He was expressing his feelings naturally producing sounds and phrases he invented himself, not copying runs and phrases in common usage by Charlie Parker and other musicians,. Sometimes the "trip" induced by effect of heroin but not here where he was searching forward and keeping the mood and rhythm
Art in-between prison stints. He was in the can from 61-64 out long enough to record this performance and back in again from 64-65, thankfully for the last time.
I read where John Coltrane, of all people, ran into him in L.A. and the two had a heart-to-heart. He told Art "why do you keep using. You are killing yourself...you have so much to offer music." Soon after this he entered Synanon to get clean.
Art Speaks the wisdom. So glad to have shared a brandy with him prior to his death in circa 1985. His stories of him and Charlie Parker on 52nd back in the day left me spellstruuck.
Can you share any hightlights? Were they about Art and Parker playing together, or just them hanging out? I wish we knew more about Bird as a person. I read he was nice guy, absorbed everything around him. Smart. The only recording of his voice I know of is the interview with Paul Desmond, and the TV performance with Dizzy.
@@airjor1 then it must have been 1982, I remember hearing he died about 6 months after I met him at the Savoy ballroom in ST. Paul, MN. He said he had a disease like sickle cell, but it affect italians. My room mate was lead trombonist for the UMINN varsity jazz band, and it was a guest appearance Art did with them. I got to sit in on a rehearsal prior to the gig. Art was a fantastic conductor and arranger too. I'll never forget watching him teach the band to play "A night in Tunisia" the authentic way...wowo!
In this clip Art Pepper gives a revealing account of playing jazz in a small group....9.52 he stresses "it's almost impossible to play the same thing twice"......that folks, is the essence of improvisation in jazz!
Amazing footage - thanks so much for posting Pavel. By all accounts, particularly his own, he wasn't clean in this brief period between gaol spells - the eyes tell a story. Yet he produces a performance like this - unbelievable. Not sure what Mathew V's comment about Art playing tenor meant, unless it was about his other playing not on this clip!
My 2nd comment tonight (nov. 2023) as I did not expect such a long set and an interview! Pepper did absorb gracefully, I think, influences from Coltrane mostly and was working with passion and courage (considering his life conditions) The band was not so bad at all.
Yeah as others have noted, he sounds like he was into Yusef Lateef Eastern Sounds and of course Coltrane and his own middle eastern/indian influenced explorations. I never heard this kind of thing from Art, and I've listened to a lot of his albums. It's fantastic. This is the kind of stuff I enjoy and aspire to in my own playing.
This is on the cusp of the times for 1964. Audiences weren't ready for this yet. The interviewer was asking inane questions in order to inform audiences that were new to this. Of course he knew the answers but giving Art the opportunity to project his persona verbally was a risk in that most serious players do not suffer banal banter. For this era, this was cutting edge and still has legs IMHO. Thoughtful playing is always interesting no matter what style or era. Talent will always rise above the junk unless the pile of junk is too high. Too high a price to pay also IMHO.
This is such a shock after you've learned to Love Art from albums like plus eleven, Omega Alpha, Smack up and Intensity. What I like about his playing here is he's angry, intense and thoroughly hip to what was happening in the jazz world while he was in San Quentin. I lot of people dont like him around this time, but I love it and this this band was great. They made an album for Contemporary in 64 but Les Koenig wouldn't release it as it broke his heart hearing Art play like this. He liked the old melodic Art. The album is excellent, a bit intense and exhaustive to listen to, but the only document of Pepper from this period.
I think his book said people thought he was too Coltrane in this period and lost some of what made his sound before he combined the approaches in the 70s
I guess he felt like he did all he could with trad/bop style jazz. It must have been a strange time around then as a jazz player because the landscape was changing so drastically. I always wondered what Bird would have gone on to do had he lived into the 60s.
@@xxczerxx I'd like to think Bird would have moved with the times, unlike Dizzy for example. He may have developed an Eric Dolphy sound. What a thought!
Cómo que no tan grande? Está considerado uno de los tres grandes saxo altos del periodo postbop, al lado de Eric Dolphy y Lee Konitz. Para probar lo que afirmo, escucha la serie de omega man grabada por Art Pepper y Carl Perkins en el piano. Esto es Jazz de otra galaxia.
The first song is, of course, "The Trip", which involves scales and rhythms this group wasn't really ready to master. Years later this song finally makes its intended sound when Milcho Leviev is the pianist.
