Phillip B. Klingler
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Art Pepper's Genius Exemplified
The concert performance documented on Laurie Pepper's superb independent release of Art Pepper "Live At Abashiri" (2CD) is not the last session that Art ever did although it comes about 7 months before his death. So, although these live recordings could be considered "late-period" Art Pepper, there is no sign of diminished ability here. In fact, I think Art was on the precipice of a breakthrough, or at least it sounds like it to my ears.
Despite long periods of inactivity(prison, rehab), where Art didn't record any music at all, he must have been constantly conceptualizing and distilling ideas about his music because there really aren't any recordings in his discography that show him creatively working at anything less than top form. Art felt the source of his music running through him, he called it his "genius", and he found a way to access it by moving in the space between intellect and intuition. He would've been well-aware of all the revolutions in jazz music from the 40's onward and what that fountain of creative revolution had achieved... But in Art's mind, where was his place in that scheme of things? He had been taken out of the game so early in his career and for such a long period of time that it was a new world of jazz by the time he re-emerged in 1975. Even if the great recordings he'd made in the 50's assured his legacy, Art was still searching. The music of John Coltrane had inspired him throughout the 60's and he studied his work intensely, even playing tenor sax for a time in pursuit of those studies. As I listen to Art's performance on this album I can hear the history of jazz- from the bebop cutting contests to the abstractions of the free jazz movement. By the time of this concert he had evolved his own playing to achieve the greatest possible emotional impact yet still retaining everything he'd already learned and implemented as an established jazz master.
It's amazing to hear Art's inside/outside performance on this album. So self-assured, he seems willing to try anything! He flies so fast through the changes of "Straight Life" that his runs tumble into and over one another. His emotions are rarely held in check, his life is played through his horn and especially on the ballads he isn't afraid to wear his heart on his sleeve...
Most of the tracks here come in at over 10 minutes each with plenty of room for each musician to showcase their skills and it would be a shame not to mention the rest of the band: George Cables, the great pianist who had played on so many sessions with Art, had empathic knowledge of Art's music, is on top of his game throughout and especially beautiful on the ballad "Goodbye". David Williams had spent the 70's playing bass behind such avant-garde masters as Ornette Coleman and Archie Shepp. Between Williams and awesome drummer, Carl Burnett, this is a driving-force rhythm section that keeps the swing aspect in full effect, but still allows Art the space to move in any direction he might choose.
This recording, a fascinating two hours of improvisation, shows Art exploring every possibility within the harmonic range of the alto sax. Honking at the lower register, squeezing at the highest notes, his solos are brilliant. And they're never just intellectual exercise, he never relies on hooks or cliches in his improvisations, these ever-changing improvisations are profound. Even if Art was taking rather tentative steps towards the more "outside" aspects of his music on, for instance, his 1977 Village Vanguard concert recordings with Elvin Jones, by this time four years later he is totally at ease with the "free" aspects of his playing. The music has become even more moving because of this. Art had it in him to give us a real look into his soul and even as the man was a paradox, so too is his music, since despite having lived a tough life his music never seems angry or resentful, only on some tracks you can feel a real melancholia, but in particular there's always a sense of challenge towards self-revelation, the sign of a true artist. This document provides more proof of Art's genius and shows that he was definitely at a peak here and pushing his music in different ways, never resting, but moving with the spirit of his experience and emotions.
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Steve Komp
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Fantastic stuff for Pepper fans, loaded with intensity & skill
I was completely carried away by this album. I think this final take on Besame Mucho is worth the price of admission alone, and is one of my all-time favorites. Altho not news to true Art Pepper fans, George Cables shows he is the perfect pianist for Art; they are so beautifully sympatico. The rest of the group cannot be faulted either. This has to be one of the most together performances anywhere, anytime. Wonderful!
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Eddie Becton - All About Jazz-Los Angeles, Producer/Host - KXLU
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This is one of the most powerful, emotion-laden live performances I've ever hear
Thanks to the Herculean efforts of Pepper’s widow, Laurie Pepper, this two-disc gem is comprised of previously unreleased material from a live Abashiri, Japan performance in 1981, not long before the saxophonist’s death.
Arguably, the most beautiful tune on either disc is the standard Body & Soul. Pepper pours his lyrical soul out on this track and reminds listeners why he was often considered one of jazz’s most passionate lyricists. As well, Cables’ solo is absolutely spellbinding and contributes to the tune’s passionate and emotional currents. At the tune’s conclusion, Pepper states, “That was one of the nicest things I think I’ve played in my life… “ Indeed, and the live audience shows its appreciation with a rousing applause that leaves Pepper and crew giddy with ebullient chuckling.
Pepper also pays tribute to one of his most favorite composers, pianist Thelonious Monk. Pepper, who long admired Monk masters a version of Rhythm-A-Ning. This spirited piece captures Monk’s mood thanks to yeoman’s work by George Cables on piano and a bombastic performance by Carl Burnett on drums.
Another well-done piece is the soothing yet fiery Besame Mucho where the band again demonstrates its penchant for cohesive harmony and perfectly executed lines. Hell, even the volcanic introduction is worth the price of admission.
This is not only a “must have” for its historical significance as being previously unreleased. But, even more important, this is a “must have” because it is simply Pepper at his best. Since this two-disc set is comprised of Volume 1 tunes, undoubtedly Pepper fans’ hearts will smile as they salivate at the notion of ensuing volumes.
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Jim Burpee
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the best of Art
Having read the other reviews, there is nothing I could say that could come close to the praise for the combination of intelligence and soulfulness that this cd manifests. I have seen Art three times, twice in SF, and once in Minneapolis (where he autographed his autobiography: "be cool and enjoy, life is ending....Art Pepper). This recording proves his own assessment of himself: he was the greatest alto saxophonist of his time.
Laurie: please give us/me more. I am sorry for your loss, and happy for our gain in having this must have legacy. Peace and soul to you. Dig it!
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