WILD WEST (COAST) ALERT!
Convicted felon on alto!
Wrong year in jazz!
Two artists “missing” – from credits!
Half songs previously issued under different album title!
Welcome to the Wild West (coast) of music publishing. Like, Wow!
Selection: Art’s Opus
TRACKS WITHOUT PEPPER: Larry Bunker (vibraphone), Howard Roberts (guitar), Marty Paich (piano), Joe Mondragon (bass), Frankie Capp (drums)
TRACKS WITH PEPPER: Art Pepper (alto sax) Marty Paich (piano) Buddy Clark (bass) Frankie Capp (drums )
Selection of four recordings by Paich without Art pepper but with guitarist Howard Roberts and Larry Bunker (vib) – no mention in credits – taken from Tampa LP 10″: TP 23 — Hot Piano (1956) and four recordings with Paich and Pepper which overlap the famously rare Tampa 10″ TP 28 Marty Paich Quartet featuring Art Pepper, straight out of The Big House.
Recorded August 1956, Radio Recorders, Hollywood, CA
Art Pepper timeline
- 1st appearance on record, 1943 age 18 Stan Kenton Orchestra
- 1954-56: first missing years in The Big House, released July ’56
- Records with Marty Paich for Tampa LP 12″: TP 28 — Marty Paich Quartet Featuring Art Pepper August ’56; Records triumphant “Meets the Rhythm Section” for Contemporary, January 1957
- 1960-64: second missing years, returns to The Big House
- Yet more missing years, in Synanon drug rehabilitation program until July 1968
- Last concert May 1982 – Art’s final date
You can imagine Pepper’s car back-window stickers, a Cook’s tour of the American penal system: Terminal Island Federal Prison; Los Angeles County Jail, San Quentin, Syanon.
Quite how these 1956 recordings emerged on Interlude labelled “1960 Jazz” remains a mystery. Light as air, Pepper breezes through the songs, a free man. His sweet measured tone is quite unlike any other, and happy melodic flow is impossible not to like. He remains the voice of West Coast jazz (though at his very best when united with an East Coast rhythm section).
After reading a couple of jazz biographies , including Pepper’s Straight Life, I resolved not to read any more. I don’t require musicians to be heroes, role models, or saints. A musical talent is not necessarily attached to an admirable or noble person, and knowing more about the person and their passage through life doesn’t deepen your appreciation of their music. Only listening to it can do that. Pepper is a pleasure to listen to, that’s as much as I need to know.
Releases of the 1956 Paich/ Pepper recordings:
Tampa LP 12″: TP 28 — Marty Paich Quartet Feat Art Pepper (1956)
(Tampa labels photo-credit: Dottorjazz)
London LP 10″: LZU 14040 — The Marty Paich Quartet (195?)
Corporate inner sleeve (1960) explains monaural dimensional realism.
“Close your eyes and you may well believe the artists are performing solely for your entertainment”.
As I like to say (55 years later) – “musicians in the room”. Unlike the slightly dodgy audio performance of the Tampa original ( or so I am told), the Interlude is a sonic joy.
Original Tampa liner notes
No mention of monaural dimensional realism, no mention of the engineer by Interlude, but the engineer is unmasked on the Tampa notes as no less than Val Valetin – Luis Pastor “Val” Valentin – later legendary house engineer of Verve, whose jazz discography is up in the hall of fame with Rudy van Gelder, with whom Valentin worked on many Verve recordings. Explains how a 1956 recording might sound so sweet.
Source: collection of a very serious Art Pepper fan, one of twenty or so records that had come into a West London store, all mostly unfamiliar Japanese titles from the ’70s – except this.
The Marty Paich connection should have rung alarm bells, but the level of mis-information worthy of The Producers’ Max Bialystock
Had me fooled. “Jazz 1960”, guest Art Pepper, deep groove, unknown Hollywood label, tunes from different albums, Springtime for Pepper, and Valentin. Well, half the record was new to me. So it sometimes goes in record collecting. You think you know a lot, but a lot of the time you don’t know very much at all.
Marty Paich seems to have “form” when it comes to cover art:
Another “girly cover”. “Surprising someone in the shower” seemed a recurring 60s bachelor-pad theme (until given a bad name by Alfred Hitchcock).