Every month

Every month I'll post a new "taste" of Art Pepper's music as a FREE DOWNLOAD. These tastes are given away because they are "unreleasable" by virtue of the recording being cut off at beginning or end or by brief audio problems that occurred in the recording process.


I'll also post occasional journal entries including updates on new releases.

Saturday, June 16, 2018

For the cognoscenti or the just plain curious

In November, as many of you know, a new Art Pepper set will be released by me, by which I mean, Widow's Taste Records. All the recordings I release as Widow's Taste have never been released before or have only been released and crummy bootlegs. I do my very best to give you the best quality recordings I can. "Volume Ten, "Bourbon Street, Toronto 1977", like all those that have gone before (except for Volume 1), has been mastered by Wayne Peet.

 Wayne is a musician with a lifetime in jazz, an understanding of what an Art Pepper performance ought to sound like, and an unerring ear for what's messed up in the aged tapes I bring him. Thanks to Rocco Bertels, who found more than one medium onto which this night at Bourbon Street was recorded, I was able to give Wayne some cassettes AND two reel to reel tapes from which to pick and choose, and actually, mostly, the cassettes were of better quality, though not always.*

*And I apologize for that last sentence. I'm writing fast.

 So I just want to show you guys how hard Wayne works to make sure the Unreleased Art Pepper series is as good as it can be (and invariably much better than bootlegs or online downloads).

And at the same time, I can procrastinate the writing of the liner notes! Win! Win!

 Here's what Wayne did:

Art Pepper - Bourbon Street, Toronto 
June 16, 1977

7” reel / 7.5 IPS / Stereo 2 sides [4 track]

transfer TEAC 3340S / MOTU 2408 Mk2 / Digital Performer 7.24 / 44.1k / 24 bit WAV
transfer appears to be a little sharp

Art Pepper - Alto
Bernie Senensky - Piano
Dave Piltch or Gene Perla* - Bass
Terry Clarke - Drums

1. A Song For Richard — one tape dropout√
2. Long Ago & Far Away - some sax squeaks√
3. Here’s That Rainy Day - some sax squeaks
4. Theme [end of set] Blues For Herd, - some sax squeaks,  sax off mic during end of out head
band intros by Art…..
*5. What Is This Thing Called Love -   some sax squeaks, sax off mic during 2nd half of solo, comes back just bef end of solo
*6. All The Things You Are [beg] [

Side 2
*1. All The Tings You Are [concl.]
Art raps with audience…band intros….
*2. The Summer Knows
*3. I’ll Remember April
*4. Theme
*5. Samba Mom-Mom

cassette only:
6. Star Eyes

mastering notes
Cassette +14 cents / Reel  -18 cents
A1 A Song For Richard (16:52)
used cassette version
cleaned out some low thumps on R Ch in soft parts
cleaned a few sax squeaks
fixed drum stick hit, missing bass note, R Ch dropout, glass tinkling in quiet spot, PA feedback
edited to applause from reel did less quick of a fade as was on cassette

A2 Long Ago & Far Away (13:22)
used cassette version
cleaned out some low thumps on R Ch in soft parts
cleaned a few sax squeaks
fixed a couple of minor tape dropouts
edited to applause from reel did less quick of a fade as was on cassette

A3 Here’s That Rainy Day (10:17)
used cassette version
cleaned out some low thumps on R Ch in soft parts
cleaned a few sax squeaks, clanks & coughs in audience, PA feedback
fixed a couple of minor tape dropouts
edited to applause from reel did less quick of a fade as was on cassette

A4 Blues For Heard (4:16)
used cassette version
cleaned out some low thumps on R Ch in soft parts
cleaned a few sax squeaks, PA feedback
fixed a couple of minor tape dropouts
fixed missing bass note on 1st note of tune
either AP off mic, or mic cuts off from end phrase of the 1st of 2 out heads.
copied phrase from end of in head, and cut out the 2nd out head, went right to the ending, did some work to boost the alto in the outro [it’s better but still too soft]

A5 What Is This Thing Called Love? (15:37)
mostly the cassette, went to the reel during the 2nd part of the sax solo, because the volume of the sax dipped worse on the cassette
cleaned a few sax squeaks, PA feedback
fixed a couple of minor tape dropouts
after the bass solo, the bass is way too loud, and the piano is way too soft.
Did some work in RX as well as the mastering to help, the solution is to have a lot less lows from that point, which is not great but better than the bass blasting too much.

