Art Pepper - Everything Happens To Me

Art Pepper - Everything Happens To Me https://t.co/WGV4OISXxo via @YouTube

More #Jazz & Pics https://t.co/qvCcsDuJx2

#MilesDavis #JohnColtrane #ChetBaker #BillEvans #SonnyRollins #BillieHoliday pic.twitter.com/V0T7GNhYn8

— jazzbreak (@JazzBreak1) May 17, 2019

USA: Art Pepper The Art Pepper Quartet

USA: Art Pepper The Art Pepper Quartet (Deluxe Reissue) (2017) https://t.co/Fj6nkJv2Pj

— JazzWorldQuest (@JazzWorldQuest) 21 de maio de 2017

two essential #ArtPepper reissues ....

At JazzWax, two essential Art Pepper reissues from 1980—albums with Sonny Still and Pete Jolly... https://t.co/4fEYkCSJE0 pic.twitter.com/pP6R0oDGXY

— Marc Myers (@JazzWax) 8 de fevereiro de 2017

Live #ArtPepper & #WarneMarsh

Live Art Pepper & Warne Marsh lost tapes to be released Nov. 11 on Widow's Taste Records: https://t.co/JWONviYtXL

— DownBeat Magazine (@DownBeatMag) October 11, 2016

Live #ArtPepper & #WarneMarsh

Live Art Pepper & Warne Marsh lost tapes to be released Nov. 11 on Widow's Taste Records: https://t.co/JWONviYtXL

— DownBeat Magazine (@DownBeatMag) October 11, 2016

All About Art Pepper Live at Fat Tuesday's

Published on Sep 18, 2015

Laurie Pepper, John Koenig and Zev Feldman discuss the Elemental Music release, Art Pepper Live at Fat Tuesday's from an April, 1981 Engagement at New York's Iconic Jazz Club, Fat Tuesdays. Five extended live performances by Art Pepper from the spring of 1981, Pepper's most fertile period after his re-emergence onto the music scene in the mid-1970s after years in prison and rehabilitation from drug addiction.

Recorded April 15,1981. Featuring Pepper with a rhythm section made up of long-time associate, pianist Milcho Leviev and two all-star guests, bassist George Mraz and drummer Al Foster. The package features a 40-page booklet that includes comprehensive essays by noted jazz historian and author Brian Priestley (including a lengthy and probing interview Priestly conducted with Pepper in 1980), French music scholar and journalist Stéphane Ollivier, an extensive interview by producer Zev Feldman with Pepper's widow, Laurie Pepper, a personal recollection of Art Pepper by jazz producer John Koenig and an first-person account by Fat Tuesday's General Manager, Steve Getz, of Pepper's engagement at the club, which yielded these recordings, as well as previously unpublished photographs by Laurie Pepper. Purchase:  http://www.amazon.com/Live-Fat-Tuesda...

from: https://www.youtube.com/watch?v=ucYxSwQWPZM&list=TLaSBR1L6_HRsxOTA5MjAxNQ

Art Pepper the focus of tonight's MOJO Jazz Jambalaya session

By Lawrence Specker | lspecker@al.com  / on May 27, 2013 at 10:33 AM, updated May 27, 2013 at 10:42 AM

MOBILE, Alabama – The Mystic Order of the Jazz Obsessed is giving listeners a chance 

to close out their Memorial Day festivities on a classic note, with a tribute tonight to the life and music of saxophonist Art Pepper.

Pepper, who played for bandleaders including Benny Carter and Buddy Rich, is the subject of MOJO’s monthly Jazz Jambalaya session. Events in the series feature a mix of biographical information and live music; the admission price also includes a light jambalaya dinner.

Pepper rose to fame in the late 1940s and early 50s. He was highly regarded as a performer and recording artist, but from the mid-‘50s through the mid-‘60s was hampered by drug use that resulted in several stints in prison. After rebounding at the end of the ‘60s he enjoyed a productive career until his death in 1982. Late in his life he addressed his struggles in a memoir, “Straight Life,” and a related documentary, “Art Pepper: Notes From a Jazz Survivor.” The reference work “Jazz: A Rough Guide” describes the book and film as “brutally honest.”

Read more: http://www.al.com/entertainment/index.ssf/2013/05/saxophonist_art_pepper_the_foc.html

Art Pepper: Rare Lighthouse (1952)

Reprinted from http://jazzwax.com

Alto saxophonist Art Pepper may well have been the earliest exponent of what would become known as West Coast jazz. At the end of 1951 and top of '52, Gerry Mulligan hadn't yet arrived in Los Angeles, Shorty Rogers was still emulating Dizzy Gillespie and Shelly Manne was still under the influence of Max Roach. But Pepper was at this moment in time his own man—there was no Charlie Parker in his playing, just a searing, high-register, laid-back sound in a big hurry.

Pepper's playing in December and January was cool but frantic, space-respectful but hell-bent to jump in, and lyrical without relying on the blues to make a point. Though Rogers was able to formulate the harmony-rich sound of West Coast jazz in October '51 in his ensemble arrangements for Modern Sounds, he hadn't yet iced his horn as a small-group soloist.

