Art Pepper

[GA Russell]

I've received this press release about the new release:

"Art Pepper:

Blues for the Fisherman/Complete,"

Vol. VI in the "Unreleased Art" Series,

To Be Released by Widow's Taste Records

June 14

All of Two Nights Live at Ronnie Scott's in London, 1980

4 CDs, 25 Tracks of Great Music Plus Bonus Tracks of Talk

Transferred from Original Analog Tapes

At 192 kHz, Remastered for CD

May 18, 2011

"The Twelve Bars of the Decade." Blues for the Fisherman was hailed by one jazz journalist as just that when four of these tracks were released in the U.K. in 1980 by Mole Jazz. That LP remained at the top of the British jazz charts for well over a year, so Mole eventually released a second album from the same session. Fans all over the world have worn those LPs out and have been clamoring for 30 years to hear it all, everything that happened during those two historic nights at Ronnie Scott's, part of Art Pepper's first-ever tour of Europe.

Laurie Pepper, the alto saxophonist's widow and owner of Widow's Taste Records, says there is a logic to releasing everything. "Art was a storyteller," explains Laurie. "Every tune was a vehicle, a way for him to express his life of pain and glory. He loved to talk about it, too. Communication, soul to soul, was what he aimed for. When we listen to these sets, we hear a narrative: In the music and between the tunes Art keeps us, the audience, informed. He lets us track the skill, persistence, anguish, and exhilaration of the process of performing, the story of an artist at work. From the stage he tells us what is and isn't working as he sees it at the moment. He reveals how nervous he is and how grateful for a sympathetic crowd to whom he jokes, complains, explains, and reminisces."

The band features Milcho Leviev, "The Bulgarian genius" (Arnaldo DeSouteiro) and frequent Pepper sideman. (At left: Pepper and Leviev with original Mole release.) He was putative leader of this session. (Art was then under contract to Galaxy Records, which would not permit him to record as leader for any other label, however obscure). Also in the band: the young, exciting Tony Dumas on bass and Art's favorite drummer, Carl Burnett.

At Mole's behest, Art plays some tunes less usual for him in 1980: "Stardust," "Rita San," "Untitled #34," "Blues for the Fisherman." He also plays familiar favorites, "What's New," "Goodbye," "I'll Remember April," "A Song for Richard," "Rhythm-A-Ning," and his own: "The Trip," "Ophelia," "True Blues, "Red Car," "Make a List," and of course "Straight Life" (while announcing it Art plugs his autobiography of the same name, about to be released in England later that year). And he plays clarinet, as well, on "Anthropology" and "In a Mellow Tone." Every set at Ronnie's was a little piece of art, a composition, lovingly constructed for an eager and perceptive audience.

The album includes Laurie's personal photos and 24 pages of notes describing Art's emotions and preoccupations, how he felt about the situation's pressures and delights. (At right: Pepper prepping music, assisted by feline muse Blanche.) She talks about "The Fisherman," and, as usual, she gives us her own amused, nonplussed, and dazzled take on all of it.

Laurie Pepper launched the Widow's Taste label in 2006 in order to introduce Art to a generation who "may not know how soulful jazz can be," to offer an alternative to the shoddy wares of bootleggers, and to satisfy the blessedly insatiable desires of Art's knowledgeable fans. Using previously unreleased sessions recorded by radio stations or picked up surreptitiously by fans, she's inspired to keep going by those fans and by the overwhelming praise of critics.

Since it began, Widow's Taste has released one album every year:

Volume I: Abashiri (2006)

"Unreleased Art, Vol. 1 is a required purchase for Pepper fans who want to relish Art's devotion to his craft all the way to the end of his life. Playing from the heart that few alto players [can] match. . . . Bluesy and explorative. . . along with some frenzied avant blowing." --Jeff Krow, Audiophile Audition

Volume II: The Last Concert (2007)

"He left this world at the top of his game, as one of the world's foremost alto sax players. And now, we can confidently state these things because of Unreleased Art, Vol. II. [He] nimbly hits every note bang on through some tricky passages [with] imaginative, lyrical improvising. [When] Pepper switches to clarinet, an instrument that for not being his primary one, is so well mastered by Art he could have stood toe to toe with Buddy DeFranco." --Pico, BC Music

