Geneva 1980 (Live in Geneva 1980) Art Pepper

• 1 Ophelia (Live in Geneva 1980) 12:05
• 2 Mambo Koyama (Live in Geneva 1980) 18:52
• 3 Patricia (Live in Geneva 1980) 16:03
• 4 Miss Who (Live in Geneva 1980) 13:01
• 5 I'll Remember April (Live in Geneva 1980) [inc] 04:52
• 6 Blues For Blanche (Live in Geneva 1980) 13:07
• 7 Valse Triste (Live in Geneva 1980) 11:56
• 8 Make A List (Make A Wish) [Live in Geneva 1980] 22:06
• 9 Goodbye (Live in Geneva 1980) 13:08
• 10 Blues For Les (Live in Geneva 1980) 04:07
• Total Runtime 02:09:17

Info for Geneva 1980 (Live in Geneva 1980)

A new live album from Jazz saxophonist Art Pepper featuring over two hours of previously unissued live performances.

At the time of this recording in 1980, Art Pepper had been a mainstay in the world of jazz for nearly four decades. Starting out as a young player in his teens, he accompanied acclaimed artists Benny Carter and Stan Kenton. From there, his collaborators read like a who’s who list of 20th century greats. His solo career, however, was legendary. It’s impossible to talk jazz saxophone without the name Art Pepper in the mix. Through his life, troubled as it may have been, one thing was always a constant—his music.

As evidenced by 2023’s acclaimed The Complete Maiden Voyage Recordings, a 7-albums testament to his effortless playing recorded months before his passing, Art Pepper never disappointed, instead, he thrilled and beguiled audiences around the world.

"In 1980, Art was 54; his health was poor, but his creativity was at its peak. So was his ambition. He was touring Europe for the first time. He’d brought his own band, his own tunes. He was determined to astound the world." (Laurie Pepper, from her liner notes)

Geneva 1980 collects 10 performances recorded July 5, 1980 at the New Morning in Geneva, Switzerland. Backing Art on alto saxophone were Milcho Leviev on piano, Tony Dumas on bass, and Carl Burnett on drums. A set of almost all originals left the crowd astounded.

"Art was so exhilarated by their rowdy, ravenous appreciation, he was at his very best. As was the band. The band was tight. All the tunes are great. This version of “Patricia” might just be the best on record. I’ll swear this is the hottest version of “Miss Who” he ever played." (Laurie Pepper, from her liner notes)

"A really well-recorded concert from the final years of the too-short life of the alto saxophone genius Art Pepper – a record that really opens up with all these tones and textures on his instrument, in ways that differ nicely from the approach of some of his Contemporary and Galaxy label material of the time! The mic must have been very close to the saxophone, as you can really feel Pepper's breath moving across the woodiness of the reed on the alto – and a similar sense of sonic intimacy also graces the piano of Milcho Leviev."

Art Pepper, alto saxophone
Milcho Leviev, piano
Tony Dumas, double bass
Carl Burnett, drums

Digitally remastered

Art Pepper
born in Gardena, California on September 1, 1925 and raised in nearby San Pedro, began playing clarinet at age 9 and, by 15, was performing in Lee Young’s band at the Club Alabam on Central Avenue, the home of jazz in prewar Los Angeles.

He joined Stan Kenton’s band, touring the U.S. and gaining fame, but was drafted in 1943 serving as an MP in London and performing with some British jazz bands. He returned to the States and to Kenton, touring and recording. In 1952 he placed second only to Charlie Parker in the Down Beat jazz poll. Probably his most famous recording from that period is his stunning performance of “Art Pepper,” written by Shorty Rogers (as part of a series of charts Kenton had commissioned to feature members of his band).

Art left Stan Kenton in 1951 to form his own group, occasionally recording for Rogers and others. He signed with Contemporary Records in 1957.

From the beginning Art’s playing combined a tender delicacy of tone with a purity of narrative line—a gift for storytelling that was made irresistible by an inherent, dancing, shouting, moaning inability to ever stop swinging.

He was one of the few alto players to resist the style and tone of Charlie Parker. What he failed to resist was the lure of drugs, ubiquitous, at that time, among jazz musicians. And although some users managed to get through and over their addictions, Art, survivor of a rocky childhood (alcoholic neglectful mother, alcoholic violent father), unbalanced from the get-go, never did quite triumph over his, though he may have fought them to a draw.

So, in 1952, he began a long series of hospitalizations and incarcerations for violations of the drug laws of his time—possession, internal possession (“marks”), and then for violations of his previous releases (more possessions and internal possessions). In time, he became a petty thief, a real thief, a robber (though not an armed robber; his fellow criminals thought he was too crazy to be trusted with a gun). He served time for the Feds (Terminal Island) and for the State of California (San Quentin). He prided himself on being “a stand-up guy,” a good criminal.

All this history makes a pretty gripping story as it’s told by Art with his wife Laurie Pepper in their book, Straight Life (DaCapo). What’s surprising is that the music he managed to make during irregular bursts of freedom was enthralling, too. The gift was starved for the spotlight, for opportunities for performing and recording, but it flowered in the dark, became deeper and more soulful. The performances—from The Art Pepper Quartet (1952) and Art Pepper Meets the Rhythm Section (with Miles Davis’s rhythm section) on Contemporary (1957) all the way through the recordings he made at the Village Vanguard (Contemporary, 1977) and his later recording with strings (Winter Moon, Galaxy, 1981)—are brilliant, poignant, and a joy to hear. The rigor and abandon with which he lived his life were present in every note he played.

Art Pepper died June 15, 1982 of a cerebral hemorrhage. But the 1979 publication of Straight Life and accompanying press had revived Art’s career. With Laurie’s help, he spent the last years of his life trying to make up for lost time, making each performance a life-or-death occasion, touring worldwide with his own bands, recording over a hundred albums, writing songs, winning polls, respect, and adulation.

Most of his albums are still available for sale. Laurie Pepper is releasing the best of what remains unreleased and is working on a movie based on the book, Straight Life. •

Booklet for Geneva 1980 (Live in Geneva 1980)