A6-B1 All The Things You Are (16:59)
intro cut off [on both cass & reel] edit for 1st phrase, reel for 1st note of 2nd phrase of intro [missing on cass] - cass for remainder
fixed a number of tape dropouts
fixed noises, PA feedback, missing attacks on piano notes in solo, rattles in bass during solo
AP off mic during 2nd half of solo, and beginning of traces - did some stuff to help

B2a The Summer Knows preamble (2:20)
used cassette / edited out the long pauses & repeats

B2b The Summer Knows (16:50)
used cassette / fixed sax squeaks, tape drop outs, noises
one missing piano attack fixed

B3 I’ll Remember April  (14:30) -complete time with B3& B4
mostly cassette until it cuts off just before the end, cut to the reel [which as this point is pretty distorted]
Fixed tape dropouts, PA feedback, sax squeaks
Fixed sax one note FS into head out of intro
made talking during bass solo less

B4 - Theme - Blues For Heard - fades out
Reel only - it starts right out of the end of April

B5 Samba Mom-Mom  (17:40)
used cassette
fixed sax squeaks, tape drop outs, talking during intro, bass solo, applause

B6 Star Eyes   12:38
fixed tape drop outs, 

Barcode 191061850830
See below.  See also attached Excel list

Bourbon Street reel side one [used cass]
Disk A1
A Song for Richard
Bernie Senensky, Terry Clark, Dave Piltch
Time 16:52
[used cass]
Long Ago and Far Away
Bernie Senensky, Terry Clark, Dave Piltch
Time 13:22
[used cass]
Here's That Rainy Day
Bernie Senensky, Terry Clark, Dave Piltch
Time 10:17
[used cass]
 Blues for Heard
Bernie Senensky, Terry Clark, Dave Piltch
Time 4:16
[used cass & reel]
What Is This Thing Called Love?
Bernie Senensky, Terry Clark, Gene Perla
Time 15:37 Disk A total 1:00:38
split between side one & two, filled out with cassette version
Disk B1
All The Things You Are
Bernie Senensky, Terry Clark, Gene Perla
Time 16:59
Bourbon Street reel side two [used cass]
Band Intros
Bernie Senensky, Terry Clark, Gene Perla
Time 2:20
[used cass]
The Summer Knows
Bernie Senensky, Terry Clark, Gene Perla
Time 16:50
[used reel & cass]
I'll Remember April
Bernie Senensky, Terry Clark, Gene Perla
Time 14:30 Disk B total 50:50
[used cass]
Disk C1
Samba Mom - Mom
Bernie Senensky, Terry Clark, Gene Perla
Time 17:40
Cassette only
Star Eyes
Bernie Senensky, Terry Clark, Dave Piltch
Time 12:26

Art Pepper Interview
Hal Hill
Time 32:59 Disk C total 1:03:12

Wednesday, June 13, 2018

Cruel April and Merry May have passed with NO FREEBIES! But take heart!

Because it's June, June, June! 
And it's bustin' out all over,
And to celebrate the summer,
Here's a FREEBIE!
Here's a TUNE!

This is the latest FREEBIE. A Blue Mitchell composition, another riff on I Got Rhythm.  
Art Pepper and Blue Mitchell worked together a LOT during the mid seventies. Jack Sheldon brought them together by hiring both to accompany him during a regular summer gig in Monterey—While Jack sang, told jokes. Usually Dolo Coker played piano at that gig. Those were lovely sets. BUT this is not from those sessions. I really don't know where these tracks are from (and yes, there are MORE). I've perused the old calendars and I've found no info. 
MEANWHILE: A new album, a stunning, energetic, unusual 3 disc set, will be released by Widow's Taste in November. If you haven't supported The Cause lately, please do donate? To help finance manufacture of said set? If you recently have dropped some cash in the hat, or if you can't, of course this track is FREE FREE FREE. At least for a while.

AND MEANWHILE, (while you're on the bandcamp site), there's a two disc set is available for download for $7.00 at 


Wednesday, March 21, 2018

In Like a Lion: FREEBIE PLUS Unbelievable SALE | Art Pepper

SORRY! SALE ENDED END OF MARCH! BUT GO TO the links to see current prices and sales!

