Leeway

Yep, she said it was a very important present for a friend. Hey, that was a good shot wasn't it At one time I was selling a lot of books on Ebay. I put up a railroad book, a memoir of a railroad line, it was signed by one of the authors. Probably a $45-50 book, but it ended up selling for $220. Turned out to be a Christmas present for a woman's dad, who worked on the railroad. I hope he liked it. I know I did

Africa Brass: I think these are valuable insights. For many years I had a serious book addiction. I broke it by developing a jazz, and especially a jazz LP, addiction (not to mention many classical LPs as well). Basically, changed addictions. Now I'm tapering off on all these addictions. (Although I bought 28 jazz LPs today for $160). I'm trying for a methadone level of addiction B-) . It DOES get to be too much. And when it does, it is no longer fun. At this point, I'm selling off books and CDs that don't hold me. I hope to end up with a core collection of items I love, not just have accumulated.

I wonder if it is meant for a Christmas present? A lot of people jump onto Ebay at this time of the year in order to get a gift for someone else.

Haven't had much time for spinning vinyl until this afternoon: Blue label, black "b" Blue label, black "b" RCA. A difficult personality (check out the unsmiling portraits on the front and back of the sleeve) but a great singer. Toshiba Japan pressing.

“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.

That's because it costs $15 for a burger in freakin' TGI Friday's in Times Square. Yecch! Only tourists go there anyway. In the spirit of New York - screw 'em The carts in DC do sell chili dogs, some better than others. Which location in the country has the best chili dogs?

This might have to do with Nathan's going the franchise route, which deteriorated the product name and image. I'm glad to hear that the original Nathan's is still offering a tasty product. Another up and comer on the NY hotdog scene si Papaya King. Excellent dogs. Still, there's something intrinsically New York about walking up to an umbrella cart and getting "a dog" with mustard, sauerkraut, cooked onion, or relish. Last I checked, no chili dogs east of the Hudson. The NYC hot dog vendors are geting firece competition from carts selling shish-kebabs, souvlaki, chicken pitas. NY is all about street food. I love that. I'm getting hurngry.

Ok, let's have the gory details, or at least a link

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.

I grew up in New York City and pretty much grew up on hot dogs. I love Sabrett! Late, I lived in Chicago for about 14 years and started to dig teh Chicago style hot dog, which is grilled, and has mustard, relish, chopped raw onion, pickle and tomato slices on a seeded dog bun. That's pretty damn good too. If you are in the Chicago area, go to POOCHIE's in Skokie, Illinois. All their food is good (no, I'm not related!), but the Polish dogs are tops. Oh yeah, outstanding fries too: Actually, I love hot dogs in most anyway possible. Only dislike-- never ketchup on a dog!

ACTION - Jackie Mclean RIGHT NOW - Jackie McLean SWEET HONEY BEE --Duke Pearson IN 'N OUT - Joe Henderson INNER URGE - Joe Henderson BLACK FIRE -- Andrew Hill THE SIXTH SENSE - Lee Morgan I know, more than 5. But I really was happy to get these Blue Notes. There are others too, but I don't want to go too far over the limit.

They should put more money into research & development than litigation.

He was last seen running towards Central Park with some Tactical Unit officers close behind Seriously, what are the chances of this stuff being legally obtained and legally sold? Also, as there is often talk on this board about artist's getting what they are owed from their recordings, do you think any of the $$ this guy gets is going back to the artists or their estates? Hell, I love a bargain too, but from experience, I know that stuff like this sold on the street is often stolen (usually working in conjunction with a shoplifting team or dishonest store employees). And there is always the choice (slim I admit) that you can get caught up in a stolen property bust, as the cops will surveill these vendors before making a bust.

Someone wants to wish you a Happy Birthday:

They have cabs in Providence? And what, pray tell, is a "NYC style cab tour"-- is that where they drive you all around town at breakneck speed at enormous cost? Happy Birthday Here's a little caviar and vodka

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.

Looks a lot like a guy I saw in a jazz band in Michigan.

Those are a lot of fun. What can you tell us about the store itself?

I opened up this thread, and, kid you not, I have a bag of double-dark chocolate Milanos on my lap (BETTER than phone sex in my opinion, and cheaper ) I love dark chocolate. Fave: dark chocolate with filbert nuts. Also, dark chocolate Kit Kats- a limited edition type product.

Interesting, I have this as well, but my box is blue instead of gray. Any differences between the two? Seeing that box lead me back to my Speakers Corners reissue of Ella's Gershwin Songbook. Now THAT's a reissue!!! I've got the DSM prints framed and hanging in my listening room. My box is blue too, with a big ole OBI strip on it too. I grabbed this picture off the net; I think it's the lighting of the photograph that gives it a different shade.

Borders 25% off any one item, 20% off DVds. Print a bunch and sneak in a few times BORDERS 25% OFF

I hope you dudes check out my AOTW thread for December 11, where we will (I hope!) be talking about Art Pepper "Straight Life" and any other "Pepper-ana" that you would like to discuss I need some Art fans (critics too, as I know there are) to make a lively discussions.

I've taken a lot of shots at Wynton (like he's worried, right ), but I think Branford is a different deal than his brother. Branford has great chops. He tries new things. I'm sure he knew he would piss some folks off for touching ALS. I'd like to hear the whole thing before making a final judgment, but it seems like he has made a credible interpretation of ALS. I posed the question whether ALS is a piece that can be "covered." I'd hate to see it turn into a musuem piece, untouched, under glass. I think it can stand up to different approaches; in fact, I think it benefits the music. Sure, do a piano version. But Branford is not a piano player, so his version is gonna be a sax version, right? Anyway, that piano to orchestra thang has been done by Moussorskyand Ravel.

And the scales falleth from his ears and he truly becomes one of us. We too listen to CD's, but jazz is indeed better on vinyl. Blessings upon you, my son and upon your household. Fortunately, I have a lot of vinyl too

"Billie Holiday on Verve 1946-1959" - Verve Japan, 10 LP box set, Mono. A great collection on quality pressings with excellent sound. Listening to Sides 7 & 8, a session from 1955, with Benny Carter, Sweets Edison, Barney Kessel, Jimmy Rowles, Larry Bunker. then on of Billie's old friends: "Pres: Lester Young and His Orchestra"- with John Lewis, Hank Jones, Buddy Rich, Ray Brown, Gene Ramey. Polydor Verve Japan. Sweet.