"'Ophelia' was written in 1963 in San Quentin, and it's about women. It's supposed to be pretty like a woman, really sad like women make you at times, and unpredictable and changeable.
"I got out of San Quentin not long after I wrote 'Ophelia', but it was only a few months before I went back again. And that's when I wrote 'Lost Life'. I called it that because I'd spent over ten years in prison and felt like I was never going to get out for any length of time. I figured I'd blown any chance I might have had to make anything of my life. When I wrote it, I never dreamed I'd ever record 'Lost Life', or anything else for that matter.
"When I got out of San Quentin for the last time at the end of '66, it was hard to get any kind of jazz gig. I'd go out with my tenor to rock clubs and sit in with the bands. The only professional job I had was at Shelly's Manne-Hole. At that time I was playing very outside, and when I started blowing at Shelly's, I could feel the mixed reaction of the audience.
"I knew it was because I was playing tenor. I was an alto player and when they heard my records jazz fans could say, 'That's Art Pepper,' because I had a style and tone all my own on the alto. I had switched to tenor for two reasons. Rock was in vogue, and only tenor players seemed to be working. But the major reason was that after all my years of playing, I had been influenced to the point of imitation by another musician, John Coltrane. I felt what I wanted to say I could only say with the tenor.
"At the breaks people came over to talk to me. Most of them were very upset. Someone said, 'Man, what happened to Art Pepper? Where's the beauty? Have you gone crazy?'
"I was very discouraged when, in 1968, I got a call from Buddy Rich, asking me to play lead alto in his band. I borrowed a horn and, when I started playing alto again in that setting, everything fell into place for me musically. I discovered I was able to say everything I wanted to say and I didn't have to sacrifice my individuality to be accepted or modern.
"When I was with Buddy's band, my spleen ruptured, and I almost died. After two operations, in terrible condition with nowhere to go, I moved into Synanon.
"In Synanon all I had was a tenor saxophone, but I only played occasionally in the evenings when the residents did a dance they called the 'Hoop-La'. The music was a kind of jazz-rock. I like playing for dancing, and I like all kinds of music, including rock, if it's done well. 'What Laurie Likes' might be called 'jazz-rock', but really it's just a down-home thing and a vehicle for me.
"After I left Synanon in 1972, I worked as a bookkeeper because I wasn't sure I wanted to return to music. Then I got a call from the University of Denver to do a clarinet clinic, a seminar-concert for student musicians. I didn't own any instruments, so I borrowed an old clarinet and went to Denver where I met Ken Yohe, who was showcasing instruments for Buffet. He was a fan of mine, and when he saw what I was playing, he lent me a clarinet. Ken encouraged me to get back into music. He said he'd arrange with Buffet for me to get some horns. Within a month I had them, and I've been doing clinics ever since. A year or so ago Ken came to L.A. and dropped into Donte's to hear me play. That night I wrote a little blues line and called it 'Mr. Yohe' in his honor.
"That night no doubt I also played 'Here's That Rainy Day' because it's a ballad I really love. I think I enjoy playing ballads more than anything else. You can pour your soul into them. You can say everything.
"'Samba Mom-Mom' was written right before we recorded. I wanted a Latinish happy ending for the album. It's not really a samba. I asked Shelly to play something that fit the melody, and he did.
"On September first I'll be fifty. The saying goes, 'Life begins at forty.' It looks for me like life begins at fifty, and I never thought I'd live to see fifty, let alone start a new life at this age. I think I'm playing better now than I ever have. Mentally and physically I feel better than I have since I was a kid. I've gone back to alto because that's my horn, the one I dig most of all, and when I play, I just play the way I feel - like I did on this album. If I get outside, it's because I feel outside, and if I feel funky, that the way I'm going to play. The main thing is to swing and be honest." (Art Pepper, August 30, 1975. From the liner notes.)
"I haven't played with Art since 1957... on this album he played what he plays best. It felt wonderful. It felt beautiful. He's a master musician. I've always felt a closeness with Hamp, the way he plays, his time, harmony concept. And Shelly, I've always loved to play with him. It really was a good experience to play with them. I mean that's the whole purpose of playing music - to feel a closeness with the musicians and to achieve that ultimate feeling of closeness with creativity, with music. It's a very rare and precious feeling, and that's the reason we've all dedicated our lives to the language of jazz - to achieve that feeling." (Charlie Haden. From the liner notes.)
"I first played with Art in 1951. We had a quartet at a club in L.A. When we made this album I hadn't played with him for fifteen years but none of the fire has gone out. In fact he even sounded better to me. We both came up at the same time and both of us have been through the trials and tribulations and the rewards of trying to play music for people. And to me Art Pepper is one of the giants. And Charlie and Shelly - they're steady as a rock. They're pros. When you're playing with them, you know, it's no effort at all, just have a good time and play." (Hampton Hawes. From the liner notes.)
"I was excited about doing this album because I hadn't played with Art since some Contemporary sessions in the '50s. I'd heard him several times in clubs, but you have to play with a guy to really feel the difference or the change in him over the years, and the moment we started in the studio I was amazed - I felt a greater strength in him than I ever had felt before. Of course he was always a great melodic and lyrical player, and very sensitive, but on the date his playing was a revelation to me. Maybe it's from all the dues he's had to pay, or however a person grows. I've always enjoyed playing with Hamp. He makes me want to swing - his enthusiasm rubs off on you. Charlie plays -with- you; he listens to what you're doing. His lines are so inventive, and his feeling is so loose and flexible, the door is always open to do your own thing." (Shelly Manne. From the liner notes.)
Performers: Art Pepper (a-sx), Hampton Hawes (pi), Charlie Haden (bs), Shelly Manne (dr)
A1. Ophelia
A2. Here's That Rainy Day
A3. What Laurie Likes
B1. Mr. Yohe
B2. Lost Life
B3. Samba Mom-Mom
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