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.

Monday, December 9, 2013

FREE for December: Rhythm-A-Ning

Photo:  Art and George Mraz at Fat Tuesday's 1981

Art Pepper, Milcho Leviev, George Mraz, Al Foster.  

It's free, but take note…..

It's Free, But

The music biz is awful
'cause some people like to steal it
But my little tiny label
Is saying, "Don't you FEEL it?
Everybody worked so HARD to record it and preserve it."
Nahh, the parasitic thieves, figure they just plain deserve it.

 If you respect the music, keep it flowing.
If you respect the artists keep them going.
If you respect my label drop some money in the bucket
Or I'll go broke, give up,
and finally say, "Oh…….."

P.S.  This year's donors: A New Year's Surprise is coming!

Monday, October 28, 2013



some people have discovered my little secret-advance-upload to bandcamp and they've been downloading the whole album (about 60 minutes of music) in any digital format they want along with a PDF of the booklet and cover, etc. for $9 You can do that...


A 2 minute sample:  

Or you can wait for the CD.  Below are some advance reviews:

And here are the reviews!

Art Pepper: Unreleased Art Vol. VIII - Live At The Winery, September 6, 1976

Published: October 28, 2013
Art Pepper: Art Pepper: Unreleased Art Vol. VIII - Live At The Winery, September 6, 1976Laurie Pepper, widow of alto saxophonist Art Pepper, has been shepherding the artist's discography since the turn of the millenia.Unreleased Art Vol. VIII: Live At The Winery, September 6, 1976reveals there may be no end in sight for unreleased material from this important jazz musician. Ms. Pepper has done a couple of things different this time. One, she is releasing a performance by Pepper early in his comeback, after the release of Living Legend(Contemporary, 1975), Pepper's first recording since 1960'sIntensity (Contemporary) and before his triumphant appearance at New York City's Village Vanguard, documented on The Complete Village Vanguard Sessions(Contemporary, 1977). (Note: Pepper is captured on a handful of live recordings during those 15 years, but these were largely bootlegs that made their way to vinyl and then CD.) 

Second, she releases a performance where Pepper plays with "alternate" sidemen, artists not associated with Pepper at the height of his comeback (like pianists George Cables andMilcho Leviev, bassists Tony Dumas and Bob Magnusson and drummers Billy Higgins andCarl Burnette). The music recorded here is somewhat of a "missing link" and is, indeed, revelatory, almost in the biblical sense. Pepper had been working as an accountant in the bakery of a fellow Synanon veteran when he emerged to play "casuals" (weddings and Bar Mitzvahs) and, eventually to begin recording again. 

Fifteen years is a long time between records. It may be the myopic view of the past considering recordings like Art Pepper Meets The Rhythm Section (Contemporary, 1957) and Art Pepper + Eleven: The Modern Jazz Classics (Contemporary, 1959). These were game-changing recordings made under the most challenging circumstances. 

There is nothing Romantic about chemical dependency or its consequences. It does not enhance creativity; it exists as an impediment to all that could be. Nor should one believe the artist is not changed by the experience: not Charlie Parker, not Frank Morgan, not Art Pepper. The Art Pepper here in the Bicentennial is dramatically different from that of these previous recordings. His tone is harsher and more dry and he still shows the remnants of John Coltrane, who captured his imagination in the 1960s. But, Pepper in the mid-1970s was no developing artist unfinished; he was fully realized and in nuclear transition. He is the musical sum of all he has done and all he has seen. 

In 1979, Art and Laurie Pepper published perhaps the finest jazz biography written, Straight Life: the Story of Art Pepper (Da Capo Press). It provides a roadmap and discography where Pepper's work can be conveniently identified and considered in context. According to Pepper's discography atJazzdisco.org, the altoist's appearance at the Paul Masson Winery, September 6, 1976 took place between his recording as a sideman on Art Farmer: On The Road (Contemporary, 1976) and Pepper's own follow-up to Living LegandThe Trip (Contemporary, 1976). Pepper was getting serious traction just ahead of his first tour of Japan early in 1977. He had been teaching jazz clinics and playing casuals, getting ready for the rest of his productive but too-short life. 

Live At The Winery, September 6, 1976 is made up of six songs inner-dispersed with Pepper's grateful and sincere stage banter. The disc opens with possibly Pepper's most passionate reading of the Juan Tizol classic "Caravan." Written for the Duke Ellington orchestra, "Caravan" was composed with a Middle Eastern flavor in mind, but in the hands of Pepper and local pianist Smith Dobson, it is a samba bullet shot from a Latin jazz gun. Pepper gives a long introduction before steering into the familiar theme, fighting a guerrilla war for the next ten minutes of exhilarating performance. 

