soft piano intro, then Pepper comes in low on the sax, and Mitchell bass line underscores the melancholy feel, while Higgins brushwork lends an air of hushed intensity. Art continues to burrow deep into the feeling of this piece. I always consider a piece like this Art’s “soliloquy.” At the mid-point, Flanagan offers a lyrical, tender solo that matches the feeling Art has created. I think Flanagan comes into his own here. Mitchell follows Flanagan, with a heavily plucked bass solo. [i’d be interested in views on Mitchell as a bass player.] Art then comes in. Art always gives the feeling in a piece like this that he is performing a kind of spiritual surgery on himself. Harrowing, yet beautiful. This is my favorite track on the album.

The third cut is “Straight Life.” Another mid to fast tempo number. Art and Billy Higgins pretty much carry this piece; there is a lot of interplay between them. Compare this to the performance on “Tokyo Encore,” also a 1979 performance, where George Cables is on piano (and Higgins is still in the drum chair). Cables takes a more active role, mostly comping at the start, and an extended solo about midway in. There is less direct interaction between Pepper and Higgins at the start, although Higgins provides lively support, and there is some good interaction between them to close out the number. Both versions are really pretty good. I think the live version might have the edge. I always thought this number a bit odd in being lively without being particularly happy or joyous.

The fourth track, “September Song,” as low to mid-tempo number. I think Art shows great expressiveness in this number, from ruminative, to lyrical , to keen and urgent wailing. Great timing, great sense of space, nice use of rhythmic variations. Flanagan has a nice solo, else provides some sufficient comping. Mitchell also has a good solo and plays strongly throughout this piece. I get the feeling that Mitchell is much more in the groove, he’s right there with Art throughout.

The fifth track, “”Make a List (Make a Wish) has a Latin or samba groove. Art loved this type of music, and, offhand, I would say most, if not all, the later albums have something in this vein, for example, “Samba Mom-Mom,” “Mambo De La Pinta” etc). It’s a fun, sensual, groove, both languorous and energized at the same time. What I like about Art’s samba numbers is that they avoid that “jazz lite” groove so many jazz players fall into when doing bossa or other Latin numbers. This is samba after you’ve drunk the worm. The piece is driven by Art and the percussion section.

The last track on the CD, “Long Ago and Far Away,” did not appear on the original LP, and, unfortunately, but not surprisingly, is, I think, the weakest cut on the album. A mid to fast tempo number, it doesn’t really make much of an impression.

Pepper liked to work with a pianist, and he worked with many fine ones, but this match-up doesn’t work as well as one would expect. I’ve always liked Pepper with Russ Freeman and Hampton Hawes, and Pepper himself developed a close rapport with George Cables. I read that Pepper spent hours working with Flanagan before the actual recording session, as Flanagan was having a hard time with Pepper’s arrangements, and there is a sense here that the pianist and Pepper weren’t quite on the same groove, except for “Nature Boy.” As for Mitchell, I think Art liked working with strong bass players, and Mitchell pushes hard in these numbers.

This is already an overly long post, so I will wrap up on a couple of notes. Listening to Art playing, it struck me that, whereas a lot of alto players like to play like tenors (and Art played tenor for a while), Art likes to play alto like a clarinetist (and he was an excellent clarinetist as well).

Anyway, please offer comments, pro or con, on this or any other Art Pepper album, or about Pepper as person or artist.

Edited December 12, 2004 by Leeway

[Nate Dorward]

Is Tokyo Encore the same as Landscape? I have the latter--recorded with Cables/Dumas/Higgins, Tokyo, 16 + 23 July 1979. It's got a nice "Over the Rainbow" & a few other things but Art struggles through "Straight Life" compared to the classic rendition on Meets the Rhythm Section.

"Long Ago & Far Away" is one of the strongest tracks on Intensity & also the Omegatape session with Perkins. Pity if the rerun on the later album isn't up to snuff.

