Jackie McLean & Dexter Gordon - The Meeting, Vol. 1

"Jackie McLean with Dexter Gordon - what could be more natural? Two of the genuine heavyweights of post-war jazz, whose style stem from the same musical revolution. Men of huge talent with so much in common. Such an obvious partnership that nobody thought of it before - not even when they were both contract artists for Blue Note in the 1960s. Happily, the stars were in the right alignment when Jackie arrived in Copenhagen for an engagement at the Montmartre Jazzhaus during July of 1975. Dexter and Jackie were recorded together at last with a superb rhythm section, a responsive audience and under perfect conditions. 'The Meeting' is that first of two albums that capture the full flavour of those marvellous nights.

"As Jackie indicates in his note on this jacket, Dexter was an early and potent influence on the younger man's conception. When McLean was just a kid of 14 or 15 he used to hang around places where Dex played. At that time 52nd Street was still going full blast and Gordon was the big man on tenor. Sometimes Jackie would even get to sit in with 'Long Tall Dexter', and they jammed side by side at different places through the years.

"McLean's soaring, incisive alto and Gordon's lithe, powerful tenor here combine to give it you straight from the hip. These are players who have never compromised as artists. They play what they feel, what they believe in. They project deep emotions, scorn the superficial. Their stories are about love, hardships, good times, dues, fun, frustration, hope and hurt. There's often a raw edge to their messages but then music be something more than a sugar-coated pill to put you to sleep. 'Sunset' will move you; it isn't meant to be an anaesthetic which is all that so many people (pity them) want from music.

"The fire is lit between Jackie and Dexter from the first ensemble of Gordon's blues All Clean through Sahib Shihab's bright 'Rue de la Harpe', Kenny Drew's pastel shaded 'Sunset' to Ferdie Grufe's 'On the Trail'. The furnace in the rhythmic sense is kept masterfully stoked by Kenny Drew, Niels Henning og Alex Riel (who have worked as a trio, off and on, for eight or nine years).

"For those who may be unfamiliar with these five musicians (is that possible?) here are some brief words of biographical background:

"John Lenwood (Jackie) McLean was born in New York City on May 17, 1932. He started on saxophone at an early age and was greatly helped by pianist Bud Powell. He was first heard on record with Miles Davis in 1951. During the 1950s Jackie worked and recorded with George Wallington, Charles Mingus, Art Blakey and Donald Byrd among others. From 1959-61 he acted and played in Jack Galler's 'The Connection'. Since that time he has led his own groups, frequently toured Europe, played in Japan and taught at the Universy of Hartford. His development as a soloist, composer and leader can be traced on his albums for Prestige and Blue Note among others. In the late 1960s and early 1970s, Jackie made no records. His very welcome return was signalled by his first SteepleChase LP, 'Live at Montmartre' (SCS-1001), taped in August 1972. He now makes an annual trip to Denmark to play the Montmartre and record for SteepleChase.

"Dexter Gordon (born Los Angeles, February 27, 1923) worked in the big bands of Louis Armstrong, Fletcher Henderson, Lionel Hampton and Billy Eckstine before branching out as a star small group soloist. Dexter cast a giant shadow over the tenor sax in the 1940s and such diverse musicians as John Coltrane, Stan Getz and Sonny Rollins all owed a stylistic debt to Gordon. His many recordings for Savoy, Dial, Bethlehem, Jazzland, Blue Note and Catfish are essential listening. Since moving to Europe in September 1962 Dexter has played all over the Continent, but he returns regularly to New York for festival dates and recording sessions. Gordon has been resident of Copenhagen, a city he loves, since the mid-1960s.

"Kenny Drew (born New York, August 28, 1928) has lived in Copenhagen since January 1964, having settled in Europe three years earlier. Kenny, on of the best pianists in the Bud Powell tradition, worked with Coleman Hawkins, Lester Young, Charlie Parker, Brew Moore and Buddy DeFranco in the early 1950s. Later he was with Art Blakey, Kenny Dorham and a host of other groups. Drew has played extensively with Dexter in Europe, but they have an association that goes back to their days in California around 1955-56 (Drew played on Dexter's Bethlehem LP 'Daddy Plays the Horn' and his Blue Notes 'Dexter Calling...' and 'One Flight Up'). Kenny has known Jackie since they were youngsters, too, and he was the pianist on McLean's Blue Note sides 'Blueswalk' and 'Jackie's Bag'. Drew can be heard as leader on 'Duo' (SteepleChase SCS-1002), 'Everything I Love' (SCS-1007) and the forthcoming 'Duo, Volume 2' (SCS-1010).