Pepper follows with an angular original composition, "Ophelia" from Living Legend, that would show up many more times in his live performances. A ballad master, Pepper presents "Here's That Rainy Day" also from Living Legend and earlier, displaying the complete command of the form that would reach its pinnacle on Winter Moon (Galaxy, 1980). The band follows with "What Laurie Likes," a blues-funk piece suggesting Pepper's future masterpiece "Red Car" from his next studio recording. 

Pepper closes with his be bop-infused "Straight Life" and "Saratoga Blues" demonstrating that he is a master of that idiom also. "Caravan" is a revelation on this recording as is "Make a List (Make a Wish)" from Art Pepper: Unreleased Art, Vol. III; The Croydon Concert, May 14, 1981 (Widow's Taste, 2008). Pepper was capable of reinvention, evolution and perfection in his quest to become the greatest alto saxophonist. Mission accomplished.

Track Listing: Caravan; Ophelia; Here’s That Rainy Day; What Laurie Likes; Straight Life; Saratoga Blues.
Personnel: Art Pepper: alto saxophone; Smith Dobson: piano; Jim Nichols: bass; Brad Bilborn: drums.
Record Label: Widow's Taste

Art Pepper Unreleased Art Vol. III Live At The Winery Sept. 6, 1976
The legacy of one of the greatest alto voices since Charlie Parker lives on!
Brent Black / www.criticaljazz.com
With perhaps the exception of Lee Konitz, the artistry of Art Pepper is perhaps the singular most important voice coming from the ranks of the alto saxophone since the passing of the great Charlie Parker.
The particular gig spotlighted with this release was from the start of Art's last comeback although despite a myriad of personal issues the artistic brilliance that is Art Pepper never really goes away, it merely became sidetracked on occasion. The ensemble on this particular date included pianist Smith Dobson, bassist Jim Nichols and drummer Brad Bilhorn. Ballads were the lyrical wheelhouse of Art Pepper and the cover of "Here's That Rainy Day" is perhaps one of those rare tunes that can easily be identified with an instrumentalist with the magic to transform the number into a soulful wonderland of harmonic possibilities. "Ophelia" was a tune composed for Art's drug-addicted second wife and is chameleon like in presentation, changing colors and meters but all with a smoldering swing that Pepper seemed to have the uncanny ability to unleash at a moments notice. "What Laurie Likes" is an Art Pepper original that takes a walk on the funk side and as typical for Pepper's vision, slightly ahead of the curve. Closing out this incredibly engaging set we have "Saratoga Blues." Arguably we have Art Pepper as perhaps the finest lyrical player with a soulful and soul filled approach to ballads and blues that places him well ahead of the pack both then and now.
Art Pepper's widow, Laurie Pepper is still perusing a plethora of material that is obviously of the highest quality and should afford those that perhaps are not as familiar with Pepper's gift the opportunity to become acquainted with an artist that embodies the strictest definition of the word virtuoso. Much like Chet Baker and Bill Evans, Art Pepper left us way too soon.  
You never review greatness, you celebrate. Nevertheless, a five star effort.
Tracks: Caravan; Ophelia; Here's That Rainy Day; What Laurie Likes" Straight Life; Saratoga Blues.
Personnel: Art Pepper: Alto Saxophone; Smith Dobson: Piano; Jim Nichols: Bass; Brad Bilhorn: Drums.

ART PEPPER/Unreleased Art Vol VIII-Live at the Winery September 6, 1976: The amazing Pepper archives continue to issue forth with previously unheard material that continues to be mind blowing. Recorded with his NoCal crew at the beginning of his last comeback, Pepper is inspired and playing like someone half his age in twice his health. Crisply recorded from the soundboard at a jazz festival at Paul Masson Winery, something other than posterity was inspiring Pepper to let the fur fly that night in such mighty fashion. With the kind of inspired playing you think you'd have to be closer than most of a continent away from Highway 61 to turn in, whether he's hitting it out of the park on classics or originals you've heard before, you've never heard them like this. The better part of 40 years later, he can still teach the young ‘uns a thing or two about playing like a runaway train and keeping it melodic and in the pocket. Killer stuff that shows we're a long way from nothing but scraps being left on this table. Check it out, all the cats here are on fire. 
-Midwest Record Blog-