We know this from two key recordings—Popo, from December 27, 1951, and the super-rare Live at the Lighthouse '52, from January 6, 1952. Both dates were recorded at the Lighthouse in Hermosa Beach, Calif., and both featured  Rogers, Pepper, pianist Frank Patchen, bassist Howard Rumsey and drummer Shelly Manne—with trombonist Milt Bernhart and tenor saxophonist Jimmy Giuffre added on the latter date.

Popo (Xanadu) offers plenty of action—the spirited exchanges between Pepper and Rogers sound more like the blows of sparring boxers in a ring than musicians working on a stage. The individualism and ambition is palpable and contagious. But the real excitement comes 10 days later, as captured on Live at the Lighthouse '52 (Norma).

Live at the Lighthouse '52 is a hard-to-find album originally recorded live by Bob Andrews in L.A. and released digitally only in Japan. It's the missing link between Popo and Pepper's The Early Show, recorded in February 1952 at the Surf Club. Something happens to Pepper in January—a breakthrough, if you will. On prior recordings, Pepper is still developing and finding his way.

But at the Lighthouse in January '52, on tracks like Jumpin' at the Woodside and Keen and Peachy, Pepper's on fire. But it's a cool burn. Where we hear the big change is on the ballads—Yesterdays, These Foolish Things and Over the Rainbow—where his lines are beautifully chilled and glossy, like the hourglass curves of a '51 Chevy sedan or slow, curling waves rolling in a short walk down the beach.

In fact, on Over the Rainbow, Pepper's solo is so perfectly executed with imagination and soul that he knocks out everyone at the club by the end. Manne is still banging around bop style behind him, but Pepper just rises above the East Coast ghosting and delivers his finest version of this standard—even when double- and triple-timing for spells.

Pepper, of course, would find himself in trouble with the police by the end of 1952. A heroin user since 1950, during a stay in Chicago while in Stan Kenton's band—Pepper's addiction led to an arrest in Los Angeles toward the end of '52. He only escaped time at Camarillo State Mental Hospital in California when his father showed up in court ranting, and the judge gave in. 

Pepper would be in and out of prison for drug use as the '50s progressed, but for 10 days around this time of year 61 years ago, he was at the Lighthouse inventing a new style of jazz—even if his bandmates didn't fully get it yet.

JazzWax tracks: You'll find Popo here and here. As forLive at the Lighthouse '52,it's very hard to find. Part of it is available on Early Days, Vol. 1, a Norma vinyl release here. I'm not sure why this recording hasn't been released in the U.S. and is largely unknown. Perhaps Laurie Pepper can help.

JazzWax clips: Here are two tracks from Live at the Lighthouse '52:

Used with permission by Marc Myers

Over the Rainbow... 

Over The Rainbow

Keen and Peachy...

Keen And Peachy

Art Pepper....

1 September 1925, Gardena, Los Angeles, California, USA, d. 15 June 1982, Panorama City, California, USA. Pepper started out on clarinet at the age of nine, switching to alto saxophone four years later. After appearing in school groups, he first played professionally with Gus Arnheim's band. During his mid-teens he developed his jazz style sitting in with otherwise all-black bands along Los Angeles' Central Avenue. After leaving Arnheim he worked with Dexter Gordon in Lee Young's band at the Club Alabam. He then joined Benny Carter, playing alongside artists such as Gerald Wilson, Freddie Webster and J.J. Johnson. In 1943 Pepper joined Stan Kenton but soon afterwards was drafted into the US Army, spending most of his wartime service in England.

In 1946 Pepper rejoined Kenton, staying with the band until 1951. That year he also recorded with Shorty Rogers, playing a marvellous version of "Over The Rainbow', a tune he would regularly play over the years. Later, he appeared on Rogers" Cool And Crazy album. Pepper subsequently freelanced around Los Angeles, performing many record dates, some under his own name, and usually playing extremely well. Nevertheless, his career in the 50s and 60s was marred by his drug addiction and interrupted by several prison sentences. At the end of the 60s Pepper began a slow, uphill fight against his addiction, a struggle that was eventually successful and heralded his re-emergence in the mid-70s as a major figure on the international jazz scene. In the last years of his life, he produced a rich crop of recordings, including Winter Moon, an album with strings (a long-held ambition of Pepper's), the three-album set Live At The Village Vanguard (a fourth volume appeared posthumously) and two records recorded live in London under the name of pianist Milcho Leviev, Blues For The Fisherman and True Blues.

Early in his career Pepper played with a light airy tone, through which burned a rare intensity of emotion that reflected his admiration for Charlie Parker and the lessons he learned playing with Carter. After his rehabilitation and a period playing tenor saxophone, on which instrument he showed both the influence of Lester Young and an awareness of John Coltrane, Pepper developed a strong, bop-rooted alto style that retained much of the richly melodic elements of his earlier playing. Pepper's life story was memorably recounted in his candid autobiography and a subsequent film, Art Pepper: Notes From A Jazz Survivor, which offered a potent and harshly unsentimental lesson for any young musician contemplating the use of addictive drugs.
http://www.oldies.com/artist-biography/Art-Pepper.html

Art Pepper - Over The Rainbow

The Marty Paich Quartet featuring:
Art Pepper Art Pepper(as),
Marty Paich(p),
Buddy Clark(b),
Frank Capp(ds)
Rec. Aug. ～ Sep. - 1956 Tampa