"Niels-Henning Ørsted Pedersen (born Osted, Denmark, May 27, 1946) is just about everyone's favourite bassists; he seems to get better and better. Having made his first records at the age of 15 (with Bud Powell), Niels-Henning has since been heard with a staggering array of American start from Albert Ayler to Dizzy Gillespie. In the last year or so he has gained great exposure with Oscar Peterson who features him prominently. With his wonderful sound and incredible technique, Niels-Henning emphasies that the electric bass is a redundant invention.

"Alex Riel (born September 13, 1940) is a considerable exciting drummer who was inspired to become a percussionist at the age of 15 by hearing Zutty Singleton's work on the Fats Waller recording of 'Moppin' and Boppin'. Like Niels-Henning, he has backed numerous Americans - Sahib Shihab, Brew Moore, Archie Shepp, Ben Webster, Paul Gonsalves, Kenny Dorham, Stuff Smith, Roland Kirk, Don Cherry, etc. He has recorded under his own name (with Drew and Niels-Henning) for Fona. He was on Jackie's 'Live at Montemartre' and will be heard on Ken McIntyre's forthcoming SteepleChase collection.

"I do not propose to describe in detail the music on these sides. Its high quality is readily apparent.  The brisk 'All Clean' is 17 minutes of pure unalloyed joy. Dexter is the first soloist and is followed by Jackie, Kenny, Niels-Henning (he gets into a remarkable groove). Then come the chorus exchanges between Jackie (always in the left channel) and Dex.

"Sahib Shihab's 'Rue de la Harpe' is a typical, robust hard bop line, the sort Jackie does so well. According to the composer: 'This is a very small street in the Latin Quarter in Paris.' Jackie really stretches here, Dexter holds sway as only he can, and Kenny creates the sort of nimble solo for which he is renowned.

"In 'Sunset' there are lengthy, feeling-filled, declarative statements by Jackie and Dexter, a mellifluous Drew passage and then back to the haunting theme. For a more intimate version of this melody hear Kenny playing it solo on his 'Everything I Love' record.

"Ferdie Grofe's 'On the Trail' has been a firm favourite with musicians since Jimmy Heath re-discovered the tune which has a definitive 'out West', loping feel to it. Jackie handles the theme, Dexter bursts forth, riding the range at a relentless canter. McLean's solo in this well known movement from Grofe's 'Grand Canyon Suite' bristles with fiery ferocity. Kenny digs into a swinging veing and his lines are positively mercurial.

"That's 'The Meeting' - a summit meeting of two jazz superstars. Are you ready for 'The Source'? Can you bear the suspense of waiting that long? Get set for 'Half Nelson', 'I Can't Get Started', 'Another Hair-do' and 'Dexter Digs In'! (Mark Gardner. From the liner notes.)

Performers: Jackie McLean (a-sx), Dexter Gordon (t-sx), Kenny Drew (pi), Niels-Henning Ørsted Pedersen (bs), Alex Riel (dr)

1. Introduction By Jackie Mclean

2. All Clean

3. Rue De La Harpe

4. Callin'

5. Sunset

6. On The Trail

mp3/320kbps

The Return of Art Pepper

"The return of Art Pepper to the Los Angeles jazz scene recently was truly an auspicious occasion, and created a tremendous stir of excitement from fan and jazz musician alike. Los Angeles jazz clubs fortunate enough to have Art drop by and 'sit in' suddenly discover a land office business, and recording companies strongly bid for Art's services on wax. Pepper being back was certainly a jazz event, because everyone remembered Art, whose incomparable work on alto was a source of pleasure to all jazz lovers. When Art blows, you just naturally feel that warm inner glow, and a happy smile crosses your face that only comes from listening to great jazz.

"Herb Kimmel of Jazz:West recognized these facts, and decided that Jazz:West would be the first record company to present Art Pepper with a group under his leadership. This mean more than just the face that Art would get leader credits. It meant that Art had the oppourtnity to select the musicians used on the date, and also a chance to present some of his recent original compositions.