--- S. Victor Aaron, Something Else Reviews
In 2007, twenty five years after Art Pepper’s death, his widow Laurie began issuing concert recordings of her late husband covering the period of his remarkable renaissance of the last seven years of his life. By working with — or to frustrate — the bootleggers, Mrs. Pepper obtained these rough recordings, handed them over to Wayne Peet for remastering, and issued good-to-great sound quality live records. This Unreleased Art series has been a “win-win” by making these live performances widely available for Art Pepper fans while recouping for Laurie some due compensation for his sweat. A third win comes from further solidifying the legacy of one of post-bop’s most electrifying alto saxophonists.
We don’t know how many of these concert recordings she has left up her sleeve, but we’re now up to Volume Eight with the impending release of Unreleased Art, Vol. VIII, Live At The Winery September 6, 1976.
With Pepper being remarkably consistent in his comeback period, the intrigue of Vol. VIII apart from the previous volumes is that the concert covered in this instance came years earlier, shortly following the release of his “comeback” album Living Legend, and the set includes three of Legend‘s six tracks. Moreover, this is Art backed by his just-assembled “Northern California” band: Smith Dobson (piano); Jim Nichols (bass); Brad Bilhorn (drums), not the bigger names that were to become a part of his touring band in a few years, but plenty competent. Derived from the soundboard, the fidelity is adequate, but the mixing is better.
Vol. VIII confirms what other mid-seventies Pepper recordings already suggest: that Pepper had regained all of his old mojo after substance abuse and rehab had sidelined his career for the better part of fifteen years. He swings like he invented it on the sturdy standard “Caravan,” tears through his rapid-fire lines on “Straight Life,” and aces the lyricism demanded of his own song, “Ophelia.” This is one of the earlier renditions of “Ophelia” captured live, a song that would remain on his set list to the end of his life.
Another one of the originals from Living Legend performed on this night was “What Laurie Likes,” where Nichols plays a funky electric bass line that would have been right at home on a Crusaders record of that period. It’s also where you’ll find Pepper’s great adaptive skills to contemporary sounds, playing along to the groove like Eddie Harris and tossing in outside jazz phrasings at the crescendo part of his solo. In typical fashion, a blues is included, which he waited until the encore to lay one on his audience, another Pepper-penned tune “Sarasota Blues.” Oh yeah, Art was a master of the blues, as this performance demonstrates.
There’s nothing to complain about the support he gets, either; Dobson follows Pepper’s solo on “Caravan” with one that’s just as vigorous, amply supported by Bilhorn’s forceful drums. Nichols’ Larry Graham-inspired bass solo on “Laurie” is a treat that was probably rarely heard in an Art Pepper concert, since Pepper would soon cease playing crossover songs like this one shortly afterwards.
That all said, perhaps the biggest treat of Unreleased Art, Vol. VIII is simply that it provides another occasion to go back and listen to one of the greats of the old school sax players. It’s another reminder that even most of the class of the new school still has a lot of catching up to do.  

Art Pepper: Unreleased Art - Vol. VIII (2013)

Published: November 11, 2013
Art Pepper: Art Pepper: Unreleased Art - Vol. VIII (2013)After recovering from a hellish descent into drug addiction, crime, and incarceration, the legendary alto saxophonist Art Pepper resurrected himself as a player. He accomplished several fine recordings, a number of live performances on the US West Coast, a couple of important stops in New York, and a notable tour of Japan. Pepper thus had a few good years in the late 1970s and died all too soon of a stroke in 1982 at the age of 56. His comeback was not just a has-been's effort at squeezing out a few good shows. He achieved a genuine resilience, stretched the scope of his work, and gathered top musicians to accompany him. In recent years, Laurie Pepper has issued a series of recordings from that era, Unreleased Art which she gathered after his death. Some of them, like this one, are treasures. 

The current CD, the eighth in the series, was recorded live at a jazz festival at the Paul Masson Winery in Saratoga, California on September 6, 1976. The group consisted of local musicians, and at that time the San Francisco area boasted a coterie of talented players who worked locally, especially in the neighborhood of Half Moon Bay on the coast, south of the city. On this occasion, pianist Smith Dobson, bassist Jim Nichols, and drummer Brad Bilhorn, though not among the international legends who were familiar partners for Pepper, provided strong backing for his work. 

