I have lots (!) of saxophone players that I really like, but if you were to put a gun to my head, there are four I would name immediately that I listen to more than any of the others (and, yes, some of the usual suspects are missing in my top-four list, but they are only a quarter of an inch removed from the top).
In order of importance:
Paul Desmond (best tone, ever!), Stan Getz, Art Pepper and Bud Shank.
Although I have just about everything Art Pepper ever recorded (including his shopping list, heroin-infested sessions and music that is WAY out there, including the comparatively rare stuff that was published posthumously by his estate), I will only post the relatively few Pepper CDs that I have in my physical collection.
"Art Pepper Meets the Rhythm Section" (Contemporary, 1957) got me hooked. An absolutely wonderful album that Pepper recorded with a legendary group consisting of Red Garland, Paul Chambers and Philly Joe Jones.
Lots of interesting background on this session but, to keep it short, he had to use a somewhat dilapidated instrument, had been away from the instrument for quite some time, he didn't have the tunes down that were recorded, he was high as a fuc*ing kite ... and was about to work with the best "motor" in the jazz business, musicians he didn't know he was going to be recording with.
Pepper rose to the occasion and recorded one of the best jazz sessions of the time. He moved out of his west coast pigeon hole and fell in brilliantly with a group that had been chaperoned and honed by Miles Davis to be perhaps the most important "backing" group around.
A classic session.
Art Pepper - Art Pepper meets The Rhythm Section
(Contemporary; recorded at Contemporary’s studio in Los Angeles on January 19, 1957)
El 19 de enero de 1957, el saxofonista alto Art Pepper grabó un álbum que podríamos enmarcar dentro del estilo cool muy cercano a la perfección. La sección rítmica de Miles Davis, conocida como The Rhythm Section y procedente en su totalidad de la costa este de los Estados Unidos, fue la que acompañó en esta sesión a Pepper, músico conocido básicamente en la costa oeste. Red Garland al piano, Paul Chambers al contrabajo, Philly Joe Jones a la batería y Art Pepper al saxo alto constituían este cuarteto de lujo.
Por su parte, la sección rítmica llevaba aproximadamente año y medio tocando junto a Miles, habiendo conseguido tocar como una maquinaria perfectamente engrasada. Según parece, Pepper, que admiraba a estos tres músicos, se enteró esa misma mañana que tenía que grabar con el trío en los estudios de Contemporary, en Los Ángeles. En su autobiografía Straight life, traducida al español bajo el título Una vida ejemplar, Pepper afirma que por aquel entonces llevaba unos seis meses sin tocar el saxo y, por si fuera poco, este no se encontraba en las mejores condiciones. Ni siquiera tenía idea alguna sobre qué es lo que iban a grabar.
Nada de esto impidió que todo saliera a la perfección. El propio Pepper confesó que tras un primer ensayo del primero de los temas del álbum, «You'd be so nice to come home to» de Cole Porter, todas las adversidades parecieron esfumarse y comenzó a improvisar libremente. Además de este tema, del blues «Red Pepper blues» compuesto por Red Garland y de «Straight life» —compuesta por Pepper y cuyo título utilizaría para la ya mencionada autobiografía—, la grabación de «Tin Tin Deo» —una composición de Chano Pozo— es sin duda uno de los momentos más brillantes de la sesión. Art Pepper demostraba una vez más que su capacidad para improvisar —en esta ocasión se vio forzado a hacerlo de oído— estaba a la altura de su indudable calidad técnica, siendo capaz de sonar cálido, dulce y cerebral al mismo tiempo.
I’ve been looking forward to listening to this LP all morning. It arrived this week thanks to @what_can_brown. As expected the rhythm is steady, reliable and unpretentious. The sextet format allows for a distinct depth and varied mood. And what a sextet it is! Hand-picked by #PaulChambers we have fellow Pittsburgher #TommyTurrentine on trumpet #LexHumphries on drums (who he clearly has magical chemistry with) #WyntonKelly on piano, and the one and only #YusefLateef on tenor who also wrote all the compositions. And last but not least the raw addition of #CurtisFuller on trombone which just hits it home for me (Vee Jay, 1960).
#Groovy is an album by jazz pianist Red Garland and his trio, released in 1957 on Prestige Records. Released Mid December 1957. Recorded December 14, 1956 (#4 -5) May 24, 1957 (#6 ) August 9, 1957 (#1 -3)
⏩ Personnel :
#RedGarland – piano
#PaulChambers – bass
#ArtTaylor – drums
day 365!!!! THE FINAL DAY!!! some seriously swinging stuff to end A YEAR OF ALBUMS. yeah yeah, i took a few days off (and honestly it got tough), but it’s been fun digging deep. i can’t even describe how much new music i’ve gotten into, how many new friends i’ve made from this little journey/experiment. if anybody has been turned on to anything i have posted, and it stuck with you...let me know. i’d love to strike up some conversations about it. thanks ery’body. gonna start a new thing in a few weeks, just working out the details. so stay tuned! #albumaday#music#365#thefinale#paulchambers#swing#style#themaster
What you find beneath this atypical pop art cover (atypical for a jazz album) is a lineup so good (the Kind Of Blue rhythm section) if it were on say Blue Note this would be a stone cold classic. What you also find is a VANGELDER in the deadwax. The first I’ve seen on a Verve album. There are no horns on this album, giving it a relaxed vibe. Candido’s conga adds a bit of Latin flavor. The recording was done at Webster Hall in NYC over three days in 1964. I’ve seen many concerts at Webster Hall so I figured this was a “live album”. But to my surprise there is no audience. I found this on wiki: “From 1953-1968 RCA Records, recognizing the acoustical integrity of the Grand Ballroom, purchased the building and began operating Webster Hall as their East Coast recording venue, Webster Hall Studios... shows recorded between 1964 and 1969 were all made at Webster Hall, but without a live audience”. I believe this recording technique gives this album a very unique and big sound for a small jazz combo. I absolutely recommend checking this out if you haven’t heard it. #wyntonkelly#paulchambers#kennyburrell#jimmycobb#candido#jazzvinyl#vangelder#jazz#jazzrecords#vinylcollectionpost#vinylcommunity#vinyl#vinylart#vinylclub#vinylgram#cratedigger#cratedigging#dustyfingers#vinyloftheday#vinyligclub#vinylporn#jazzcollection#jazzcollector
Miles Davis is all kinds of blue in this linen backed poster designed by Waldemar Swierzy in 1990. To the musicians who recorded it, Kind of Blue was just another session when it was released in August 1959, but the disc was quickly recognized by the jazz community as a classic.⠀
Miles Davis - Kind Of Blue (1959)
Arguably the most famous jazz record of all time and easily the record that got me to explore jazz music. Features a legendary session of jazz musicians who all had legendary careers. It’s a perfect album to listen to if you If want to explore jazz and are unsure of what you may like. It’s smooth, relaxing and extremely tough to not enjoy. I always feel like I’m in New York City or I’m drinking an expensive cocktail at some top notch restaurant when listening to this. Miles is the GOAT.
Favorite Tracks: All of Them