Search - Art Pepper :: Smack Up

Smack Up
Art Pepper
Smack Up
Genres: Jazz, Pop
 
  •  Track Listings (6) - Disc #1

Along with 1957's Meets the Rhythm Section, which featured Miles Davis's band behind him, 1960's Smack Up forms the cornerstone of the altoist's first classic period. As the title may or may not hint at, Pepper would so...  more »

      
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CD Details

All Artists: Art Pepper
Title: Smack Up
Members Wishing: 2
Total Copies: 0
Label: Apo
Release Date: 2/13/2001
Album Type: Gold CD, Import, Limited Edition
Genres: Jazz, Pop
Styles: Cool Jazz, Modern Postbebop, Bebop
Number of Discs: 1
SwapaCD Credits: 1
UPCs: 0090204871988, 753088001222

Synopsis

Amazon.com
Along with 1957's Meets the Rhythm Section, which featured Miles Davis's band behind him, 1960's Smack Up forms the cornerstone of the altoist's first classic period. As the title may or may not hint at, Pepper would soon after vanish from the scene, the result of heroin addiction and related prison terms. Buoyed by the presence of trumpeter Jack Sheldon, Pepper intently runs through six saxophonist-penned cuts (plus two alternate takes) from the books of the legendary (Benny Carter), the contemporary (Harold Land's title track, Buddy Collette, Jack Montrose, Ornette Coleman), and the obscure (Duane Tatro). His own blues "Las Cuevas de Mario" would become a staple of his mid-1970s repertoire (his second classic period). No matter what baggage he brought with him into the studio, Pepper always seemed to rise to the occasion. --Marc Greilsamer
 

CD Reviews

An overlooked classic
09/29/1999
(5 out of 5 stars)

"Art Pepper should be far more popular among born-again jazz freaks. This is a great place to start if you're unfamiliar with his work from the late 50s-early 60s period. I believe this was recorded between jail stints and he was pretty desperate--as he often was in the studio. Nice diverse selections and top-notch talent."
Art's art
Samuel Chell | Kenosha,, WI United States | 10/07/2002
(4 out of 5 stars)

"Many people have difficulty separating the life of the artist from the imaginative life of his work. When the life of the artist takes on mythic proportions, especially those accompanying Romantic self-destructive genius, the task of evaluating the art with any sort of objectivity is even more daunting.To my ears, Pepper's is an engaging voice on this session, alternately lyrical and cerebral, taking a few risks but quickly retreating. He hasn't made the commitment to achieving the "emotional moment" that seemed to characterize his work after 1975, making each of his solos a kind of epiphanic quest.Sheldon sounds bolder than ever on this recording, providing strong hints of the extroverted trumpet soloist he's become since the mid-nineties (his relative obscurity is a sad commentary not just on the music scene in general but the elitist jazz critics who declare who belongs in the church of what's happening now). Jolly is plenty nimble, but his left-hand voicings are pretty basic and his melodic lines fail to elevate the proceedings. Butler is still the world's most underrated drummer; without him, this session would have been little more than a period piece. Finally, Contemporary deserves some kind words. The miking of the individual instruments, the balance between the rhythm section and soloists, the attention to dynamic nuance (missing on the Blue Note recordings of this period) all contribute to a sound that, though recorded over 40 years ago, could have been captured just yesterday."
Middle Art
Jazzcat | Genoa, Italy Italy | 01/17/2006
(5 out of 5 stars)

"This album is a very important example of the ending part of the first section of Art's career. I own all his later box set (Galaxy, Village Vanguard, Hollywood all stars) and a lot of his earlier albums. I think this one stands clearly among the two periods even if it has been recorded at the end of the first. He was no more the impressive shining alto player who recorded Plus Eleven, Rhythmn section or Surf ride some time earlier and the one who won placed second behind Charlie Parker in a 1951 "Down beat" polls (Smack up is from 1960). Here he played already different for what I can hear and compare. Slower, with a different sound. He had a slightly different use of space and ideas. You can hear they were not in the fifties no more. you can hear that the change of decade has changed the view of things for what I am concerned. Even if its not a blue note album absolutly not that kind of sixties sound here. It is still a west coast record from Art, but even if the program is still "fifties", blues and originals but in "that fifties vein" something had already changed. It's there, in the air, you can breathe that. It is a nice album, with very strong soloing from the guys and from the always splendid Art of course. It's a transition album in a sense. When we were able to hear Pepper again he changed again and was ready for his definitive come back and affirmation in the seventies which was a splendid period for him artistically. Even if I am totally in love with his albums from the full fifties. Sonically it is a very well recorded album, unfortunatly the cover its not one of "those" fantastic covers from the fifties."