Volume III: Croydon (2008)

"The album has enormous depth, pathos, and tension. Both Croydon discs vividly display Pepper's metallic warmth and seemingly limitless stream of ideas. This CD reflects the agony of his personal and artistic struggle. Pepper's tonal edge is on full display on uptempo numbers as well as the ballads. Dig what he does with Gordon Jenkins's 'Goodbye.' There's so much sorrow there, so much Billie Holiday. On Ophelia, a mid-tempo piece dedicated to women, Pepper's passion soars as he delivers line after line without ever coasting or doubling back." --Marc Myers, JazzWax

Volume IV: The Art History Project (2009)

"The set dedicates one CD to Pepper's work from the 1950s, one to the '60s, and one to the '70s. The early tracks float by on his urgent, vulnerable, and melodic alto saxophone improvising. It's some of the best West Coast jazz of that time, luscious pop art with a fighting spirit. The set becomes interesting in the 1960s, after Pepper's six on-and-off years in jail, and shows his increasing respect for John Coltrane. Ms. Pepper lobbies hard for the '70s as his prime period. . . . The intensity and experience they transmit is unmistakable." --Ben Ratliff , The New York Times

Volume V: Stuttgart (2010)

"[On 'Make a List'] Pepper proves what a great R&B saxophonist he is, funky and rich, full of that greasy good charm that causes feet to stomp and parishioners to cry 'Amen.' A master of musical drama. . . Pepper's playing is a tidal wave from a detonated atom bomb, relentless in climax. Extended readings of 'Over the Rainbow' and 'Cherokee' close the set illustrating Pepper's supreme command of the ballad and up-tempo bop. This is the Götterdämmerung of the jazz life." --C. Michael Bailey, AllAboutJazz.com

Volume V in this series--Stuttgart--was named one of the top ten historical/reissues of 2010 by JazzTimes.

Laurie plans to continue releasing great unheard Art as long as she continues to discover material. Planned for next year: A magnificent live concert in Norway including a video of part of the performance. "Maybe the most dramatic offering yet," she suggests.

Art Pepper/Widow's Taste Web Site:

http://artpepper.net

[Head Man]

I've received this press release about the new release:

"Art Pepper:

Blues for the Fisherman/Complete,"

Vol. VI in the "Unreleased Art" Series,

To Be Released by Widow's Taste Records

June 14

All of Two Nights Live at Ronnie Scott's in London, 1980

4 CDs, 25 Tracks of Great Music Plus Bonus Tracks of Talk

Transferred from Original Analog Tapes

At 192 kHz, Remastered for CD

From the website:

Release date: June 14, 2011

Price: $22

Looks like a steal at that price!

[Moko]

Surprised no one has mentioned this audiophile vinyl release of Art at Ronnie Scotts

http://www.musicangle.com/album.php?id=963

Apparently Pure Pleasure were trying to recreate the Mole Jazz releases but couldn't work out which versions were used so decided to release everything over 7 disks.

I just wish I had the money to buy this!!!

[brownie]

The Pure Pleasure set was discussed in this earlier thread:

Art Pepper Pure Pleasure

[Leeway]

Art was the musician that got me into jazz. Even though I have moved further away from "mainstream" jazz (for lack of a better description), I still really enjoy Art's album. There are very few Art albums I do not like to some degree or other. I like early and late Art. "The Trip" is one of my somewhat guilty pleasures from Art's later catalog. Anyway, his passion and honesty (in his music anyway) always grab me. Glad I had a chance to see him perform.

[marcoliv]

The Trip is my favorite Pepper release

[Leeway]

The Trip is my favorite Pepper release

Cool! It's not often mentioned--or appreciated.

[GA Russell]

I got my copy of Blues for the Fisherman this week. Four CDs is too much for me to handle all at once, so I'm going to ease my way into the whole set over time. But what I've heard so far is great.

[tranemonk]

Just got mine too... but it's definitely not too much... I've got some papers to review so I'll be checking it out this weekend.

I got my copy of Blues for the Fisherman this week. Four CDs is too much for me to handle all at once, so I'm going to ease my way into the whole set over time. But what I've heard so far is great.

[mracz]

I remember reading (probably somewhere on this forum) that there was a latish (70s?) reunion recording of Art with Warne Marsh. That would be something to have issued, particularly if they are both on form!

