Art Pepper Meets The Rhythm Section

Amazon.com
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

Art Pepper Meets The Rhythm Section,Art Pepper,Ojc,Jazz,Jazz Music,Pop

Average customer rating: Essential to the Most Basic Library of Every Saxophonist What is so great about this? East Coast Hard Bop meets West Coast Cool in 1957 Art Pepper Meets The Rhythm Section Awesome

Art Pepper Meets The Rhythm Section Art Pepper Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Similar Items: Art Pepper + Eleven Intensity Modern Art: The Complete Art Pepper Aladdin Recordings, Vol. 2 Straight Life Soul Station ASIN: B000000YIT Release Date: 1991-07-01

Tracks:

1. You'd Be So Nice To Come Home To
2. Red Pepper Blues
3. Imagination
4. Waltz Me Blues
5. Straight Life
6. Jazz Me Blues
7. Tin Tin Deo
8. Star Eyes
9. Birks Works

Amazon.com

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

Customer Reviews:

Essential to the Most Basic Library of Every Saxophonist.......2007-06-04

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?.......2007-03-07

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?

East Coast Hard Bop meets West Coast Cool in 1957.......2005-08-22

I think this is a great record, and all the musicians are in good form. My only wish is that Art had opened up a bit more on the blues numbers. He may have been a bit intimidated by "The Rhythm Section" (who wouldn't be?) and played it safe.
Having said that, I heartily recommend this music to anyone who loves good jazz and especially those interested in the various sub-genres like hard bop vs cool. So, 1 start off for the somwehat conservative solos, but 4 stars ain't bad!

Art Pepper Meets The Rhythm Section.......2005-04-10

This is the classic Art Pepper Meets The Rhythm Section. This album is great as a whole. It is mostly made up of pop and jazz standards, and originals. Done in the mid 50's when jazz was at one of its peaks, the album is a wonderful listen from start to finish.

Art Pepper, saxophonist on the west coast, was basically belonged to the west coast school of players along with Shelly Manne, Victor Feldman, Stan Getz, Conte Candoli, Gerry Mulligan, and Chet Baker. On this recording, Pepper is teamed up with a rhythm section from the east coast, consisting of pianist Red Garland, Paul Chambers on bass, and the fireous drumming of Philly Joe Jones.

This was a neat cut. The playing time is quite heafty, due to the number of tracks, with average playing times of about 4 minutes each. Art's playing isn't up to par as he stated. I believe he hadn't played in a long time prior to the recording of this album. His sound here is brittle, but is improvisations are spectacular.

You'd Be So Nice To Come Home To, is a nice standard with some blues influence. Philly Joe Jones' solo is beautiful as usual. The collaboration between Garland and Pepper results in Red Pepper Blues.

There is extraudinary playing throughout. Art blows through his original Straight Life, and the band's playing is as soulful as can be.

Art was a big fan of Dixieland jazz, as demonstrated on Jazz Me Blues, the old New Orleans standard. The fine Dizzy Gillespie piece Birk Works is a kicker! But the real highlight for me is Tin Tin Deo. This has one of the best "B" sections I have ever heard.

This is the west coast meets the east coast. The east coast musicians were said to be more soulful, as opposed to the mostly white, west coast school. This album prooves it isn't true. Art rips through the pieces and swings throughout. A classic recording! Has been loved by many for years.

Five stars!
Classic Art Pepper!

Awesome.......2005-02-14

Here Art Pepper's saxophone playing is awesome. The musicians backing him up are awesome. The song selection is inspiring. All of these qualities can only add up to an awesome record. My favourite tracks are "Imagination", "Tin Tin Deo" and "Birks Works". A GEM!

Average customer rating: Not worth extra money!