Art loved this type of music, and, offhand, I would say most, if not all, the later albums have something in this vein, for example, “Samba Mom-Mom,” “Mambo De La Pinta” etc).

I think one reason for this is because it was a favourite genre of Laurie Pepper's (cf. the title "What Laurie Likes").

[couw]

I believe Tokyo Encore may rather have some of the original outtakes from those two Tokyo sessions. Originally these produced the albums Landscape and Besame Mucho. The Galaxy box has an additional 5 tracks besides those listed for Tokyo Encore.

[Leeway]

A good place to check on things relating to Art Pepper, including discography, is:

The Art of Pepper Web Site

[Leeway]

I think one reason for this is because it was a favourite genre of Laurie Pepper's (cf. the title "What Laurie Likes").

Nate, that could be the case. I can't recall what Art or Laurie might have said about it in "Straight Life" but in the liner notes Art wrote for "No Limit" (January 1, 1978), he says he wrote "Rita-San" for Laurie, "whose middle name is Rita." Art goes on to say: "I've always had an affinity for this kind of tune, and I'm glad jazz fans are opening up to it now." There's another Latin-samba number on "No Limit," "Mambo de la Pinta," which Art says "is a tune I wrote for the guys in the joint, 'la Pinta', a long, long time ago."

Art offers a lot of insights into his playing and his musical thinking in the liner notes of "No Limit."

Edited December 12, 2004 by Leeway

[wolff]

Do not have Straight Life, but have other albums from his later(75-82) output.

For me, it's his ballads during this time that make me a pretty big fan. I liked him right off the bat, but I could see him being an acquired taste or having his detractors. I usually do not recommend him to jazz newbies. He is so intense and emotional that I almost have to 'get prepaired' before listening. Was he in a league of his own in this regard? He seems very unique, and along with Hodges, a no brainer when I want to hear a ballad.

I like him because he could play so very beautifully when he wanted to and then so very painfully, for lack of a better term.

As a person, well.....his autobio says it all. I was not shocked or surprised by his life. Very surprised that he would write about it. It was a fairly interesting read, but nothing special or unusual if you knew or were around drug addicts. As with most artists, I really do not care about their personal lives. It's none of my business and can get in the way of me enjoying their music.

If you do not have much 'later' Pepper in your collection I'd say try:

Ballads By Four with Art's 'Over The Rainbow', Today, and one of the Nights At The Village Vanguard albums, and take it from there.

Edited December 13, 2004 by wolff

[jazzscot]

The Art Pepper CD I play often and treasure is

"BLUES FOR THE FISHERMAN" recorded live at

Ronnie Scott's, London, June 1980, it's issued under

the name of "THE MILCHO LEVIEV QUARTET" this is

because of contractual problem.

There is superb playing on the whole disc especially on

Art's tune called MAKE A LIST,MAKE A WISH.

The musicans are Milcho Leviev - Piano

Tony Dumas- Bass

Carl Burnett - Drums

and the man himself on Alto Sax

Unforunately this CD been unavailable for about 10 years.

(It was on the MOLE JAZZ label)

"So check the secondhand stores!!!!!!"

[Larry Kart]

The one Art Pepper album to get at all costs is the "The Art Pepper Quartet" (originally on Tampa) from 1956 I believe, with Russ Freeman, Ben Tucker, and Gary Frommer. "I Surrender Dear" and "Besame Mucho" are masterpieces.

[catesta]

Larry, I'm taking your advice.

[Leeway]

I agree with Larry Kart, but much of Art's early work is the coolest, bebopingest playing you are likely to hear from that period. Smooth (or maybe fuid would be a better term) AND swinging.

I also agree with Wolff's comments about Art's ballad playing, which is superb, and which is a hallmark of the later phase of his career. They are so emotionally honest and compelling, I think very few jazzers can match him in this category.

For purely beautiful ballad playing, I recommend "Winter Moon," which is Art with strings, but don't let the string thing put you off; it's all beautifully and honestly done.

