MARTY PAICH (feat. ART PEPPER) Like Wow 12" Vinyl LP Mono Deep Groove Press

$

28

Marty Paich (featuring Art Pepper)

Like Wow!
12" Vinyl LP Mono Deep Groove Pressing Interlude Records

Item Description:

Tracklist

A1 Art's Opus

A2 I'll Remember April

A3 Lullaby of the Leaves

A4 Jump For Me

A5 All the Things You Are

B1 Marty's Blues

B2 Pitfall

B3 Dool's Blues

B4 Theme From Lighthouse

B5 What's Right For You

Credits

Alto Saxophone – Art Pepper

Bass – Joe Mondragon

Piano – Marty Paich

Vibraphone, Drums – Larry Bunker

Notes

Artist Biography by Steve Huey

One of the best-known arrangers of the post-World War II era, Marty Paich had much stronger jazz credentials than many of his peers, thanks to his active presence on the West Coast scene during the '50s. Paich was born in Oakland, CA, on January 23, 1925; he started out as a pianist, and was performing professionally at age 16. Along with the up-and-coming Pete Rugolo, he wrote arrangements for local bandleader Gary Nottingham. Tapped for military service in 1943, he continued to arrange while serving as the leader of the Army Air Corps band through 1946. Following his discharge, he used the G.I. Bill to further his musical education, enrolling at UCLA to study arranging under Mario Castelnuovo-Tedesco (who also helped train Nelson Riddle). He earned a master's degree from the Los Angeles Conservatory of Music in 1951, and quickly found work in the industry as both an arranger and pianist, working with Jerry Gray and Dan Terry early on.

Cool and CrazyPaich soon graduated to higher-profile gigs, playing and arranging for Shelly Manne and Shorty Rogers (the latter on the big-band album Cool and Crazy) over 1953-1954, and also serving a stint as Peggy Lee's accompanist and musical director. He led his own groups as well, and in 1955 he began recording for a succession of labels that included Mode, Tampa, Candid (The Picasso of Big Band Jazz), Warner (I Get a Boot Out of You), and RCA Victor. He also toured with Dorothy Dandridge, and arranged (and performed on) the soundtrack to the Disney film Lady and the Tramp (1955). During the mid- to late '50s, Paich wrote arrangements for a who's who of West Coast jazz, including Chet Baker, Buddy Rich, Ray Brown, Dave Pell, and Stan Kenton, among others. Perhaps his most notable work came with Mel Tormé, whom he often backed with a ten-piece group dubbed the Dek-tette; the pairing resulted in the classic album Mel Tormé and the Marty Paich Dek-tette (aka Lulu's Back in Town), plus numerous other high-quality sessions through 1960. Additionally, Paich contributed the arrangements to altoist Art Pepper's 1959 masterpiece Art Pepper + Eleven: Modern Jazz Classics. Paich's work for both Tormé and Pepper reflected one of his greatest strengths as an arranger: making relatively small groups sound like full-size orchestras.

By the close of the '50s, Paich had already begun to branch out from his West Coast roots, arranging material for Ella Fitzgerald, Anita O'Day, and big-band leader Terry Gibbs. Around 1960, he elected to move away from his own recording career to focus on arranging for pop (and sometimes jazz) vocalists. Over the course of the decade, he worked with the likes of Ray Charles, Lena Horne, Helen Humes, Al Hirt, Andy Williams, Sammy Davis, Jr., Dean Martin, Frank Sinatra, Barbra Streisand, Astrud Gilberto, and Mahalia Jackson, among many others. He also composed music for films (including some animated Hanna-Barbera projects) and television shows, winning an Emmy for his work on Ironside. In the late '60s, he served as musical director on a succession of variety shows, including The Glen Campbell Good-Time Hour, The Smothers Brothers Comedy Hour (as Nelson Riddle's successor), and The Sonny and Cher Show.

Songs of the Beatles After the early '70s, Paich's activity began to tail off, though he still worked sporadically as an orchestra conductor and string arranger, both on movie soundtracks and for artists like George Benson, Carly Simon, Elton John, and Kenny Loggins (a Grammy-nominated arrangement for "Only a Miracle"), not to mention his son David Paich's album rock supergroup Toto. He also helmed Sarah Vaughan's Songs of the Beatles project in 1980. In the late '80s, Paich reunited with a resurgent Tormé, reorganizing the Dek-tette for a series of highly acclaimed recordings and tours. He also continued to work on soundtracks into the '90s, frequently as a conductor and musical supervisor. Colon cancer claimed Paich's life on August 12, 1995.

Artist Biography by Scott Yanow

Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth hearing. In the 1950s, he was one of the few altoists (along with Lee Konitz and Paul Desmond) who was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity.

Modern Jazz Classics After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict during that period. The '50s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also served two jail sentences stemming from drug offenses in 1953 and 1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the '60s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. He recorded with Buddy Rich in 1968 before getting seriously ill and seeking rehabilitation at Synanon (1969-1971). Pepper began his serious comeback in 1975 and the unthinkable happened: Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form, but topped himself with intense solos that were quite unique; he also enjoyed playing clarinet occasionally. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. Art Pepper died of a cerebral hemorrhage on June 15, 1982 at the age of 56.

Jacket Condition: VG

Very Good, some wear on jacket corners, seam split on bottom of jacket, small bends on jacket spine, ring wear present (see pictures). 

Vinyl Condition: G

Good condition, scuffs and scratches present (see pictures).

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