ART PEPPER – So In Love (Artists House / LP-1980)

Label: Artists House – AH 9412

Format: Vinyl, LP, Album / Country: US / Released: 1980

Style: Contemporary Jazz

Tracks A1, B1: Recorded 2-23-79, New York, NY.

Tracks A2, A3, B2: Recorded 5-26-79, Burbank, CA.

Cover Art by – Alyssia Lazin

Design by – Lazin & Katalan

Art Director by – Carol Friedman

Producer by – John Snyder

A1 - Straight No Chaser ............................................... 6:26

         Composed By – Thelonious Monk

A2 - Blues For Blanche ................................................ 6:49

         Composed By – Art Pepper

A3 - So In Love ........................................................... 11:37

         Composed By – Cole Porter

B1 - Diane ................................................................... 12:22

         Composed By – Art Pepper

B2 - Stardust ............................................................... 10:34

         Composed By – Hoagy Carmichael, Mitchell Parish

Art Pepper – alto saxophone, clarinet

Hank Jones – piano (tracks: A1, B1)

George Cables – piano (tracks: A2, A3, B2)

Ron Carter – bass (tracks: A1, B1)

Charlie Haden – bass (tracks: A2, A3, B2)

Al Foster – drums, percussion (tracks: A1, B1)

Billy Higgins – drums, percussion (tracks: A2, A3, B2)

Pepper's "So in Love" continues his post prison fiery play. Critics who believe his earlier work is his best must not be hearing Pepper's final blowing. It is simultaneously lyrical and hot, as if Art knew that this was, indeed, it - his last chance to say everything he had to say. The actual cut "So in Love" is a favorite. It has an underlying tension that is subtle and yet almost unbearable. Art's early death left a huge hole, but in a way it's inevitability led to some of the best alto work ever recorded.

The altoist stretches out here on a program of standards and blues, backed by alternating rhythm sections from the East and West coasts.

Pianist Hank Jones is all one could ask for in an accompanist, and his aching solo on Diane sustains perfectly the restive mood of Pepper's opening choruses. Overall, the West Coast team pianist George Cables, whose great rapport with Pepper is unmatched, along with jazz legends Charlie Haden and Billy Higgins powers the music along with great care and economy. Pepper had climbed to such a plateau of individuality that he seems often here to be drawing his unconscious influences into the light and remembering what it was he loved about them in the first place.

On a leisurely Stardust, he daffodils his sentiments with the grace and cunning of a Lester Young. The title track, a Cole Porter waltz that agitates into a collective improvisation by its climax, offers the best illustration of the wondrous use Pepper makes of John Coltrane. It isn't in this case a matter of piling up chords or of playing more notes, as it is with so many others, but rather of drawing on extreme registers of the horn to express more conflicting emotions, to reach deeper and higher recesses of the viscera and the psyche.

___________________

Art Pepper, more creatively prolific in his late years than at almost any other time in his troubled life, cuts as sharply as a scythe when he's taking on an edge on this 1979 set. He appears in two different quartet formations, the first with pianist Hank Jones, bassist Ron Carter, and versatile drummer Al Foster, and the second with pianist George Cables and the rhythmic duo Ornette Coleman used so effectively, bassist Charlie Haden and drummer Billy Higgins. The Jones-Carter-Foster lineup moves more measuredly than the Cables-Haden-Higgins one. Chalk it up to Coleman's speedy "harmolodic" compressions, but Haden and Higgins dance all over the melodies, pressing Pepper to spray alto lines in multiple directions almost at once. "Diane" is lovingly taken, with Pepper finding in Jones a great, romantic colleague.

And if you find yourself curious about Pepper, try reading his tell-all autobiography "Straight Life", jazz's greatest confessional.

http://straightlife.info/apautobook.html

This album, recorded on 1979, in the period Art Pepper had the support of his sentimental couple, Laurie Pepper, is a masterpiece. And it shows that, as it is affirmed everywhere, this man didn't need to practice a lot, he simply took his saxo and performed a beautiful jazz with great honesty and nobleness. Art Pepper, with all his defects and tortuous life due to drug dependency, is a well bred musician and he shows himself naked before we all. If God finally exists I guess he decided to take him to heaven, because of his honesty and the artistry he gave us all. The two different rhythm sections of this album are excellent. I have no doubt about recommending it.

