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Art Pepper Meets the Rhythm Section | 
 enlarge | Artist: Art Pepper
Label: Jvc Japan
Category: Music
Buy New: $25.98
Rating:  25 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 Super Saver Shipping
Availability: Usually ships in 1 to 3 weeks
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| Tracks:
| • | You'd Be So Nice to Come Home To - Art Pepper, Porter, Cole | | • | Red Pepper Blues - Art Pepper, Garland, Red | | • | Imagination - Art Pepper, Burke, Johnny | | • | Waltz Me Blues - Art Pepper, Pepper, Art | | • | Straight Life - Art Pepper, Pepper, Art | | • | Jazz Me Blues - Art Pepper, Delaney, Tom | | • | Tin Tin Deo - Art Pepper, Fuller, Gil | | • | Star Eyes - Art Pepper, DePaul, Gene | | • | Birk's Works - Art Pepper, Gillespie, Dizzy | | • | The Man I Love - Art Pepper, Gershwin, George |
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| Editorial Reviews:
Amazon.com Music Reviews
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: Read 20 more reviews...
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.
art pepper at his best July 10, 2008
nobbsy
I've been an Art Pepper fan for a long, long time. This is the session that I keep coming back to. Many decades have passed since the first time that I heard it, but despite all that time, it still sounds fresh. Buy this CD.
extraordinary May 17, 2008
Harvey M. George (Fayetteville, NC)
I came across this title in one of Michael Connelly's Harry Bosch novels and am grateful I checked it out and discovered that this was real and not fiction. Pepper's work on the sax is truly extraordinary.
Essential to the Most Basic Library of Every Saxophonist June 4, 2007
Samuel Chell (Kenosha,, WI United States)
3 out of 3 found this review helpful
I can understand a reaction such as the preceding reviewer's. After absorbing Sonny Stitt's logical, fluent, cohesive, structured, text-book solos delivered with as "embodied" a sound as any saxophonist could hope for, I initially experienced some disappointment upon hearing Pepper's more exploratory, fragmented melodic lines. Then I heard him go head to head with Stitt ("The Hollywood Sessions"), and he not only comes close to matching Sonny's technical proficiency but adds a hint of the unpredictable, of genuine risk-taking, that brings a dimension not present in the playing of Stitt, the music's "most perfect saxophonist."
The unmistakable emotion, even passion, that emerges in Pepper's later playing is not as evident on this more conservative 1950s recording. Still, even here Pepper manages to escape the stereotypical "cool" sound with which the West Coast scene was identified, playing with a warmer feel and less detachment and deliberativeness than his Coastal contemporary, Lee Konitz. (Anyone who believes Desmond's playing was emotionally distant, or that it emphasized wit and minimalism at the expense of heat and soul, needs to review his work with the Brubeck Quartet before "Take Five.")
 What is so great about this? March 6, 2007
0 out of 10 found this review helpful
While it has all of Miles' guys on it, I just don't get what is fab about Art Pepper on this recording. Seems like a bunch of boring wanking. I mean I can listen to Parker or Desmond over and over and get it. But what gives with the 5 stars?
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