ART PEPPER "the way it was " LP NM/EX 1972 Contemporary
$
26
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Description
AllMusic Review by Scott Yanow
Despite his very erratic lifestyle, altoist Art Pepper never made a bad record. This collection is better than most. The first four titles team together Pepper with tenor saxophonist Warne Marsh, pianist Ronnie Ball, bassist Ben Tucker, and drummer Gary Frommer for generally intriguing explorations of four standards. One can feel the influence of Lennie Tristano (with Pepper in Lee Konitz's place), although Pepper had his own sound and a more hard-swinging style. The success of the Pepper-Marsh front line makes one wish that they had recorded together again. The other three selections are leftovers from a trio of classic Pepper albums, and all are quite worthwhile. Pepper is heard backed by three separate rhythm sections, which include pianists Red Garland, Dolo Coker, or Wynton Kelly; either Paul Chambers or Jimmy Bond on bass; and Philly Joe Jones, Frank Butler, or Jimmy Cobb on drums. Overall, this album sticks to bop standards and finds Art Pepper in top form.
Art Pepper ?– ...The Way It Was!
Label:
Contemporary Records ?– S7630
Format:
Vinyl, LP, Album
Country:
US
Released:
1972
Genre:
Jazz
Style:
Post Bop, Cool Jazz
TracklistHide Credits
A1 I Can't Believe That You're In Love With Me
Written-By – Clarence Gaskill, Jimmy McHugh
5:21
A2 All The Things You Are
Written-By – Oscar Hammerstein II & Jerome Kern*
6:32
A3 What's New
Written-By – Bob Haggart, Johnny Burke
4:03
A4 Tickle Toe
Written-By – Lester Young
4:50
B1 The Man I Love
Written-By – George & Ira Gershwin
6:32
B2 Autumn Leaves
Written-By – Jacques Prévert, Johnny Mercer, Joseph Kosma
6:28
B3 The Way You Look Tonight
Written-By – Dorothy Fields, Jerome Kern
6:35
Companies, etc.
Phonographic Copyright (p) – Contemporary Records, Inc.
Copyright (c) – Contemporary Records, Inc.
Pressed By – RCA Records Pressing Plant, Hollywood
Recorded At – Contemporary's Studio
Published By – Mills Music, Inc.
Published By – T. B. Harms
Published By – M. Witmark & Sons
Published By – Bregman, Vocco & Conn, Inc.
Published By – New World Music Corp.
Published By – Morely Music Co,
Published By – Marke Music Publishing Co., Inc.
Credits
Alto Saxophone – Art Pepper
Bass – Ben Tucker (tracks: A1 to A4), Jimmy Bond (tracks: B2), Paul Chambers (3) (tracks: B1, B3)
Design – George Kershaw (2)
Drums – "Philly" Joe Jones (tracks: B1), Frank Butler (tracks: B2), Gary Frommer (tracks: A1 to A4), Jimmy Cobb (tracks: B3)
Engineer – Roy DuNann
Liner Notes – Laurie Miller*
Liner Notes [Told To Laurie Miller] – Art Pepper
Photography By [Cover] – Cecil Charles
Piano – Dolo Coker (tracks: B2), Red Garland (tracks: B1), Ronnie Ball (tracks: A1 to A4), Wynton Kelly (tracks: B3)
Producer – Lester Koenig
Recorded By – Roy DuNann
Tenor Saxophone – Warne Marsh (tracks: A1 to A4)
Notes
Yellow labels
#A1-A4: recorded Nov. 26, 1956. Previously unreleased.
#B1: recorded Jan. 19, 1957. Previously unreleased from session for "Art Pepper Meets The Rhythm Section" (Contemporary S7532)
#B2: recorded Nov. 23, 1960. Previously unreleased from session for "Art Pepper: Intensity" (Contemporary S7607)
#B3: recorded Feb. 29, 1960. Previously unreleased session for "Art Pepper: Gettin' Together" (Contemporary S7573)
All sessions recorded at Contemporary's Studio in Los Angeles.
? 1972 Contemporary Records, Inc.
© 1972 Contemporary Records, Inc.
Cover photo taken at the January 19, 1957 session.
Liner Notes by Art Pepper, told to Laurie Miller Sept. 13, 1972. (Laurie Miller is a free-lance photographer and writer with whom Art Pepper is working on his autobiography.
Album front cover and liner © 1972 by Contemporary Records, Inc.
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.
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