Meets the Rhythm Section Art Pepper Manufacturer: Apo ProductGroup: Music Binding: Audio CD Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Jazz | Imports | Stores | Music Similar Items: Portrait in Jazz Brilliant Corners Time Out Adam's Apple Thelonious Monk Quartet with John Coltrane at Carnegie Hall ASIN: B00006L3O9 Release Date: 2002-10-08

Customer Reviews:

Not worth extra money!.......2004-12-03

"Doesn't quite sound right," was my first impression of this disk, even though I had a great expectation when I bought the disk for extra money.
If K-2 CD version sounded that good, I wonder what SACD would bring. So, I had to compare this SACD version versus JVC K-2 coded CD on my cheaper end of hi-end hi-fi system. To my ears, K-2 version sounded better. K-2 version offers higher and brighter tone than this SACD version, which offered much lower and subdued tone (one might say "deeper") of music. I must say the difference was rather large. The quietness (S/N ratio) of the background is the same on both disks. Overall, I could enjoy the music more with K-2 version, which is priced in the middle of conventional CD and SACD versions. This is mystery, because Bill Evans SACDs from the same label sound definitely better than K-2 CD version.
For jazz classic like this, there is no need for hybrid, when everybody has CD version already.

Average customer rating: Essential to the Most Basic Library of Every Saxophonist What is so great about this? East Coast Hard Bop meets West Coast Cool in 1957 Art Pepper Meets The Rhythm Section Awesome

Meets the Rhythm Section (20 Bit Mastering) Art Pepper Manufacturer: Contemporary ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Similar Items: Art Pepper + Eleven Intensity Modern Art: The Complete Art Pepper Aladdin Recordings, Vol. 2 Straight Life Soul Station ASIN: B00004UEN8 Release Date: 2000-08-01

Tracks:

1. You'd Be So Nice To Come Home To
2. Red Pepper Blues
3. Imagination
4. Waltz Me Blues
5. Straight Life
6. Jazz Me Blues
7. TinTin Deo
8. Star Eyes
9. Birks' Works
10. The Man I Love (Bonus Track)

Amazon.com

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

Customer Reviews:

Essential to the Most Basic Library of Every Saxophonist.......2007-06-04

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?.......2007-03-07

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?

East Coast Hard Bop meets West Coast Cool in 1957.......2005-08-22

I think this is a great record, and all the musicians are in good form. My only wish is that Art had opened up a bit more on the blues numbers. He may have been a bit intimidated by "The Rhythm Section" (who wouldn't be?) and played it safe.
Having said that, I heartily recommend this music to anyone who loves good jazz and especially those interested in the various sub-genres like hard bop vs cool. So, 1 start off for the somwehat conservative solos, but 4 stars ain't bad!

Art Pepper Meets The Rhythm Section.......2005-04-10

This is the classic Art Pepper Meets The Rhythm Section. This album is great as a whole. It is mostly made up of pop and jazz standards, and originals. Done in the mid 50's when jazz was at one of its peaks, the album is a wonderful listen from start to finish.

Art Pepper, saxophonist on the west coast, was basically belonged to the west coast school of players along with Shelly Manne, Victor Feldman, Stan Getz, Conte Candoli, Gerry Mulligan, and Chet Baker. On this recording, Pepper is teamed up with a rhythm section from the east coast, consisting of pianist Red Garland, Paul Chambers on bass, and the fireous drumming of Philly Joe Jones.

This was a neat cut. The playing time is quite heafty, due to the number of tracks, with average playing times of about 4 minutes each. Art's playing isn't up to par as he stated. I believe he hadn't played in a long time prior to the recording of this album. His sound here is brittle, but is improvisations are spectacular.

You'd Be So Nice To Come Home To, is a nice standard with some blues influence. Philly Joe Jones' solo is beautiful as usual. The collaboration between Garland and Pepper results in Red Pepper Blues.

There is extraudinary playing throughout. Art blows through his original Straight Life, and the band's playing is as soulful as can be.