Other favorite Art albums? Let's hear about them.

[gslade]

I always liked The Trip

Thanks Larry, I'll be sure to pick up The Art Pepper Quartet

[Larry Kart]

Both Art and Warne Marsh are in great form on "The Way It Was" (Think that's the U.S. title; I have it on a Japanese CD). Their solos and exchanges on "All The Things You Are" are to die for. Another great one from the end of Art's first Contemporary label period is "Smack Up." I much prefer Art's original version of "Winter Moon" with Hoagy Carmichael, an altogether wonderful album if you have a taste for Hoagy's singing (I do).

[garthsj]

I much prefer Art's original version of "Winter Moon" with Hoagy Carmichael, an altogether wonderful album if you have a taste for Hoagy's singing (I do).

Larry, I agree with you about "Smack-Up" .. I also really enjoy the intensity on the quartet album "Intensity" (Contemporary 7607) which was the last album he made before being incarcerated in San Quentin. It was recorded in 1960, and released in 1963 ... Except for a sideman role in a Helyne Stewart album in January, 1961, he did not record again (with Buddy Rich's big band) until 1968, and then again with Mike Vax's band in 1973, but it was not until August 1975 that he made another album as leader! FIFTEEN, FRIGGIN' WASTED YEARS!!! He did ""Intensity" for bail money -- $500. The group, Dolo Coker, Jimmy Bond, and Frank Butler... just smokes ... and knowing what was going through his mind that day in the studio, just makes me want to cry for what we jazz fans lost during that period Art Pepper was away fom the jazz scene.

Also, as I have read in several places, Hoagy Carmichael, when he heard the final tapes of his album for Pacific Jazz, wanted to cut out all of Art Pepper's solos and replace them with his own whistling (Carmichael was an outstanding whistler..). Dick Bock said NO!

Garth.

Edited December 14, 2004 by garthsj

[Brad]

Larry is right about that album. Speaking of which, if anyone has Larry's book (and who of here probably doesn't), you ought to check out the two pieces Larry has about Art Pepper. Required reading, IMHO.

[Leeway]

Thought it might be a good time to throw out some questions about Art as an alto sax player. It seems to me that Art does have a fairly unique sound. I was wondering how others viewed Art's playing. Where does he fit (or not) into modern sax players? Are there others he influenced?

As for influences on Art, he always struck me as someone who was influenced by Benny Goodman and Lester Young. I know he went through a Coltrane period at the midpoint of his career, but his later playing really doesn't show any substantial Coltrane influence.

The Marsh album is interesting because Warne seems to me to have a similar sound on tenor. Is that generally true of Warne's playing?

And, anyone have any thoughts on Art as a clarinet player?

[Larry Kart]

Everyone who cares about Art Pepper should get their hands on "The Art Pepper Companion" (Copper Square Press), ed. by Todd Selbert, published in 2000, and check out Terry Martin's 1964 essay "Art Pepper: Toward a New White Jazz," which is among the most brilliant pieces of writing there is about jazz musician.

For sources for Art's sound, look to Benny Carter and Willie Smith (both acknowledged models), filtered through Pres to some extent.

On the album they share, Warne sounds like Warne to me, though perhaps the warmth of Art's sound and the mutual emotional/musical warmth of the encounter did have some effect.

I'd say that at one point Bud Shank was influenced by Art, but I can't think of many others. Herb Geller was a somewhat related figure but came by his style, I'm pretty sure, on his own hook, though drawing from similar sources. The problem with being influenced by Art, and perhaps why not many were (unless I'm mistaken), is that what made him so good were things that were so "inside" the music that they were essentially inimitable -- if you were going to sound like Art enough for anyone to notice the resemblance, you'd have to be as good a time-shaper/shape-maker (for want of better terms) as he was, and and who else was that good in those ways then or ever? (Sure, others were, but they were fellow giants, and they sounded like themselves.)