When Art made his final comeback in the mid-seventies, "The Trip" was recorded on his eponymous album for Contemporary Records in 1976. That version with Elvin Jones and George Cables is immeasurably superior to this one. Listening to this recording, I noticed how Art's tone had changed from the smooth West Coast tone of the 50s and had become harsher and more strident, but it hadn't yet evolved into the intense sound of he later comeback. Did it reflect turbulent personal life? Quite possibly. Art put his whole life into his music-think of "Lost Life"-and although so many years were wasted in jail for the "crime" of drug abuse, thankfully he still utilized the time from 75-82 most productively.
Hi Greg, so your dad was Pete Jolly, right? I've heard of him. He played on one of Art's Contemporary albums in the 60s, "Smack Up." It features an absolute classic track, "Las Cuevas de Mario," which is in 5/4 and is one of the few tunes written in that signature (the other being "Take Five). As the version on "Smack Up" was a remake of the tune, I think-but am not absolutely sure-that Art's tune was the first to be written in 5/4. To be honest,I think it has more soul than Paul Desmond's tune-pretty though his sound on alto was.
@@nickybatts686 Possibly, except for the fact that Art poured everything into his music and you could argue it was richer for the experiences he had endured.
This show was done shortly after Art Pepper was released from San Quentin Prison, when he got out the Jazz scene had changed in the few years in lockup he had (again). There was so much being influenced by John Coltrane, Pepper decided to follow some of the influence which you see here. Ralph Gleason was helping get him some gigs around the Bay Area and this appearance on Jazz Casual. When he came back to L.A. and did an appearance at Shelly Manne's Club, after the first set Manne asked Pepper what he was doing. Pepper said he was trying out the new scene etc hoping to get things on track. Manne along with a few others that came from his Pre-Quentin days advised him to go back to being Himself with his Own Sound. At that point Buddy Rich hearing that he was back reached out an offered him the gig on condition he stayed clean. The rest is History.
The rhythm section is way too tight- nothing wrong technically, but not locked in with what Art was going for here. In any case, great to see the footage. Gracias for posting!
Yes. He became interested in Coltrane’s freer work at that time and started incorporating his interpretation of that in situations like this. “Straight Life” is a highly recommended read...
It sounds like each musician is on his own on this recording. The music seem to be headed in no particular direction. Everyone for them self. This could be free Jazz.😮
He was not annoyed, also since Ralph Gleason wrote extensively and was also one of the Founders of Rolling Stone Magazine, I don't think he would be considered Idiotic. He was also trying to get Pepper to open up as at this time before airing Pepper was having some difficulty, if you notice he was not well and breaking out in sweats. Gleason just secured him this spot and some gigs at some of the clubs in the area.
@@jayschelstrate9878 Addicts don't usually perform when they're in withdrawals, they'd skip the gig and couldn't perform well. He was most likely high or maybe hadn't had a fix in a while but wasn't experiencing WDs yet
What a fkn gift to have this moment in time documented. Thank you
He was expressing his feelings naturally producing sounds and phrases he invented himself, not copying runs and phrases in common usage by Charlie Parker and other musicians,. Sometimes the "trip" induced by effect of heroin but not here where he was searching forward and keeping the mood and rhythm
@@edwarddesenne6153 : And, he said so, the discovery of John Coltrane's music
not one episode of these jazz casual TV shows I didn't think were great...hipper times
Art in-between prison stints. He was in the can from 61-64 out long enough to record this performance and back in again from 64-65, thankfully for the last time.
I read where John Coltrane, of all people, ran into him in L.A. and the two had a heart-to-heart. He told Art "why do you keep using. You are killing yourself...you have so much to offer music." Soon after this he entered Synanon to get clean.
Gee thanks for telling us about prison stints.
I was just listening to the music.
But now I can think about prison stints.
Thank you so much.
Just for using? wow!
@@karlkrass8645 He had a check-printing machine behind the sofa.
@@karlkrass8645 No...not just for using....there's usually activity of a criminal nature to feed the habit....that's where incarceration kicks in
Art Speaks the wisdom. So glad to have shared a brandy with him prior to his death in circa 1985. His stories of him and Charlie Parker on 52nd back in the day left me spellstruuck.
Can you share any hightlights? Were they about Art and Parker playing together, or just them hanging out?
I wish we knew more about Bird as a person. I read he was nice guy, absorbed everything around him. Smart.
The only recording of his voice I know of is the interview with Paul Desmond, and the TV performance with Dizzy.
Wow! Good for you. I'll bet it was an extremely interesting experience for you.
@@airjor1 then it must have been 1982, I remember hearing he died about 6 months after I met him at the Savoy ballroom in ST. Paul, MN. He said he had a disease like sickle cell, but it affect italians. My room mate was lead trombonist for the UMINN varsity jazz band, and it was a guest appearance Art did with them. I got to sit in on a rehearsal prior to the gig. Art was a fantastic conductor and arranger too. I'll never forget watching him teach the band to play "A night in Tunisia" the authentic way...wowo!
