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A 1981 session recorded live over three nights in August 1981 (less than a year before Art Pepper's early death), Arthur's Blues is straightforward hard bop in the classic style. The alto saxophonist is backed by his regular touring band, pianist George Cables, bassist David Williams, and drummer Carl Burnette, and the quartet burns through a set of standards and originals that covers Pepper's full range of playing styles, from the frantic bebop of the opening "Donna Lee," which Pepper and group take at an unusually fast tempo, to a delicate take on the ballad standard "But Beautiful" that features some uncharacteristically free, almost Paul Bley-like piano runs by Cables underneath a tasteful but exploratory solo by Pepper. However, the highlight is the title track, Pepper's last great recording. A 15-minute groove that swings from soulful and funky blues to an intense climax, "Arthur's Blues" puts to rest the rumors that Art Pepper's chops had deserted him in his final years. ~ Stewart Mason
Recorded at Maiden Voyage, Los Angeles, California between August 13 & 15, 1981. Includes liner notes by Laurie Pepper.
Personnel: Art Pepper (alto saxophone); George Cables (piano); Carl Burnette (drums).
Audio Remasterer: Kirk Felton.
Liner Note Author: Laurie Pepper.
Recording information: Maiden Voyage, Los Angeles, CA (08/13/1981/08/14/1981).
Unknown Contributor Roles: Danny Kopelson; David Williams ; George Cables; Carl Burnette.
Personnel: Art Pepper (alto saxophone); George Cables (piano); David Williams (acoustic bass); Carl Burnett (drums).
Art Pepper Arthur's Blues Songs Arthur's Blues Music Review Purchase Arthur's Blues CD To buy, Click on price to add to cart | Art Pepper Today CD (1979)
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Altoist Art Pepper, in the midst of a successful comeback, recorded this excellent set (also included in full in his massive Galaxy box set) for Galaxy. With pianist Stanley Cowell, bassist Cecil McBee and drummer ...
| | Arthur Blythe Lenox Avenue Breakdown CD (1978)
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In addition to having excellent cover art (an illustrated cityscape in which a giant saxophone--complete with windows, a doorway, and stoop--takes its place among the neighboring buildings), LENOX AVENUE BREAKDOWN is also a dynamic, unjustly overlooked jazz album. Prodigiously talented as an instrumentalist and composer, alto saxophonist Arthur Blythe was one of the most innovative jazz musicians of the 1970s and '80s, and LENOX AVENUE BREAKDOWN, his Columbia Records debut, proves it.
Blythe's ability to marry the best of the genre's traditions (he is equally versed in swing, post-bop, and romantic styles) with his avant-garde leanings is evident here. "Odessa," for example, a modal exploration, begins melodically, yet pushes further into free-jazz territory as the tune progresses. The angular bop of the title track is offset by adventurous soloing and unique instrumentation (flute and tuba add to the sonic palette here, along with guitarist ...
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| | Modern Jazz Quartet European Concert CD (1960)
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Recorded live in Scandinavia in April 1960. Originally released on Atlantic (2-603). Includes liner notes by Joel Dorn and Jule Foster.
Digitally remastered by Gene Paul (DB Plus Digital Services, New York, New York).
Long considered one of, if not the classic album from the Modern Jazz Quartet, European Concert defines them simultaneously as a recording entity as well as a working band. MJQ presented jazz in the context of a formally structured environment, much like a chamber group in the classical context. Within the band, the groove of Milt "Bags" Jackson's vibes met the solid swing of Connie Kay's drums, the funky strut of Percy Heath's bass, and the elegant classicism of John Lewis's piano. The MJQ were able, in a context that pushed at jazz's boundaries from the outside, to create a music that swung without edges or fragmented harmonic structures. Instead -- as this album perhaps more than any of their studio recordings exemplifies -- they used concepts of time, space, meter, rhythm, and changes to weave together a seamless whole, where melody grounded the improvisation but never really restricted it. The kind of graceful counterpoint that exists between Lewis and Jackson here is instinctual at this time in 1960. The show included the finest moments of ...
| | Steve Khan Got My Mental CD (1997)
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Got My Mental is a satisfying trio date with bassist John Patitucci and drummer Jack DeJohnette, and a nice complement to Let's Call This, Khan's 1991 trio album with Ron Carter and Al Foster. As on the earlier outing, Khan includes only one original tune, focusing instead on challenging material by eminent post-bop figures. Wayne Shorter and Lee Morgan are again represented, but this time in the company of Keith Jarrett ("Common Mama"), Eddie Harris ("Sham Time"), and Ornette Coleman ("R.P.D.D."). Khan also presents his laid-back take on two standards, "I Have Dreamed" by Rodgers & Hammerstein and "The Last Dance" by Jimmy Van Heusen and Khan's father, Sammy Cahn. Four rotating percussionists -- Don Alias, Bobby Allende, Marc Quiñones, and Café -- join the trio intermittently. It's fairly uncommon to hear Khan in such a straight-ahead setting. His articulation is superb on the tough bop-oriented lines of the Coleman piece and original title track, although he can become a bit stiff as his solos progress. Shorter's "Paraphernalia," like "Masqualero" on the ...
| | Jonathan Butler Do You Love Me? CD (1997)
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On Jonathan Butler's N2K Encoded Music debut, Do You Love Me, he continues his jack-of-two-trades approach, balancing R&B-based vocal tunes with easy, acoustic guitar-based instrumentals. While it's a friendly enough listen, Butler here doesn't display a powerful enough mastery of either format. His guttural, heartfelt vocal style -- reminiscent of Jon Secada -- can make even the most Lionel Richie-esque lyric seem deeper than it is (even a new song with a title like "The Way You Look Tonight"), but few of the adult-oriented vocal tunes here are as memorable or hooky as his best-known hit, "Sarah Sarah." "Do You Love Me?," for instance, should be a deep, ...
| | Gregg Bendian Requiem For Jack Kirby CD (2001)
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One of the most storied graphic artists of the 20th century, Jack Kirby was a legend in the comics world. Requiem for Jack Kirby is a post-bop salute to this visionary comic artist by percussionist Gregg Bendian (here on vibes and occasional glockenspiel) with his regular collaborators Nels Cline (alternating between clean and melodic Wes Montgomery-like guitar lines and harsher sounds like the angular, staccato plucking of "The Mother Box"), no-nonsense bassist Joel Hamilton, and flamboyant but not over-aggressive drummer Alex Cline. Although most of the tracks take their titles and inspiration from Kirby's work, the centerpiece track is the rapturous 17-minute elegy "Teaneck in the Marvel Age," which revisits Bendian's comics-besotted mid-'60s youth by setting up an almost nostalgic post-bop groove that recalls some of Thelonious Monk and John Coltrane's settings of the period, then periodically interrupts ...
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Right Brain Patrol features Marc Johnson in a trio setting with ...
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| | Splatter Trio Clear The Club CD (2007)
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The origin of the music on Clear the Club is a bit ambiguous. Originally a series of studio jams from as far back as 1993, the music by the Splatter Trio (saxophonist Dave Barrett, guitarist Myles Boisen, and drummer Gino Robair) plus guests has been overdubbed and mixed in with portions of live and later studio recordings. Despite that, the performances have unity and logic. Some of the playing is quite violent in spots and a few selections stick ...
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