+ Red Garland, Paul Chambers, Philly Joe Jones
* 24 Bit remastered
An extension of the popular Original Jazz Classics series (est. 1982), the new OJC Remasters releases reveal the sonic benefits of 24-bit remastering-a technology that didn't exist when these titles were originally issued on compact disc. The addition of newly-written liner notes further enhances the illuminating quality of the OJC Remasters reissues. "Each of the recordings in this series is an all-time jazz classic," says Nick Phillips, Vice President of Jazz and Catalog A&R at Concord Music Group and producer of the series. "With these reissues, we get a fresh look and a new perspective on these artists and some of their most important work-not only from the meticulous 24-bit remastering by Joe Tarantino, but also from the insights we glean from the new liner notes that have been written for each title in the series."
Art Pepper Meets the Rhythm Section (1957)
Art Pepper Meets the Rhythm Section united the saxophonist with Miles Davis' crew at the time: pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. By all accounts, the early 1957 session should have been a disaster. Recently released from federal prison, Pepper was still struggling with a heroin addiction and severely out of practice. The gig had been set up by Pepper's girlfriend (unbeknownst to him until just hours before the sessions were to begin), and he discovered at the last minute that - after several months of not playing - the cork in the mouthpiece of his horn had come loose. "But in the end, the session proved to be a triumph rather than a disaster," says Phillips. "The camaraderie between Pepper and the Rhythm Section resulted in one of Art's greatest recordings."
Jazz writer / broadcaster Neil Tesser, who penned the new liner notes to the reissue, suggests that music in this set "reveals an obvious camaraderie, true artistic achievement, and a distinct lack of self-doubt or intimidation - perhaps because musically, Pepper actually had a great deal in common with the Rhythm Section." He adds: "The ‘meeting' between Pepper and this rhythm section was less a matter of confrontation, or even creative friction, than a matter of shaking hands in the middle of a bridge spanning east- and west-coast idioms."
"The Man I Love," a performance that was recorded at this session but was not included in the original album release, is included as a bonus track. (concordmusicgroup. com)
You'd Be So Nice to Come Home To (Album Version)