-- his death in circa 1985--
1982
Really fine video recording of an excellent set by the quartet, really good for the time period.
Damn, these guys swing. So good.
All through this session it sounds like the music is going to peter out.
Bird was chased out of Art by Coltrane. Here in full glory.
I saw a moving pepper for the first time!
動いているペッパーを初めて見た！
In this clip Art Pepper gives a revealing account of playing jazz in a small group....9.52 he stresses "it's almost impossible to play the same thing twice"......that folks, is the essence of improvisation in jazz!
My Teacher at UMINN, Dr. Rueben, who was lead tenor for the Gene Krupa big band said "David, Jazz thrives on its imperfection."
Thank you for this gem.
Hersh Hamel looks like an actor acting like he's playing bass. Too cool.
can't hear it except for the solo
Amazing footage - thanks so much for posting Pavel. By all accounts, particularly his own, he wasn't clean in this brief period between gaol spells - the eyes tell a story. Yet he produces a performance like this - unbelievable. Not sure what Mathew V's comment about Art playing tenor meant, unless it was about his other playing not on this clip!
My 2nd comment tonight (nov. 2023) as I did not expect such a long set and an interview! Pepper did absorb gracefully, I think, influences from Coltrane mostly and was working with passion and courage (considering his life conditions) The band was not so bad at all.
merci, c'est la première fois que j'entendais la voix d'Art Pepper, en plus le live est d'une très bonne qualité
What a feeling, guys! So deep!
every time I revisit this gem its different, this time almost EASTERN-esqe. Genius. HBD ART
That toughened up sound is so real to the time he was in. Dig it.
👏🏾👏🏾
Yeah as others have noted, he sounds like he was into Yusef Lateef Eastern Sounds and of course Coltrane and his own middle eastern/indian influenced explorations. I never heard this kind of thing from Art, and I've listened to a lot of his albums. It's fantastic. This is the kind of stuff I enjoy and aspire to in my own playing.
9.0.....Art's face......the whole of his book Straight Life is in that face.
but still kinda good looking..
This is on the cusp of the times for 1964. Audiences weren't ready for this yet. The interviewer was asking inane questions in order to inform audiences that were new to this. Of course he knew the answers but giving Art the opportunity to project his persona verbally was a risk in that most serious players do not suffer banal banter. For this era, this was cutting edge and still has legs IMHO. Thoughtful playing is always interesting no matter what style or era. Talent will always rise above the junk unless the pile of junk is too high. Too high a price to pay also IMHO.
This is such a shock after you've learned to Love Art from albums like plus eleven, Omega Alpha, Smack up and Intensity. What I like about his playing here is he's angry, intense and thoroughly hip to what was happening in the jazz world while he was in San Quentin. I lot of people dont like him around this time, but I love it and this this band was great. They made an album for Contemporary in 64 but Les Koenig wouldn't release it as it broke his heart hearing Art play like this. He liked the old melodic Art. The album is excellent, a bit intense and exhaustive to listen to, but the only document of Pepper from this period.
Apparently, this album has been released by now - what's the Name/Company? Thanks for helpig out!
@@basiefriend Its on the Straightlife website, Widows Taste Label, The Art History Project Vol.3. Available as cd or mp3 download.
I think his book said people thought he was too Coltrane in this period and lost some of what made his sound before he combined the approaches in the 70s
I guess he felt like he did all he could with trad/bop style jazz. It must have been a strange time around then as a jazz player because the landscape was changing so drastically. I always wondered what Bird would have gone on to do had he lived into the 60s.
@@xxczerxx I'd like to think Bird would have moved with the times, unlike Dizzy for example. He may have developed an Eric Dolphy sound. What a thought!
That man is flowing through those changes like water flows through an aqueduct
As great as anybody ever in his era
Great ❤I started from Art with my longlife adventure with Jazz
Amazing, thanks for sharing!
Excellent free jazz number
Amazing
Art Pepper c'est trés grand,avec Eric Dolphy ,Coltrane,
pas aussi grand que Doplhy ou Coltrane
Absolument avec Ben Webster, J Hodges , Parker, Desmond, Shepp, etc...
Cómo que no tan grande? Está considerado uno de los tres grandes saxo altos del periodo postbop, al lado de Eric Dolphy y Lee Konitz. Para probar lo que afirmo, escucha la serie de omega man grabada por Art Pepper y Carl Perkins en el piano. Esto es Jazz de otra galaxia.
Damn, Art Pepper was cool!!!
Stevelaceying at his best❤
The first song is, of course, "The Trip", which involves scales and rhythms this group wasn't really ready to master. Years later this song finally makes its intended sound when Milcho Leviev is the pianist.
