1981 Art Pepper 4tet

[@karimeaslane1660]

I love this band. Saw most of it in the 80s. Thank you so much!

[@robertd8351]

Fantastic to see and hear. Besides the overall greatness I discover the talent of Milch Leviev on piano.

[@taffyman6089]

Isaw him and this band on the first night of his 1981 tour . He was very late on stage. Customs siopped him for drugs so the word was. He was led on stage by the bass player. He was wearing a pair of clogs, a cheap pair of supermarket jeans and a mustad coloured univerity sweat shirt. He just about remembered he was in the UK. He could play though for all that. Memories,memories.

[@pongufogu9457]

I wish I could have hugged this man.

[@xxczerxx]

I'm pretty sure after reading his biography you wouldn't want to!

[@filipkasprzyk9564]

Whats in there 😂

[@jean-claude2923]

Art Pepper as / Milcho Leviev p / Bob Magnusson b / Carl Burnett dr

[@rubenantaglez8641]

Lo oi en un concierto en 1981 y fue magistral

[@michaelwillmott1793]

Simply the best iv heard I play ov got some learnig to do

[@LadyMoonstar6601]

who is on bass?

[@TheC0ngaman]

The piece is entitled Make A List, Make A Wish. Art Pepper on alto sax. The piano player is Milch Leviev. Bass player is unknown to me and, Carl Burnett on drums.

[@stephtro1]

Bass player is the West Coast Legend Bob Magnusson.

[@veliborpedevski5426]

This composition is called 'Mambo Koyama,' not 'Make A List, Make A Wish,' which is a complely different piece. 'Mambo Koyama' first appears on Art Pepper's studio recording 'Today' (Galaxy, 1979)

[@Александар-о3ч]

👍👍👍

[@artvidal4586]

this guy is blowing is horn. lotsa of energy. like it.

[@pavelvoronin4599]

Супер!! Very good!!

[@SuperMartin223]

Awesome

[@leanmchungry4735]

For saxophone geeks: Art is playing a mkvi alto here, a long bow too, so I suppose it is the 109K he was known to own. Can't be sure what his mouthpiece is, the shank looks more like a Meyer than a Runyon though.

[@socalsaunalifestyle]

Art's mouthpiece was for sure a Meyer 5 MM. I'm almost certain that the horn he's playing on was a Selmer Super Action 80 at this time. I was only 11 years old at the time, but my Dad and I spent quite a bit of time with Art. By '81 he only played his MkVI at home.

[@leanmchungry4735]

@@socalsaunalifestyle If you check out frames 1:20-1:30 you can see the detail of the right hand side keys, right hand pinky low C key and the bow. The sax is not a mkvii or an SA 80, as their keys are quite different from the horn Art is playing. From what I can see it is a long bow mkvi, and Art was known to own a 109K long bow mkvi at this time...The man knew how to tell a story! I love it.

[@socalsaunalifestyle]

@@leanmchungry4735 I had to look more carefully on this poor quality video. There is no High F# key pad above the F that the MkVII and later models had that the MkVI didn't have. Other details are the blue painted octave key on the neck and the thumb rest is metal that ended after the MkVI and became black plastic. That's a MkVI! Did you know Art?

[@leanmchungry4735]

@@socalsaunalifestyle No my friend I never met Art, I've just been a fan of his music since the 80s.

[@edwarddesenne6153]

@@leanmchungry4735 i know he originally played a Martin Alto sax which gave him the sweeter , more singing lyrical sound he played on blues and romantic ballads in his early recordings with Chet Baker and till the mid seventies for which he was well renownedthan you before his wilder recrdings on a Selmer

[@itippi]

bass player seems Bob Magnusson

[@alessandrosilva8351]

Muito bom!

[@BirdLives]

fucking WOW

[@georgemcfetridge8310]

Pepper emphasizes the problem of white players trying to not just play 'nice' music, which all whites run into when involved with the music originating most prominently with Louis Armstrong and Charlie Parker. This 'niceness' is what makes all white artists second best. It's not a question of talent. So AP 'roughs it up' consciously to be convincing, to be a 'heavy', with a good sounding group here but it's not enough. There are caucasians who play the music very well, but there are no actual heavies, as it turns out. There's a cultural reference or source missing. Sam Rivers said it long ago: the history of the music could be without all white participants with nothing lost.

[@markk9528]

Ever heard of the Beatles? Fool

[@jamorains]

Asinine.

[@Horsemam3190]

In his life, Art Pepper was as rough as they come. He admitted in his book to raping a woman in London while stationed there during the second World War. He spent much of his adult life in and out of prison, which was why his first wife left him and he was estranged from his only daughter Patricia. I don't buy your Amiri Baraka impression with the racial theory about white jazz men either.

[@paul-henriroux7400]

So, white musicians are not as good as Blacks because they play "nicely"? Nonsense! Bill Evans, Stan Getz, Jim Hall, Chet Baker, Shelly Manne, Jimmy Giuffre, Paul Bley, Carla Bley, Phil Woods and so many others didn't play "nicely", they just played with their sensitivity and huge talent. Why introduce that notion of race into talent and art? We already knew that jazz is a black music that includes wonderful white musicians such as Art Pepper. Concerning Pepper, you should read his autobiography in which are the explanations of his "rough" sound.

[@georgemcfetridge8310]

@@paul-henriroux7400 Yes, the music does INCLUDE talented white players. No reason not to; music doesn't exclude anyone. It's nice to be included, but so what? Now, if sensitivity/ talent is enough for you, fine for you; stay there. But by that reasoning Don Ellis is as worthy as Miles Davis, or Paul Desmond as Charlie Parker as voices in the music. Not so. And that's something to delve into. I continue to celebrate the difference between what happened when Michael Brecker and John Coltrane picked up their instruments. I think this is too subtle for you.