If you find it, buy this album!

CECIL TAYLOR QUARTET and GIGI GRYCE-DONALD BYRD JAZZ LABORATORY – At Newport (LP-1957)

On The Trail Of Old Albums

Label: Verve Records – MG V-8238

Format: Vinyl, LP; Country: US - Released: 1957

Style: Free Jazz, Post Bop

Recorded live at Newport Jazz Festival on July 6, 1957 (tracks A1 to A3) and July 5, 1957 (tracks B1 to B3).

Liner Note By – Bill Simon
Photographer By – Burt Goldblatt

Jazz on a Summer’s day, the audience is cool,  Newport Rhode Island sounds a great place to have been, Freebody Park.

Cecil Taylor Quartet is almost easy-listening, with the rhythm section holding down the base, Steve Lacy’s straight horn carrying melody, while Taylor begins to disassemble the piano convention. At times, it sounds like Taylor is playing a different number to the rest of the band. Perhaps that’s the thing.

The short-lived Gigi Gryce Jazz Laboratory quintet was formed to extend and seek out new directions for bebop. It’s all in the American pronunciation:  I get Ceecil Taylor, now I learn it’s G.G. Gryce, not Gigi.  This was apparently the only live recording of the Jazz Laboratory.

Cecil Taylor Quartet:

CECIL TAYLOR (piano); STEVE LACY (soprano saxophone); BUELL NEIDLINGER (bass); DENIS CHARLES (drums)

A1 - Johnny Come Lately . . . 7:13

A2 - Nona's Blues . . . 7:40

A3 - Tune 2 . . . 10:22

Gigi Gryce-Donald Byrd Jazz Laboratory Quintet:

GIGI GRYCE (alto saxophone); DONALD BYRD (trumpet); HANK JONES (piano); WENDELL MARSHALL (bass); OSIE JOHNSON (drums)

B1 - Splittin' (Ray's Way) . . . 8:32

B2 - Batland . . . 7:21

B3 - Love For Sale . . . 7:34

The young pianist Cecil Taylor and saxophonist Gigi Gryce

At first combining a set by Cecil Taylor with another by the Gigi Gryce-Donald Byrd Jazz Laboratory seems like an odd pairing, but it ends up working rather well. These live recordings, which come from the 1957 Newport Jazz Festival, have stood the test of time rather well. 

It is a fascinating contrast between an original angle on the then popular hard-bop style (Byrd/Gryce) and the revolutionary Taylor's extraordinary evolution beyond it. Steve Lacy plays soprano saxophone throughout Taylor's set, and he foreshadows John Coltrane's sound on the same instrument a few years later. Lacy's unlubricated, slightly sour tone and eventually curiously hopping swing develop the spontaneous possibilities of Billy Strayhorn's Johnny Come Lately against Taylor's relentlessly angular piano figures. The original Nona's Blues is a mid-tempo, nearly-swinging tune for the leader's pounding chords and fragmentary melodic clusters alongside Lacy's loose and exuberant solo. Taylor's evolution explicitly deployed a lot more European contemporary classical elements later, but his jazzy momentum and affection for Thelonious Monk are exhilaratingly up-front here.

The Gryce/Byrd band, though closer to the usual jazz grooves of the day, is enhanced by Gryce's distinctive writing. Pianist Hank Jones plays with gleaming urbanity, the young Donald Byrd with a crackling boppish bounce, though Gryce's Parker-influenced alto lines are a little thin. But it is the mix of styles here, pointing up Cecil Taylor's astonishing independence, that makes the set so attractive.

_ By JOHN FORDHAM, The Guardian

If you find it, buy this album!