Art was a big fan of Dixieland jazz, as demonstrated on Jazz Me Blues, the old New Orleans standard. The fine Dizzy Gillespie piece Birk Works is a kicker! But the real highlight for me is Tin Tin Deo. This has one of the best "B" sections I have ever heard.

This is the west coast meets the east coast. The east coast musicians were said to be more soulful, as opposed to the mostly white, west coast school. This album prooves it isn't true. Art rips through the pieces and swings throughout. A classic recording! Has been loved by many for years.

Five stars!
Classic Art Pepper!

Awesome.......2005-02-14

Here Art Pepper's saxophone playing is awesome. The musicians backing him up are awesome. The song selection is inspiring. All of these qualities can only add up to an awesome record. My favourite tracks are "Imagination", "Tin Tin Deo" and "Birks Works". A GEM!

Average customer rating:

Art Pepper Meets the Rhythm Section Art Pepper Manufacturer: Contempora ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B00005GWGX Release Date: 2003-08-21

Tracks:

1. You'd Be So Nice to Come Home To
2. Red Pepper Blues
3. Imagination
4. Waltz Mr Blues
5. Straight Life
6. Jazz Me Blues
7. Tin Tin Deo
8. Star Eyes
9. Birk's Works
10. Man I Love

Album Details

Part of the 'masters of Jazz: The History Series 1949-1969'. 20 Bit Digitally Remastered.

Average customer rating: East Coast Meets West Coast

Art Pepper Meets the Rhythm Section Art Pepper Manufacturer: Jvc / Xrcd ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music ASIN: B0000589DT Release Date: 2001-02-27

Tracks:

1. You'd Be So Nice To Come Home To
2. Red Pepper Blues
3. Imagination
4. Waltz Me Blues
5. Straight Life
6. Jazz Me Blues
7. Tin Tin Deo
8. Star Eyes
9. Birks Works
10. The Man I Love

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

Customer Reviews:

East Coast Meets West Coast.......2002-05-09

Art Pepper was one of the so-called "West Coast" or "California" sax players; think Paul Desmond meets John Coltrane. In 1957 he was called by Lester Koenig and asked if he wanted to cut an album with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. These guys, the greatest side-men from the "East Coast" school, had been playing, at that time, with Miles Davis. Pepper was, as always, in hock to feed his heroin habit and didn't have a complete sax in his apartment. He pieced together an alto from spare parts and made it over to the Los Angeles studio of Contemporary Records. What followed in the next five hours was magic. During the recording session two tunes, "Waltz Me Blues," and "Red Pepper Blues" were actually composed by Chambers and Pepper and Garland and Pepper respectedly.

Art Pepper was the equal of the great alto players of that era. Like many Jazz musicans his addiction to heroin got in the way of his playing. One of the tunes on this disc, "Straight Life," composed by Pepper, is also the title of his highly depressing auto-biography.

This disc is in all ways a wonderful musical occasion. If you are at all a fan of this type Jazz, you need to own this disc. The CD comes in two versions; one is a standard transfer of the LP, the other is coded in 20-bit analog and has a bonus track of "The Man I Love." Either one is well worth having.

Average customer rating:

Art Pepper Meets the Rhythm Section Art Pepper Manufacturer: Jvc Victor ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Jazz | Imports | Stores | Music Similar Items: Art Pepper + Eleven: Modern Jazz Classics Sunday at the Village Vanguard Waltz for Debby ASIN: B000FIHBJU Release Date: 2006-07-03

Tracks:

1. You'd Be So Nice To Come Home To
2. Red Pepper Blues
3. Imagination
4. Waltz Me Blues
5. Straight Life
6. Jazz My Blues
7. Tin Tin Deo
8. Star Eyes
9. Birks Works

Album Details

Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.

