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Art Pepper Meets the Rhythm Section |  | Artist: Art Pepper
Label: Jvc Japan
Category: Music
Buy New: $28.98
as of 3/20/2010 05:10 PDT details
New (1) Used (1) from $28.98
Seller: Amazon.com
Rating:  29 reviews
Format: Import
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
EAN: 4988002467792
ASIN: B0002V00VG
Release Date: October 4, 2004
Shipping: Eligible for FREE Super Saver Shipping
Availability: Usually ships in 11 to 14 days
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| Tracks:
| • | You'd Be So Nice to Come Home To | | • | Red Pepper Blues | | • | Imagination | | • | Waltz Me Blues | | • | Straight Life | | • | Jazz Me Blues | | • | Tin Tin Deo | | • | Star Eyes | | • | Birk's Works | | • | Man I Love [*] |
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| Editorial Reviews:
Amazon.com
The rhythm section in question here belonged to Miles Davis in Los Angeles, one fine day in January 1957. Pepper had made a name for himself in Stan Kenton's band, but this was really the first time he found himself in the studio with a rhythm section such as Red Garland, Paul Chambers, and Philly Joe Jones. In his fascinating biography, Straight Life, Pepper tells the story of the date when, after not playing for six months, he was told of the session that morning. He pieced together a broken horn, went in, and blew. Not completely remembering the first tune "You'd Be So Nice to Come Home To," he voices a line that both invokes the melody and refashions it. The rest of the session shows just how high Pepper rose to the occasion. It's one of the most important recordings of his career. --Michael Monhart
Album Description
Limited budget release. Features a bonus track. Only available until December 2004.
Album Details
Limited Budget Release. Features a Bonus Track. Only Available Until December 2004.
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| Customer Reviews:
Showing reviews 1-5 of 29
Excellent product March 14, 2010
enschick
This is an excellent CD. I purchased it for my husband and he really enjoys it.
Even without Pepper's tall tales, the album is great July 3, 2009
Schubert aficionado (CA United States)
Just to clarify some misinformation, unfortunately perpetuated first by Mr. Pepper himself, and taken for the truth by many an innocuous listener. The truth is, Art had played within six months, in fact so recently as five days prior! Did the man have no memory of the sessions on Dec. 11 '56 with Bill Perkins for the album "Just Friends," Dec. 28 '56 and Jan. 14 '57 that produced his own "Modern Art" album on Aladdin? I suppose the drugs might be blamed for memory loss, but I suspect it's safe to assume there was not a little myth-building in his autobiography, not only regarding "Meets the Rhythm Section." In any case, the music is jazz at its finest.
Also, a word about Les Koenig, the producer, saying Art hadn't recorded with musicians up to the caliber of Miles' rhythm section until this album; that's pure crap. Art, throughout 1956 recorded with the likes of Russ Freeman, Curtis Counce, Jimmy Heath, Carl Perkins, Ben Tucker, Shelly Manne, Chet Baker, Richie Kamuca (have I convinced you yet?) Bill Perkins, Warne Marsh, Stan Levey, Red Mitchell, Pete Jolly...
In any case, the album is great, and a great starting point if your just discovering the other greatest altoist (Lee Konitz is the other) after Charlie Parker (chronologically, that is). Enjoy!
The pinnacle of his career June 24, 2009
Drew Hunkins (Madison, WI United States)
Having twice read Pepper's autobiography Straight Life, this CD was a must have after reading the enthralling section dealing with its production.
Of course most are familiar with his all consuming heroin addiction, but what some might not realize is that he hadn't played his horn whatsoever for about six months prior to this production date. He mentions in the book that his girlfriend essentially duped him into attending the session which was scheduled without his knowledge.
Pepper relates how he had completely and utterly devoted his life to junk prior to the date of this recording. Upon having heard that he was scheduled for this arguably most important date of his career he stared at his sax and wondered how he'd even get it to work properly, noting that it was in poor physical shape. He was only given a few hours notice and promptly got loaded on junk just before he arrived at the studio intimidated to be playing with Miles Davis' men.
A year after its release Down Beat gave this outstanding jazz album five out of five stars and it's easy to see why, smooth and melodic, it's what a quality sax CD should be all about, understated virtual perfection.
If you like Art Pepper's music you should find time to pick up one of the most candid and finest autobiographies ever written, Straight Life: The Story of Art Pepper.
Classic Pepper! January 15, 2009
J. Rich
1 out of 1 found this review helpful
Art Pepper, who gained a lot of experience during his days with Stan Kenton and Benny Carter, has recorded some fine recordings as a leader and "Meets The Rhythm Section" is one of them. What an outstanding recording this is! From start to finish it swings and Pepper's lyrical approach to saxophone really makes the music speak. There are so many stories surrounding his personal life, but I would like to say that I don't care what these jazz musicians did in their own lives. What I think is most important is how the music is presented and how it sounds. Joining Pepper on this swinging journey are members of Miles Davis' band Red Garland, Paul Chambers and Philly Joe Jones. Put aside whatever notion you have Art Pepper and give this album a try. Highly recommended.
Pepper excelled in any size group October 26, 2008
James A. Vedda (Alexandria, VA USA)
Relaxed and inspired, this quartet session gives the impression of a group that has been working together for a long time. However, as the original liner notes indicate, this was a one-time meeting between the rhythm section of Miles Davis, which happened to be in Los Angeles, and Pepper, who wasn't told of the session until the day it happened. It's a tribute to the skill of these musicians that a few hours in a studio that day in January 1957 produced an album that became a classic.
Most of my exposure to Pepper has been his work with large ensembles, so it's refreshing to listen to him in a more intimate environment. Quartet playing feels very different than big band playing and allows more room to blow. Pepper handled himself well in either situation. If you like the classic jazz quartet sound featuring sax, this CD is essential for your collection.
Showing reviews 1-5 of 29
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