Art Pepper | The Art History Project, Vol. 1

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REVIEWS! REVIEWS! Buy the Whole Album Music Video: "Track 2" from Disc Two. Art Pepper Website

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Jazz: Cool Jazz Jazz: Afro-Cuban Jazz Moods: Type: Lyrical
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The Art History Project, Vol. 1

by Art Pepper

Cool, sweet, swinging, contrapuntal West Coast Jazz from the 1950's
Genre: Jazz: Cool Jazz
Release Date: 

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  Song Share Time Download
1. Art Pepper
5:20 album only
2. Fascinatin' Rhythm
4:26 album only
3. Patricia
3:38 album only
4. Tickle Toe
2:53 album only
5. Pepper Returns
4:27 album only
6. Mambo de la Pinta
4:17 album only
7. These Foolish Things (Remind Me of You)
2:40 album only
8. Cool Bunny
4:15 album only
9. Besame Mucho
4:00 album only
10. Art's Oregano
3:10 album only
11. Diane
3:35 album only
12. I Can't Believe That You're In Love With Me
5:24 album only
13. Straight Life
2:52 album only
14. Everything Happens To Me
3:07 album only
15. Nutmeg
3:13 album only
16. What's New
4:06 album only
17. Begin the Beguine
7:21 album only
Downloads are available as MP3-320 files.


Album Notes
This 3-Disc set, volume IV of the Unreleased Art Pepper series, sums up the intensity of feeling, the wit, rage, sensuality and daring, the moans of pain and shouts of celebration of the life Art shared with us -- in his book, "Straight Life," and always in his music.

The new set is an ideal companion piece to Art's book and, like the other volumes in the Unreleased Art series, it is an instant collector's item. Each volume has been compiled by the partner who knew Art most completely, and in irreverent anecdotes she gives him to us whole, his music reverentially reproduced and packaged.

The Art History Project is available from CD baby as a 3 disc set. It includes a 20 page booklet with insights into Art's life, and never before seen photos,

FOR PURPOSES OF DIGITAL DOWNLOAD ONLY, HERE IS Disc 1., Pure Art, a story told by the young fellow who placed second only to Charlie Parker in the Down Beat polls, and who, by his own account, "musically, at least, had the world by the tail." That "at least" is typical Art Pepper. Nothing was ever was quite perfect enough. Nothing was ever quite right. He began to use drugs during this period, in an effort to escape the universal lack that prodded and plagued him. This disc is mostly "West Coast Jazz" with all its contrapuntal cleverness and loveliness -- though Art always gave it his own bright little edge of adrenaline so it never was lightweight. Many of the tunes are his originals. Sidemen here include Warne Marsh, Jack Sheldon, and Shorty Rogers "This music is sublime and really timeless," says Laurie.

Coda: Widow's Taste is "nearly impeccable," and Art's playing on previous releases "rhapsodic, heartfelt, almost demonic, exhaustive." --Jack Chambers

New York Times, in a feature article: Widow's Taste "captures the artist at a mesmerizing peak." --Fred Kaplan

Audiophile Audition: "I have loved each of the Unreleased series, but I have to say that Vol. 3 is my favorite. Its combination of funky swinging blues combined with Art's lay-it-on-the-line blowing knocks me out. The sound is surprisingly good and kudos should go to Wayne Peet for a brilliant remastering job." --Jeff Krow

CHECK OUT: Disc 2. Hard Art which consists of mostly unreleased material from a rehearsal recorded at Contemporary Studios in 1964 a few weeks after Art's first release from San Quentin. It reveals his love for Coltrane and for the new sound of jazz. Art's songs still swing and have moments of lyricism, but he uses the license given him by freer musical conventions to express the grief, anger, and alienation he felt in the midst of serving what seemed like an only-occasionally-interrupted life sentence -- doing time in jails and prisons just for using drugs.

AND THEN CHECK OUT: Disc 3. Consummate Art is just that. This is a narrative of reconciliation. In this music, most of which has never been released, Art embraces his past and his pain in music that is delicate, lively, and touching, and, at the same time, free: It rages and celebrates. The edge of desperation is still there, but Art has found a way to use it. He is again at the top of the jazz polls, respected and even adored, playing all over the world. He is "a knowing athlete, trained and poised" (Gary Giddins, Village Voice), who brought from deep inside the beauty of his own passion angst and glee and connected so unerringly with ours. He was "an architect of emotion" (John Litweiler, Chicago Sun-Times) who "played with controlled intensity, clean articulation, and a command of his instrument that make his virtuosity seem almost casual and easy" (John S. Wilson, New York Times).



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