The album starts off with an energetic version of Dizzy Gillespie's "Caravan," which begins with improvised lines typical of Pepper's early style. His quickness and alert phrasing are unblemished, and his tempos are faster, but his sound is slightly thinner than in his early days. (Whether intentional or the result of diminished health from the years of addiction, the sharpness of sound isn't offensive but gives a bit of a "beat generation" feeling.) Smith Dobson offers some strong soloing on piano, reflecting the bebop era style that characterizes the whole set. 

In his original tune, "Ophelia," which appears on several of his recordings, Pepper uses the simple three-note melody as a motif for improvising complex lines. One is reminded of his early days when he was, relatively speaking, more laid back and light. 

"Here's that Rainy Day" is a gem, one of those truly great ballad renditions in the jazz archives. Pepper, who always played ballads without breaking out into double time swing mode, used a minimalized touch of vibrato and captured the sad mood of the piece by his soft sonority and sustaining of notes at the end of phrases, especially the drone-like fifth which recurs in the melody. The beauty of this rendition is priceless. 

The mood then shifts to a hard-driven blues, "What Laurie Likes," with occasional preacher-like wails of the type which are usually reserved for the upper register of the tenor saxophone. Dobson's piano clusters add to the soulful gospel-like energy, which reaches a frenetic peak in the last chorus. The influence of John Coltrane and McCoy Tyner can be felt here. 

The phrase and the tune "Straight Life" are forever associated with Pepper's well-known autobiography. This version displays his vigorous adeptness at rapid runs. The recording ends with a laid back "Saratoga Blues," which seems somewhat of an afterthought. 

There is an honesty in Pepper's playing—it is never sentimental or flashy. As a result, the overall impact of the album is a renewed appreciation of his remarkable resilience and improvisational capacity, tempered by a touch of sadness which may have remained for him after he recovered from his addiction.

Track Listing: Caravan; Talk: Band Intros; Ophelia; Here’s that Rainy Day; Talk: About Smith Dobson: Intro to What Laurie Likes; What Laurie Likes; Straight Life; Saratoga Blues.
Personnel: Art Pepper: alto saxophone: Smith Dobson: piano; Jim Nichols: bass; Brad Bilhorn: drums.
Record Label: Widow's Taste

Saturday, October 12, 2013

Music Almost Free: 15 Spectacular minutes. And I mean spectacular.

I'm charging a whole dollar for this track which is over 15 minutes long.  It was recorded during Art's first tour of Japan with his own group.  This was a spectacular performance.  A legitimate album—featuring all tracks recorded that night at that concert hall—was for a time in very limited release in Japan, and pirated recordings exist as well.

Art wrote this gorgeous ROMANTIC ballad—which becomes solid screaming FUNK—for me!
I suggest you play it LOUD.
Me and Art (Photo by Phil Bray)

As I say, I'm charging a dollar per download, and you can, if you want to, pay more to

Thursday, September 5, 2013

Virtue Will Be Rewarded

I'm so grateful to those fans who've donated in response to the "free" downloads -- to support Widow's Taste.  Hundreds do not, and that's cool, because the music is first of all to listen to, to enchant and soothe, to inspire and disturb, to create new fans and reward the  old ones.  (And to encourage people to BUY the stuff that is for sale at cdbaby!)

And speaking of rewards, all those who have donated during 2013 (and my latest begging post was more effective than most), I've got your names and emails and you'll be rewarded with a special, secret download before the end of the year which you will not be permitted to pay for.  Just want to say thanks.  Thanks very much! L.

Just what I always wanted!

Friday, August 30, 2013


Art Pepper was born on September 1, 1925.  For his birthday, I figured I'd upload a gift for his fans.

Art, Roger (Manager—New Morning, Geneva), Alain (Manager—New Morning, Paris)

This track is incomplete by only a few bars at the very beginning.  It's Blues for Blanche, the opening tune he played at a gig in Geneva (at a club called The New Morning) in 1980.  The band was Milcho Leviev, Tony Dumas, and Carl Burnett.

I really agonize over these freebies.  This was an especially wonderful set and I have enough of it on tape to remaster and release as a new two-disc set, so I hesitate to give away something I might eventually want to sell.

I mean, this is no longer a hobby.
If I had saved or invested all the money we earned while we were touring I might be living on it now.  (I actually thought of buying Apple stock during the time when Steve Jobs was out and that stock was in the toilet!) But instead we spent the money on cocaine (mostly, though not entirely, Art's) and on clothes and jewelry (my retaliation; though I have to add I used a diamond ring to pay for the tile floor I'm standing on right now).

