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Smack Up Import

5.0 étoiles sur 5 1 commentaire client

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Page Artiste Art Pepper


Détails sur le produit

  • CD (1 juillet 1991)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B000000Y9Y
  • Autres éditions : CD  |  Cassette  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 163.888 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Smack Up
  2. Las Cuevas De Mario
  3. A Bit Of Basie
  4. How Can You Lose
  5. Maybe Next Year
  6. Tears Inside
  7. Solid Citizens (Take 33) (Bonus Track)
  8. Solid Citizens (Take 37) (Bonus Track)

Descriptions du produit

SMACK UP


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Par Etatcritique TOP 1000 COMMENTATEURS le 1 octobre 2009
Format: CD
Si, bien sûr, il n'a pas tenu le même rôle historique que Charlie Parker, Art Pepper est juste peut-être le plus grand Sax alto de tous les temps ! Ce solitaire à la sensibilité d'écorché vif a connu deux périodes artistiques bien distinctes, séparées par la force des choses par prés de 15 ans de différents internements thérapeutiques ou pénaux, l'ami Art ayant un peu trop gouté à la drogue et refusé, de surcroit, de livrer le nom de son fournisseur... massacrant du même coup ce qui aurait du être une carrière exceptionnelle.
Fin 47, ce West Coastien découvre le Bop qu'il intègrera mais tout en restant un des seuls à ne pas imiter Charlie Parker. Il en sera de même, après son retour en 75, des apports de John Coltrane et d'Ornette Coleman. Sa lignée à lui, en effet, reste celle de Lester Young mais avec, plus encore dans sa seconde période, un sentiment contraignant d'urgence et de nécessité. Art brule sa vie mais gardera toujours, jusqu'à sa mort en 82, cette profondeur humaine bouleversante, sans fard ni revendications ni regrets, perceptible déjà dans son seul son si reconnaissable. Son jeu élégant et lyrique en conserve toujours du poids et excelle d'autant plus dans les ballades.

Avant dernier album de la première période (avant « Intensity » en novembre) « Smack up » est d'octobre 1960. Il est une brillante réussite. Très équilibré entre swing et ballades, il est vivement emmené par des musiciens West Coast qui lui donne sans doute cette coloration « cool ». Il présente également une double particularité.
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Amazon.com: 4.7 étoiles sur 5 9 commentaires
8 internautes sur 8 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Overshadowed by Intensity 8 juin 2009
Par Matthew Watters - Publié sur Amazon.com
Format: CD
Any other musician would kill to have made this record, but Smack Up always pales a bit for me because it was recorded back-to-back with the monumental Intensity, Pepper's last record before going into a six-year lock-down at San Quentin. It's hard to tell why this one doesn't quite measure up. Jack Sheldon does great work in the vein of his stint with the Curtis Counce Group, but, while Pepper is all conflicted feelings boiling under the surface, Sheldon is just on the sunny side. Drummer Frank Butler (like Pepper, one of my favourite musicians, bar none) is his usually fantastic self on both records. So maybe it's the material, which here -- with the exception of Pepper's own 5/4 "Cuevos de Mario" -- is a bunch of tunes by other saxophonists (not coincidentally licensed to Contemporary, shame on you, Lester Koenig), while on Intensity, Pepper gets to really dig into the chords of some familiar standards, undistracted by fellow soloists, and comes up with one of his most emotionally resonant records. Don't get me wrong: Smack Up is a great album. It's fun and it swings like mad and you can't have my copy. But it lacks .... Intensity.
9 internautes sur 10 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Art's art 8 octobre 2002
Par Giuseppe C. - Publié sur Amazon.com
Format: CD
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.
7 internautes sur 8 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Middle Art 17 janvier 2006
Par Jazzcat - Publié sur Amazon.com
Format: CD
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.
9 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 an overlooked classic 29 septembre 1999
Par Un client - Publié sur Amazon.com
Format: CD
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.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 One of the essentials 5 septembre 2015
Par Mike Tarrani - Publié sur Amazon.com
In my opinion this is one of Pepper's essential albums if you are a fan. In fact, I have also introduced friends to his playing via this and a handful of his other albums, so that should convey how highly I hold it.

Listen to the sound samples on the digital page at Smack Up for a flavor of what's in this album. There is a definite bebop feel to the first track, which may seem like the antithesis of Pepper's music, but it only shows his versatility and influences. Also note that if you are in the CD's page this format has two bonus tracks from the same sessions that the digital album lacks.

As the album progresses the music seems to be on a definite path that changes as the album progresses. I personally never fail to get caught up in what Pepper and the rest of the ensemble is doing, and therein lies the reason why I rated this one so highly and deemed it essential.

Another interesting aspect is while the entire ensemble is comprised of West Coast musicians, the sound has an East Coast edge to it. It's still West Coast, but there is a flavor - or magic - that makes it more universal.

The album was recorded for the Contemporary label in Los Angeles on October 24 and 25, 1960 and released the same year. This version with the bonus tracks clock in at 51:00. Members of the ensemble are Pepper on alto sax backed by LA legend Jack Shelton on trumpet, and a solid West Coast rhythm section led by Pete Jolly on piano, with Jimmy Bond on bass and Frank Butler on drums.
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