Volume 2, Last Concert
Art Pepper (Alto & Clarinet); Roger Kellaway; David Williams; Carl Burnett
1, Landscape
2, Talk
3, Ophelia
4, Talk
5, Mambo Koyama
6, Over the Rainbow
7, Talk
6, When You're Smiling
Usually $12.00. During March ONLY $5.99!
CD On Sale at CD Baby Unreleased Art Volume 2, Last Concert,
Volume 5, Stuttgart
Art Pepper Alto & Clarinet; Milcho Leviev; David Williams; Carl Burnett
1. True Blues
2. Yours Is My Heart Alone
3. Landscape
4. Patricia
5. For Freddie
6. Straight Life
7. Avalon
8. Make a List (Make a Wish)
9. Over the Rainbow
10. Cherokee
Usually $18, During March only: $12.99 
CD On Sale at CD Baby: Unreleased Art Volume 5, Stuttgart TWO DISC SET

Sunday, February 11, 2018

Free For All My Valentines! Red Car

With SWEETHEARTS Art Pepper, George Cables, David Williams, Carl Burnett

Friday, December 8, 2017


COMPANIONS: Straight Life & ART

Published in 1979, Straight Life was the story of Art Pepper. He was a deeply troubled, madly gifted artist, an addict. Art told me his story, I wrote it down, I fell in love, and we got married. Straight Life, according to enthusiastic reviews in The New Yorker, Time, The Village Voice, etc. became
(and remains) a classic. Now also available for KINDLENOOKIPAD, ETC. (CHEAP) 

In Straight Life Art cast himself as a lost, desperate genius and me, at the end, as his angel of rescue. During our marriage we worked successfully together to enact that story. But I was no angel, and we rescued each other. ART is a memoir of that marriage. This is a paperback book, 382 pages, 100 photos, and with a complete index: Read Wonderful Reviews in Harper's, etc.


Give a Collector's Item from Widow's Taste: 
Best Price at CDBABY

Thursday, October 26, 2017


Donna Lee is one of my favorite bebop tunes in the world. It's got this oddly oblique melody that enchants me—and it's my favorite track on this album (Unreleased Art Vol. 9: Art and Warne.)

Tuesday, August 29, 2017

It's Art Pepper's Birthday & Freebies Abound!

IN HONOR OF ART PEPPER'S BIRTHDAY (SEPT. 1)... The Lovely folks at Concord are releasing the COMPLETE MAIDEN VOYAGE sessions (for download only). The Complete Maiden Voyage Concerts (Live / Los Angeles, CA) by Art Pepper

These 3 nights at the Maiden Voyage in L.A. with George Cables, David Williams, and Carl Burnett were some of the most memorable nights of my life. This was Art's road band at the end of his life. They'd been touring nonstop for about a year, and they were tight. That's why this particular Landscape is an almost mystically telepathic exchange between the guys. For me, Landscape is also one Art's most exciting originals. That first held note always makes the hairs on the back of my neck rise and my heart beat faster. I harangued those poor folks at Concord, because this set was not available from them AS A SET, complete. BUT NOW IT IS! IT IS!

To hear some more tracks from this session on Bandcamp, go to
The best "Everything Happens to Me" you've ever heard plus Straight Life
Arthur's Blues
Thank You Blues

Saturday, July 29, 2017

Yes, it's August. Yes, it's the Freebie. It's the AUGUST FREEBIE!

Art called it "What Laurie Likes",  because  I did.  And I still do.  I’ll never get so hip I won’t want to boogie.  Art didn’t believe in categories, but there are always snobs who’ll sneer at a song with an overwhelming beat and a dearth of chords and label it, dismissively, “jazz-rock.” And that affected him, and he stopped playing it. right after this.  Art had played “jazz-rock” in Synanon and regularly at casuals, tunes like Watermelon Man, Ode to Billie Joe, etc. Simple, solid tunes like these reminded him of jamming through those funky nights on Central Avenue, when he was just a kid, and people danced. 

Friday, June 2, 2017


Time for something just a little bit different.

