Anybody well steeped in the history of
jazz will be familiar with the story of this recording, which goes something
like: strung out, drug-addled saxophonist who is out of work and out of luck is
surprised by the announcement of his spouse that he has a recording gig at a
local studio with the rhythm section of the then ubiquitous Miles Davis, so he
dusts off his horn (literally), gets to the studio, is handed some lead sheets,
and in the haze of a fading high, attempts to do a close reading of songs he is
largely unfamiliar with, and pulls off one of the classic jazz recordings of
the decade, if not of all time.
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| He looks okay to me... |
Over the years, we can only speculate how much
of this story is true and how much is embellishment, but what cannot be argued
is that the quality of this recording and its overall musicianship and
listen-ability is top notch. It’s recordings like these that make a
person disappointed that there aren’t more of them, more opportunities for these
parties to have collaborated, maybe even in writing some original tunes
together. I mean, Miles Davis’ rhythm section was tighter than a conga drum
head, and though at times you get the feeling they are carrying Pepper along
with them, there are other times where you can’t help but feel that Pepper has
led them down a musical road they weren’t planning to travel. It's a scintillating effect.
The variety of
tunes is great, and the remastered recording is without glaring inadequacies. Red
Garland’s piano is ethereal at moments, while Philly Joe Jones and Paul
Chambers keep the swing steady and strong. Pepper lays back when he wants, pops
out when he wants, and generally adds just the slightest amount of risky
instability to the steadiest support group from that era of jazz. This is just
a great jazz album, a must have for Miles Davis, Art Pepper and honking sax
fans, and a definite cornerstone of any serious aficionado’s collection. Add this to you collection, and do so
sooner than later. You won’t regret it.
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