Average customer rating: Essential to the Most Basic Library of Every Saxophonist What is so great about this? East Coast Hard Bop meets West Coast Cool in 1957 Art Pepper Meets The Rhythm Section Awesome

Art Pepper Meets the Rhythm Section Art Pepper Manufacturer: Analogue Productions ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Jazz | Imports | Stores | Music Similar Items: Art Pepper + Eleven Intensity Modern Art: The Complete Art Pepper Aladdin Recordings, Vol. 2 Straight Life Soul Station ASIN: B000001PE4 Release Date: 2001-02-13

Tracks:

1. You'd Be So Nice To Come Home To
2. Red Pepper Blues
3. Imagination
4. Waltz Me Blues
5. Straight Life
6. Jazz Me Blues
7. Tin Tin Deo
8. Star Eyes
9. Birks Works

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

Customer Reviews:

Essential to the Most Basic Library of Every Saxophonist.......2007-06-04

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?.......2007-03-07

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?

East Coast Hard Bop meets West Coast Cool in 1957.......2005-08-22

I think this is a great record, and all the musicians are in good form. My only wish is that Art had opened up a bit more on the blues numbers. He may have been a bit intimidated by "The Rhythm Section" (who wouldn't be?) and played it safe.
Having said that, I heartily recommend this music to anyone who loves good jazz and especially those interested in the various sub-genres like hard bop vs cool. So, 1 start off for the somwehat conservative solos, but 4 stars ain't bad!

Art Pepper Meets The Rhythm Section.......2005-04-10

This is the classic Art Pepper Meets The Rhythm Section. This album is great as a whole. It is mostly made up of pop and jazz standards, and originals. Done in the mid 50's when jazz was at one of its peaks, the album is a wonderful listen from start to finish.

Art Pepper, saxophonist on the west coast, was basically belonged to the west coast school of players along with Shelly Manne, Victor Feldman, Stan Getz, Conte Candoli, Gerry Mulligan, and Chet Baker. On this recording, Pepper is teamed up with a rhythm section from the east coast, consisting of pianist Red Garland, Paul Chambers on bass, and the fireous drumming of Philly Joe Jones.

This was a neat cut. The playing time is quite heafty, due to the number of tracks, with average playing times of about 4 minutes each. Art's playing isn't up to par as he stated. I believe he hadn't played in a long time prior to the recording of this album. His sound here is brittle, but is improvisations are spectacular.

You'd Be So Nice To Come Home To, is a nice standard with some blues influence. Philly Joe Jones' solo is beautiful as usual. The collaboration between Garland and Pepper results in Red Pepper Blues.

There is extraudinary playing throughout. Art blows through his original Straight Life, and the band's playing is as soulful as can be.

Art was a big fan of Dixieland jazz, as demonstrated on Jazz Me Blues, the old New Orleans standard. The fine Dizzy Gillespie piece Birk Works is a kicker! But the real highlight for me is Tin Tin Deo. This has one of the best "B" sections I have ever heard.

This is the west coast meets the east coast. The east coast musicians were said to be more soulful, as opposed to the mostly white, west coast school. This album prooves it isn't true. Art rips through the pieces and swings throughout. A classic recording! Has been loved by many for years.

Five stars!
Classic Art Pepper!

Awesome.......2005-02-14

Here Art Pepper's saxophone playing is awesome. The musicians backing him up are awesome. The song selection is inspiring. All of these qualities can only add up to an awesome record. My favourite tracks are "Imagination", "Tin Tin Deo" and "Birks Works". A GEM!

Average customer rating:

Meets the Rhythm Section ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B000AMZ0WG Release Date: 2005-09-27

Average customer rating:

Meets the Rhythm Section ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B000NO28P8 Release Date: 2007-04-17

Average customer rating:

Meets the Canadian Rhythm Section Art Pepper Manufacturer: Pony Canyon ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Jazz | Imports | Stores | Music ASIN: B00074C52A Release Date: 2005-03-07

Tracks:

1. Samba Mom Mom
2. All The Things You Are
3. Star Eyes
4. Long Ago And Far Away
5. Here's That Rainy Day
6. Patricia
7. Blues For Heard

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