[Dave James]

I absolutely love what Laurie Pepper is doing to keep Art's work up front and in the public eye. If there's any artist who's worthy of the kind of focus she's bringing to his later work, it's Art Pepper. Only downside for me, and I may be alone on this, is that I'm not a fan of the name she's chosen for her record label, Widow's Taste. For some reason, that just doesn't sit well.

[alankin]

How do people like the other releases in the series?

[GA Russell]

How do people like the other releases in the series?

Alan, I like them all, but my favorite by far is Vol. 2 of the Unreleased Art series, The Last Concert. Roger Kellaway on piano makes it special, I think.

[jlhoots]

How do people like the other releases in the series?

Alan, I like them all, but my favorite by far is Vol. 2 of the Unreleased Art series, The Last Concert. Roger Kellaway on piano makes it special, I think.

I pretty much like all of them too.

I've just been listening to Live In Stuttgart.

The only one I didn't buy had some material that I have in another format.

[tranemonk]

I have all of them and enjoy each one... The only one which is a little off is Vol. 4 (which I think Laurie has said she tried to do too much with)... My faves (outside of the new one which I haven't listened to yet) are Vols. 3 and 5.... This series prompted me to read Straight Life... It's a depressing and compelling read which definitely gave me a greater understanding of Art (and even more appreciation of Laurie...). I'd recommended them all personally.

How do people like the other releases in the series?

Alan, I like them all, but my favorite by far is Vol. 2 of the Unreleased Art series, The Last Concert. Roger Kellaway on piano makes it special, I think.

I pretty much like all of them too.

I've just been listening to Live In Stuttgart.

The only one I didn't buy had some material that I have in another format.

[mikelz777]

I absolutely love what Laurie Pepper is doing to keep Art's work up front and in the public eye. If there's any artist who's worthy of the kind of focus she's bringing to his later work, it's Art Pepper. Only downside for me, and I may be alone on this, is that I'm not a fan of the name she's chosen for her record label, Widow's Taste. For some reason, that just doesn't sit well.

You're not alone on this, I hated it from the very beginning. I think this topic has come up before and if I recall correctly, Laurie said something to the effect that Art would have appreciated the dark "humor" of the title. To me, it seems to reduce Art to some kind of cash commodity rather than act as a vehicle to bring his wonderful performances to light. It casts a bad shadow on her motivation for doing whatever she does with Art's work released under the label. It's got a bit of a greedy ring to it and lends itself to interpreting her role as the "poor widow" for whom we should feel sorry. Had I been in her circle of influence, I would have strongly advised against using that horrible name for her label.

Edited June 18, 2011 by mikelz777

[tranemonk]

It doesn't bother me.. Given what she went through with Art (based on Straight Life) she's got my blessing...

I absolutely love what Laurie Pepper is doing to keep Art's work up front and in the public eye. If there's any artist who's worthy of the kind of focus she's bringing to his later work, it's Art Pepper. Only downside for me, and I may be alone on this, is that I'm not a fan of the name she's chosen for her record label, Widow's Taste. For some reason, that just doesn't sit well.

You're not alone on this, I hated it from the very beginning. I think this topic has come up before and if I recall correctly, Laurie said something to the effect that Art would have appreciated the dark "humor" of the title. To me, it seems to reduce Art to some kind of cash commodity rather than act as a vehicle to bring his wonderful performances to light. It casts a bad shadow on her motivation for doing whatever she does with Art's work released under the label. It's got a bit of a greedy ring to it and lends itself to interpreting her role as the "poor widow" for whom we should feel sorry. Had I been in her circle of influence, I would have strongly advised against using that horrible name for her label.

[tranemonk]

Okay I got through the first 2 cds... The sound is FANTASTIC... esp. reading about some of the issues from the original recordings... Disc 1 is a little better than Disc 2... but this is great, great stuff...

[JETman]

It doesn't bother me.. Given what she went through with Art (based on Straight Life) she's got my blessing...

I absolutely love what Laurie Pepper is doing to keep Art's work up front and in the public eye. If there's any artist who's worthy of the kind of focus she's bringing to his later work, it's Art Pepper. Only downside for me, and I may be alone on this, is that I'm not a fan of the name she's chosen for her record label, Widow's Taste. For some reason, that just doesn't sit well.