[Scroll down to hear the music]  Short version: In 1981 Art was touring with Milcho Leviev, Tony Dumas, and Carl Burnett. After the gig one night, under the influence, Art wrote a tune. (see the full story, below, from "ART"). In the excitement and confusion of touring, the tune was forgotten. After Art died, the following year, I found the music Art had scribbled, got curious, and asked Milcho, who was still living in Los Angeles at that time, if he could make anything of it. I wanted to hear it! We got together at his house and he worked out what he believed Art had in mind. Being a prolific and brilliant composer, himself, Milcho may have added or subtracted details as he read it. I'll leave that judgment to musicians who can view and hear the music, now. 

Written in Paris by Art Pepper

As reconstructed by Milcho Leviev

Milcho and Art

Here's Milcho, working out the tune

And Here's the Story:

Paris—Heroin (from ART: Why I Stuck with a Junkie Jazzman)

    In May of ’81, Art played a big nightclub in Paris with Milcho, Tony, and Carl. We arrived at our extremely modest hotel on the first day of the gig sans promoter to discover that we had no reservations and the desk clerk spoke no English. While the band loitered and Art moaned, I questioned the clerk in French, got the one remaining room in that hotel for us, and had him make reservations for the rest of the fellows at a place he recommended just two blocks away. He made the call, gave me directions; I translated and dazzled everyone. Myself most of all. On the other hand, later, when Art left his dentures on the bed-table of this Paris hotel room and I called from Holland saying my husband had forgot his teeth, I heard great gales of laughter on the other end. I’d said “dents” (his actual teeth, as if extracted from his gums) when what I meant was dentiers.

Art, Roger, Alain
 Our careless impresario in Paris was a beautiful young fellow named Alain who revealed that he sniffed heroin occasionally, declaring, though, “I am not ’ooked.” He wasn’t hooked, addicted. At this, Art caught my glance, rolling his eyes with amusement. “Oh, no,” he said, nodding his head at Alain’s emaciation. “Of course you’re not.”
   Later that evening, while Art was playing on the stage, Alain approached me. Art, it seemed, had asked Alain to sell him just a little heroin. I said okay. But just a little, and no needles.       After the gig we met in the tiny office of the club and Alain laid out some lines. I told Art I wanted some. Okay, he said, but just a tiny bit. He worried it might be too strong for me. Alain and Art both had their tastes, and then I sniffed a half a bitty line.
   “Just wait” they said. I waited. Nothing. The three of us left the office and walked out into the Paris night. I was getting dizzy and staggered a bit and they grabbed my arms to steady me. I was nauseous, but I wasn’t high.
   “Wait,” they said. The nausea built. Art was in a happy mood. He’d bought a gram of this stuff wrapped in a little folded paper. We sat down at a sidewalk cafe. It was two or three in the morning, but there was a crowd of people eating, and a young entertainer strolled along the curb with a guitar doing a Bob Dylan impersonation:
   “How does it feeeeeeeel?
   I ordered a piece of cake, took a bite and spat it out. My skin was hot and prickly, my mouth was dry, my stomach in my throat. “I feel as if I’ve just taken rat poison,” I muttered. 
    “Wait,” they said. 
    “How does it feeeeeeeel? To be on your own?” 
    “God,” says Art, “he sounds just like Bobby Dylan! Baby, give him some money!”
    “Money!” I growled. “If he doesn’t shut up I’m going to throw my coffee at him.”
      I begged Art to return to the hotel with me where we were both unable to sleep. He turned the light back on and wrote a song. I kneeled at the toilet, first vomiting, then heaving dryly. I told Art I hated heroin; it was disgusting stuff, no fun at all. He said, “You’re really lucky.” His voice had envy—also pity—in it.
   As dawn broke Art asked me if I’d like to take a walk. It was so rare for him to ever want to do anything but perform and recuperate from performing. I washed my face, got dressed. It was barely dim morning. It was May. The air was warm. We wandered for a block or so and found ourselves on the Champs Elysées, at the Arc de Triomphe. I took Art’s picture. He took mine.

   I smelled fresh bread, coffee. We walked into a bar/tabac,  picturesque except for the video game electronically chiming and pinging. We stood at the bar, where Frenchmen drank liquors at 5 A.M., and ordered coffee and croissants. Art was in a great mood. I sipped the coffee, which made me gag, but I was so happy to be playing tourist with my husband.

    Somebody once asked Art to name his favorite city. He said Paris. Why, they asked. “Because you can get anything you want there,” he replied.”