Art Pepper – Geneva 1980 – Double CD
The opening tune “Ophelia” of this double live showcase is captured with pristine sound as the always distinctive Art Pepper lays down a cool groove on this set with patient elegance. While John Coltrane is said to have had a steely embouchure by the authors Art & Laurie Pepper in the introduction to their fine 1994 book “Straight Life” – The Story of Art Pepper. Reading parts of this book & listening to this live music makes it easier to understand that despite Pepper’s addictions & ghosts, he was driven by the music he created & he surprised many who were supposedly gods of the saxophone.
He had a challenge from the extraordinary Sonny Stitt in a cutting session. After lots of fiery sax back & forth — Stitt conceded. Yet, many still don’t discuss Art the way they discuss Charlie Parker, John Coltrane, or Roland Kirk. But on closer inspection, Pepper had many moments of greatness since he started his recording career at a 1943 Stan Kenton session.
The music’s emergence at this concert was remarkable. Pepper’s music was like a novel with chapters & characters, but it wasn’t a Truman Capote-type novel or a Hemingway simple language-oriented story. It probably was closer to a Jack Kerouac tale or Jack London adventure—told through his horn.
Two hours of previously unissued music arrives with the double CD Geneva 1980 (Drops March 14/Omnivore/Widow’s Taste) with its 10 pieces (Art Pepper originals except for 2). Produced by Cheryl Pawelski with the original producer Laurie Pepper. The show was taped live by Laurie on July 5th, 1980, at the New Morning in Geneva, Switzerland.
What I always found interesting listening to Art play was how his character & personality managed to negotiate through his fingers & become interpreted by his breath into notes that spoke as clearly as an eloquent speaker. It’s as if he allowed the horn to sing the song without words (“Patricia”) & this alone enthralled a listener to close their eyes & be lifted away for a while into a Pepper-world. And the audience responds in kind.
This was Art’s first tour of Europe & he brought the goods. “Mambo Koyama” is a long piece that exemplifies his ambitious creative peak. Nothing rambles & little is showboating. Yet, the excitement generated through Art’s performance stirred the ears of his enthusiastic audience on this date. Along with the locomotive drumming of Carl Burnett, the piano flourishes by Milcho Leviev & the blanket of bass spread by Tony Dumas made this a stunning lightening in a bottle achievement.
Jazz buffs believed Art was the best alto sax in the post-Charlie Parker era. A career that crossed paths with Stan Kenton, Miles Davis, Buddy Rich & Chet Baker. In 1952, at 26, by a mere 16 votes Art Pepper had already placed 2nd to Charlie Parker in the Downbeat jazz poll.
The inventive spirit certainly was steadily steaming hot by the time Art arrived at the cooking of “Miss Who.” This arrangement is close to a jazz type Grateful Dead jam where it sounds like all the musicians are in a free fall waiting to pick up on a particular groove. But listen closely & you can hear how the musicians follow the leader (Art) wherever he wanders through pieces that may be improvisation or Pepper laying down his melodicism. There is indeed an orderly flow & the instrumentalists fall into line like a flock of birds each catching the uplift of the forward bird’s wings. Which is the band’s murmuration through the music.
“Make a List (Make a Wish),” is the most impressive piece on this album. It’s 22 minutes that never lets up with the ensemble’s exemplary playing that creates intrinsic excitement. The steady drums, machine gun piano notes, molasses sticky bass line & Art’s all absorbing alto sax. This could be considered on the same level as the majestic “East/West” (Paul Butterfield Blues Band – 1966). At the end of this Euro concert in the 80’s Art got the loudest ovation of many name jazz acts.
Trumpeter Freddie Hubbard said “…he’s the greatest alto saxophone player in the world…”
Footnote: For folk-Americana purists, Art Pepper in 1976 also laid down a beautiful sax solo on the late Melanie Safka’s “I’m So Blue.” I wish he had done more surprises like this.
Highlights – CD 1 (64:54) – “Ophelia,” “Mambo Koyama,” “Patricia” & “Miss Who.” CD 2 (64:26) – “Valse Triste,” “Make a List (Make a Wish)” & “Blues For Les.”
B&W image with cigarette courtesy of Andy Freeberg. B&W with sax courtesy of Ron Moody.
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