You're not alone on this, I hated it from the very beginning. I think this topic has come up before and if I recall correctly, Laurie said something to the effect that Art would have appreciated the dark "humor" of the title. To me, it seems to reduce Art to some kind of cash commodity rather than act as a vehicle to bring his wonderful performances to light. It casts a bad shadow on her motivation for doing whatever she does with Art's work released under the label. It's got a bit of a greedy ring to it and lends itself to interpreting her role as the "poor widow" for whom we should feel sorry. Had I been in her circle of influence, I would have strongly advised against using that horrible name for her label.

This is exactly my take on it. I couldn't agree more. For those of you who have a problem with the name of the label, try putting yourself in her shoes. From where I sit, she's done nothing but treat Art's legacy with love and care, despite his obvious problems, and any anger that she might otherwise feel.

[Head Man]

I got my copy of Blues for the Fisherman this week. Four CDs is too much for me to handle all at once, so I'm going to ease my way into the whole set over time. But what I've heard so far is great.

Did you get it from CDBaby because they're out of stock now.

BTW does anyone know whether it's going to be available from any British on-line outlets?

[brownie]

Would like informations on two obscure Art Pepper sessions...

first a session with Phil Woods. This was mentioned by Bruce Lundvall in the notes on the inner sleeve of Elektra Musician releases back in 1982.

Nothing seems to have come of this,

the other is a March 1975 session in Pasadena with Anthony Ortega, Zoot Sims, Harold Land, Bobby Hutcherson Barney Kessel, Vic Feldman, Charlie Haden and Billy Higgins. One track 'Cool Blues' surfaced recently on a Japanese release 'Pepper Jam + 1' on Interplay

Is there more to this Pasadena date?

[ejp626]

Would like informations on two obscure Art Pepper sessions...

first a session with Phil Woods. This was mentioned by Bruce Lundvall in the notes on the inner sleeve of Elektra Musician releases back in 1982.

Nothing seems to have come of this,

the other is a March 1975 session in Pasadena with Anthony Ortega, Zoot Sims, Harold Land, Bobby Hutcherson Barney Kessel, Vic Feldman, Charlie Haden and Billy Higgins. One track 'Cool Blues' surfaced recently on a Japanese release 'Pepper Jam + 1' on Interplay

Is there more to this Pasadena date?

Take it for what it's worth, but this reviewer claims the track isn't from 1975 (there are 3 tracks from a March 1975 Harold Land session issued a few places including inevitably Lonehille (1975 Garden State Jam Sessions)).

As the others in this series, this CD contains some mistakes.

Cool Blues is not from March 29, 1975 as indicated, but from the September 27, 1981 session at Royce Hall, University of California, Los Angeles, CA. Moreover this title which runs at inaccurate speed is in mono while it exists in stereo.

This title in in fact a kind of rejected title from the Art Pepper/Zoot Sims session issued on Pablo PACD-2310-957-2, (Jap)VICJ-226.

It seems that the producer of this very poor work knows very little about Art Pepper's work and collectors.

Please, keep your money for something more serious!

By mamytou @FRANCE (2009/09/26)

[brownie]

Many thanks, Eric

Makes sense!

[poetrylover3]

Periodically, I find myself listening to a concentrated dode of Art Pepper, especially The Complete Village Vanguard Sessions, The Hollywood Sessions, Art Pepper Plus 11, and the first two volumes of the "live" AP released by his widow. The Complete Village Vanguard Sessions are the most intense, searing Pepper, IMO, while the first two "Widows Taste" releases leave me wondering "what if.." I single out "The Hollywood Sessions" because Art sounds so relaxed and inspired here by his bandmates. Art Pepper Plus 11 is "bop heaven" to me. I can't think about Art without wanting more in my collection and there are few artists I can think of to whom a similar statement would apply.

[Leeway]

I think the Hollywood Sessions are a bit too laid back, which works to their disadvantage. I think's Art's performances here, generally (certainly not all) are a bit diluted. Art seemed to play best under pressure, whether external or internal. The other musicians strike me as a bit too easy as well.

BTW, couldn't resist, just picked up the LP version of "Blues for the Fisherman." I like Art on vinyl.