When Art made his final comeback in the mid-seventies, "The Trip" was recorded on his eponymous album for Contemporary Records in 1976. That version with Elvin Jones and George Cables is immeasurably superior to this one. Listening to this recording, I noticed how Art's tone had changed from the smooth West Coast tone of the 50s and had become harsher and more strident, but it hadn't yet evolved into the intense sound of he later comeback. Did it reflect turbulent personal life? Quite possibly. Art put his whole life into his music-think of "Lost Life"-and although so many years were wasted in jail for the "crime" of drug abuse, thankfully he still utilized the time from 75-82 most productively.
Interesting...Thanks for sharing. My father played piano many shows / and on many albums with Art. Greg Jolly
Hi Greg, so your dad was Pete Jolly, right? I've heard of him. He played on one of Art's Contemporary albums in the 60s, "Smack Up." It features an absolute classic track, "Las Cuevas de Mario," which is in 5/4 and is one of the few tunes written in that signature (the other being "Take Five). As the version on "Smack Up" was a remake of the tune, I think-but am not absolutely sure-that Art's tune was the first to be written in 5/4. To be honest,I think it has more soul than Paul Desmond's tune-pretty though his sound on alto was.
Great comments Tim. His version of The Trip in '76 was more elipitical, if ya dig what I'm gettin' at.
@@nickybatts686 Possibly, except for the fact that Art poured everything into his music and you could argue it was richer for the experiences he had endured.
This show was done shortly after Art Pepper was released from San Quentin Prison, when he got out the Jazz scene had changed in the few years in lockup he had (again). There was so much being influenced by John Coltrane, Pepper decided to follow some of the influence which you see here. Ralph Gleason was helping get him some gigs around the Bay Area and this appearance on Jazz Casual. When he came back to L.A. and did an appearance at Shelly Manne's Club, after the first set Manne asked Pepper what he was doing. Pepper said he was trying out the new scene etc hoping to get things on track. Manne along with a few others that came from his Pre-Quentin days advised him to go back to being Himself with his Own Sound. At that point Buddy Rich hearing that he was back reached out an offered him the gig on condition he stayed clean. The rest is History.
Art heard Trane. N here he is this himself withA precipiceedge
❤
un gato de leyenda!
🌸💙🌱😃
The rhythm section is way too tight- nothing wrong technically, but not locked in with what Art was going for here. In any case, great to see the footage. Gracias for posting!
And not much energy from drums!
Seems like the drums are dragging slightly.
Do you know if Art was allowed to play his horn in prison?
Yes. He became interested in Coltrane’s freer work at that time and started incorporating his interpretation of that in situations like this. “Straight Life” is a highly recommended read...
Nice, but my favorite jazz musicians are Grover Putz, Billy Turpentine, and Big Tarpaper Roll Spangler McGee.
On which sax Art plays, can someone give me the exact reference number of series and year ? thanks
Can't be sure but I think it's a Martin based on the look of the octave key.
On this date it's a martin committee 3. The same model horn from his classic 50's recordings.@@boulejazz
It's too bad that, (as far as I know)Art never recorded with Jackie McLean. Can you imagine?
unfortunately I can not
A better foil would have been an album with Stan Getz in the late 70's, it couldn't miss!
Interesting how strange it was for mainstream America to fathom the very idea of improvisation. 9:31
I dont know what to say.....
Well, whatever you say, say it with feeling! 😂
13
It sounds like each musician is on his own on this recording. The music seem to be headed in no particular direction. Everyone for them self. This could be free Jazz.😮
Art Peeper is my main idol but certainly NOT in this era of his life.
Art's clearly annoyed by the host's idiotic questions. His answer to everything should have just been "This is jazz, man".
He was not annoyed, also since Ralph Gleason wrote extensively and was also one of the Founders of Rolling Stone Magazine, I don't think he would be considered Idiotic. He was also trying to get Pepper to open up as at this time before airing Pepper was having some difficulty, if you notice he was not well and breaking out in sweats. Gleason just secured him this spot and some gigs at some of the clubs in the area.
Was he annoyed or needing his next fix? It's pretty hard to get a read on someone that dependent on heroin.
@@jayschelstrate9878 Addicts don't usually perform when they're in withdrawals, they'd skip the gig and couldn't perform well. He was most likely high or maybe hadn't had a fix in a while but wasn't experiencing WDs yet
Excellet music! Pity the presenter and his simplistic questions!!!!
didn't know mcnulty played sax
Неважно выглядит Арт...
Bill Goodwin is very distracting here and out of his element for the most part.
He looks stiff stoned but he is the best... but maybe not here.