Chet Baker & Art Pepper - Playboys

The music of Chet Baker and Art Pepper has been heard and appreciated all over the world, thanks to three elements which probably have meant more to the musical history of the Twentieth Century than is yet fully realized. I am thinking of radio, the phonograph and the faster means of communication available. There have been many form of music, but none other than jazz has experienced such a rapid growth and in so little time has seen the birth of so many different schools and contrasting styles. Jazz is by its very nature a typical Twentieth Century phenomenon; it gives the individual musician and the listener an emotional outlet and an esthetic experience, while they are at the same time a stable part of a group of people. The collective spirit and teamwork which is so typical of good jazz rhythm section, the complete collaboration between human beings who still can retain their identity, is one of the happiest examples of thought and theory which have been with us last hundred years.

Of course, it is impossible for everybody to be completely different from everyone else in all aspects, and everyone has to belong to a certain time, enviroment, and style of living, talking and playing. The true artist take advantage of these facts, not necessarily consciously, and uses them to accentuate his own personality while expressing himself in the style which is most fitting for what he wants to say.

The combination of a trumpeter and an altoist always seems to be stimulting, teams like Dizzy Gillespie-Charlie Parker or Parker-Miles Davis, Clifford Brown-Lou Donaldson or Art Farmer-Gigi Gryce having produced some of the most worthwhile jazz ever recorded. This album is the first recorded example of Chet Baker and Art Pepper playing together, and their collaboration is indeed a fruitful one. The consistency of playing and the never-failing inspiration on these sides is a joy to hear. *Lars Werner (LP's liner notes)*

In the relatively short history of jazz on record, many an album has been produced with the thinking that, if one star soloist can make great music, two can make greater music. This thinking is logical but frequently the music produced by such starry affairs does not ignite. Either one musician has no positive feeling for the other's playing or their styles are incompatible. But occasionally the pairing of two stars produces music of a higher order — music sparked by mutual inspiration and rapport. Such was the case with Chet Baker - Art Pepper PLAYBOYS session for Pacific Jazz.

At the time, October 31, 1956, both Baker and Pepper were at their peaks, which is to say that each was playing as much or more on his instrument than anyone in jazz. But their playing alone is not what elevates this recording; they were also inspired by and, in turn, inspired the other members of the sextet — Phil Urso, Carl perkins, Curtis Counce, and Lawrence Marable. Everything clicked this day.

Here is an all-star session that succeeds on all levels. This particular combination of great musicians and excellent material served to produce visceral playing and lasting music. Sometimes it works. *Todd Selbert (CD's liner notes)*

These 1956 Pacific Jazz sides appeared in 1961 under the title Playboys. Myth and rumor persist that, under legal advice from the publisher of a similarly named magazine, the collection would have to be retitled. It was renamed Picture of Heath, as more than half of the tracks are Jimmy Heath compositions. Regardless, the music is the absolute same. These are the third sessions to feature the dynamic duo of Art Pepper (alto sax) and Chet Baker (trumpet). Their other two meetings had produced unequivocal successes. The first was during a brief July 1956 session at the Forum Theater in L.A. Baker joined forces with Pepper's sextet, ultimately netting material for the Route LP. Exactly three months to the day later, Pepper and Baker reconvened to record tracks for the Chet Baker Big Band album. The quartet supporting Baker and Pepper on Playboys includes Curtis Counce (bass), Phil Urso (tenor sax), Carl Perkins (piano), and Larance Marable (drums). Baker and Pepper have an instinctual rapport that yields outstanding interplay. The harmony constant throughout the practically inseparable lines that Baker weaves with Pepper drives the bop throughout the slinky "For Minors Only". The soloists take subtle cues directly from each other, with considerable contributions from Perkins, Counce, and Marable. With the notorious track record both Baker and Pepper had regarding other decidedly less successful duets, it is unfortunate that more recordings do not exist that captured their special bond. These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.

*Lindsay Planer*

1 - For Minors Only

(Jimmy Heath)

2 - Minor – Yours

(Art Pepper)

3 - Resonant Emotions

(Jimmy Heath)

4 - Tynan Tyme

(Art Pepper)

5 - Picture Of Heath

(Jimmy Heath)

6 - For Miles And Miles

(Jimmy Heath)

7 - C.T.A.

(Jimmy Heath)

Chet Baker (trumpet), Art Pepper (alto sax), Phil Urso (tenor sax), Carl Perkins (piano), Curtis Counce (bass), Larance Marable (drums).

Recorded at Radio Recorders, Hollywood, California, October 31, 1956.