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What does one think upon receiving five compact discs of late (1979-1982) Art Pepper sideman sessions? That someone is capitalizing on his name? That this is straight ahead West coast jazz, redux, so that it is more an artifact than an exemplary performance? Or that none of the above matters? Probably some of each. Pepper is a legend, deservedly, and so all nuggets from his career deserve attention.
This period was an attempt to return to a mid-fifties west coast groove, so there is a standardization to the performing - the head is played, everyone solos, occasionally the piece tags out with a two horn (Bill Watrous's trombone and Pepper's alto) dalliance, and then it's done. Musicians cleave to the melody, tastefully improvising but rarely with exceptional insight. Solid, but not spectacular, with little bursts of astonishment.
But with Pepper, the lode to be mined is richer. Start with his playing with Watrous' quintet, and the ordinary is matched by the exceptional, as on the finger-snapping "For Art's Sake" and the chaste poetic genius on "Angel Eyes." And as the session progressed (or maybe as my ears attuned), the music become more substantial, aided in no small part by Watrous' fine soloing.
It gets better, much better. Pepper's stint with pianist Pete Jolly is a splendid set of high-tempo, flash and dash solos with a sharp, articulate rhythm section. Again, when the pace slows to the balladry of "You Go To My Head" one is left awe-struck. "I Surrender Dear" is a finger-snapping mid-tempo take, with Pepper thinking and feeling a solo that captures mood and then redesigns the melody. Jolly is a sharp-witted pianist, making this a balanced, creative outing.
Then there are the two-sax grooves. First, Pepper with Sonny Stitt, an adventure that has some moments but could have been more, as the two players run through a bop repertoire. Their skill is apparent, but so is the casual nature of their encounter. Until a change in rhythm section, and a two-tenor blast on "Lester Leaps In." And then, the meeting with Lee Konitz, where the music reverts to west-coasting and the two inspire and play off of each other, even in the context of what is obviously a one-time affair.
Overall, I'm not sure that 5 CDs were needed to highlight Pepper's late sideman years. But for those who value completeness, and as further confirmation of Pepper as one of jazz's most brilliant altos, this is a delight.
— Jules Epstein, May 2001
Release Date: 24 April 2001please send comments to jazzmatazz@att.net
last update 26 May 2001