"Art Pepper has achieved recognition by the jazz world in general as being one of the all-time greats, and has placed in the top ten on Down Beat polls for almost a decade. A native Californian, Art was born in Gardena on September 1st, 1925. Music stirred Art's soul at the early age of nine, whne he took up the clarinet. He stuck by it until he was 12, then switched to this horn of destiny: alto sax. Mostly self taught and possessing a rare amount of natural talent, Art was first influenced by the great Joe Thomas, later by Lester Young, Johnny Hodges and the ballad master Ben Webster. Today Art digs Zoot Sims, Stan Getz, Lee Konitz, and naturally Bird. Pepper's proficiency propelled him into the spotlight at the age of 18 when he joined the Gus Arnheim band. A quick succession of better jobs followed in 1943 with such great bands as Lee Young's, the fine Benny Carter aggregation, and finally the enviable jazz alto chair with Stan Kenton. Being only 18 prohibited Art from travelling with Stan's band, so with much dismay, he stayed behind when the band went on the road. In February 1944, Art entered the service where he remained until 1946, during which time very little opportunity presented itself to play. After the war, Art returned to Los Angeles where he again joined the Kenton band in 1947, staying until 1951. During this great period in Art's career, close association with Shorty Rogers and Bill Russo proved quite beneficial. As Art says: 'Shorty and Bill were a great help to me in developing my playing and writing, and this was about the only 'schooling' I ever had.' In 1951 Art returned to Los Angeles where he fronted several exciting groups with such fine up and coming jazz artists as Hamp Hawes, Russ Freeman, Larry Bunker and Jack Montrose (with whom Art is now working with in a Hollywood jazz club). It was also during this period that Art recorded his famous version of 'Over the Rainbow' with Short Rogers' Giants, now considered a jazz classic. Even though Art Pepper has spent most of his jazz life on the West Coast, he has achieved honored distinction as one of the all time great jazzmen. Especially among musicians who eagerly seek his musical association, and hold his tremendous ability in the greatest respect. The likeable Pepper is quiet and soft spoken, yet when his alto speaks, the jazz world recognizes the unmistakable voice of a giant. Such is the regard for Art Pepper. Even though Art and his horn were not heard from too much from 1953 to 1956, as soon as you hear the first few bars in this album, it becomes apparent this is one of the great moments in modern jazz... the return of Art Pepper.

"In choosing musicians for this date, Art has come up with a dream group which unites itself into a wailing combo. For the other horn, the versatile trumpet of Jack Sheldon was selected. Jack, a familiar and exciting figure in jazz, is also heard on his own Jazz:West LP (JWLP-6). Sheldon's inspired blowing on this sessions guarantees him a higher rung on the jazz ladder of success. For rhythm, a close knit section was needed to infuse life into the group. Therefore, on drums Art selected the great Shelly Manne. On bass, the fabulous Blanton of modern jazz, Leroy Vinnegar, who proved so tremendous an asset on Kenny Drew's Jazz:West LP (JWLP-4). Added to this was the brilliant piano of the keeper of 88 sounds, Russ Freeman. Shelly, Russ and Leroy are no newcomers to each other, as they ae three swinging members of Shelly's great quintet. With remarkable ease, all five welded together breathing fire and spirit into the up tunes, sensitivity and taste into the ballads. No wonder Sheldon and Pepper blow with such superior facility as Russ, Shelly and Leroy boost them along. The awesome jazz ability of Art Pepper is even further demonstrated as he presents eight wonderful original compositions that run the gamut from blues to minor riffs, a ballad and an exciting Latin jazz tune. The happy mood felt by all is quite obvious in the hilarious execution of 'Funny Blues'. All the tunes offer lavish opportunity for the group's abundant ability, and showcase Pepper's horn in one of its finest hours, blowing chorus after chorus of classic flowing lines with the effortless ease of falling rain. I am sure as you listen to this album, a warm inner glow will develop, and a smile will cross your face as you realize this is not just jazz... this is great jazz." (Don Clark. From the liner notes.)

Performers: Art Pepper: a-sx, Jack Sheldon: tp, Russ Freeman: pi, Leroy Vinnegar: bs, Shelly Manne: dr

A1. Pepper Returns

A2. Broadway

A3. You Go To My Head

A4. Angel Wings

A5. Funny Blues

B1. Five More

B2. Minority

B3. Patricia

B4. Mambo De La Pinta

B5. Walkin' Out Blues

mp3/320kbps

Art Pepper - Living Legend

"Since this is my first album in fifteen years, I was very nervous when I went to the date. Fortunately, I had people behind me who enabled me to just relax and blow, and I had a number of originals I wanted to record.

"'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

flac/16-bit