This record company is a joy AND a business.  I need to sell albums in order to make & restock albums, but I also need to share this stuff. And the thanks I get from fans makes me so happy.

So I justify this giveaway because the track is incomplete and the audio is kind of boomy.  AND the music is terrific.  (They play Patricia and Goodbye at this session, too, though Goodbye was recorded with a dying battery and so needs Wayne Peet's magic to rescue it from Bee Gees land.)

Anyway, the track is free, but donations toward more albums and freebies are gratefully accepted.  Don't want any coke, but diamonds, rubies, gold, and healthy stocks are always welcomed in lieu of cash.

Saturday, August 10, 2013


   In July of 1980 we toured with this quartet, pictured: Carl Burnett, Bob Magnusson and Milcho Leviev. The few nights at Sandy's, a club in Boston (or maybe Beverly?) Mass, were memorable because the music was consistently wonderful and because Art was so funny in his comments to the audience. His ankles were swollen as a result of poor health, too much alcohol, and steady traveling, so he was wearing slippers onstage, but otherwise his playing was strong and his mood was good. Partly because the band was so tight and swinging.
   Art had written wonderful waltz (for the legendary Vanguard sessions) but had had his usual problem devising name for it. So Milcho named it, and their little onstage conversation about it is charming. I don't think the tune has been released anywhere else. I may be wrong. I'm often wrong. Anyway, I think it's wonderful.

  Pay nothing. Just enter a zero in the payment box. It really is FREE. But please DONATE if you can—to keep the music coming.

(The Art 'n Warne album is now also available as a download at CD Baby,
at Bandcamp,

AND for those of you who HATE Paypal: on iTunes.)

So here 'tis:

Wednesday, July 3, 2013

MUSIC: A Few Days Late, No Dollars Short, 'Cause it's FREE!

Somehow June got away from me*.  But there will be TWO freebies this month.

This one is a mystery*.  It was broadcast on Japanese radio in another July — 1979, and at some time in the dim past a cassette of the broadcast was sent to me.  If you listen at the end of the track, it sounds as if the announcer is saying "Boston Cruise," but Art never played a cruise.  Was there a band with that name?

To the first 3 people who can figure out what, why, and where this took place and with whom Art was playing, I'll give a free copy of the next CD (to be released in November).  Thank the amazing Rocco who found this tape in one of many boxes of unlabeled, neglected tapes.

And you'll forgive me if I'm giving you yet another "April"
to remember. One of Art's favorite tunes.
Scroll down to the bottom of this post to access the music.

*June was busy because I'm prepping the new album for release AND I'm tidying up and selecting photos for the Memoir of my marriage, ART: Why I Stuck With a Junkie Jazzman. To see some of the latest photos I've chosen & to read a little of the accompanying text go to the gallery (which is getting bigger by the day.)

*Mystery Solved: By Claude Schlouch, HF Lawant, Marshall Zucker, Andre Florsch
Who, What, Where, When:  Tiger Okoshi (tp), Art Pepper (as), Gary Burton (vib), Kasumi Watanabe (g), Chip Jackson (b), Al Foster (dm), unknown (ann) Unknown location, Tokyo, Japan, July 22, 1979 
Careful 4:45
Art Pepper's interview 1:09
I'll remember April 6:35
interview of Art Pepper & Gary Burton 1:18
Note: Art Pepper does not play on Boston Cruise, Crystal Silence & Como en Vietnam from this session.

Right Click the title to download. Click to Stream.  Pay nothing or donate something to keep the music coming.

Thursday, May 23, 2013

MUSIC: Free AND For Sale in Response to Enthusiastic Reception of....

...the April Freebie, of Art & Warne et al playing I'll Remember April: I've negotiated with K.C. Marsh, Warne Marsh's son, and Geraldyne Marsh, his widow, to release this excellent jam session recording of Art Pepper, Warne Marsh, Carol Kaye, Mike Lang, Tommy Vig, John Morrell, and the great Buddy Collette playing flute and clarinet.
Go to the bottom of this post to listen to and/or download the album.

As far as I know, anyway, this has never been released anywhere, ever.  The gig was set up by Dan McKenna, and the proceedings were recorded on the afternoon of April 20, 1975 at an L.A. club called The Foxy Lady.  It was recorded by somebody (McKenna?) on a reel-to-reel recorder and then copied to a couple of cassettes which were then sent to me.

I have no more info.

I'm still giving away the I'll Remember April track, but I'm selling the whole session, more than 2 hours of exceptional music, for $7.


Here's That Rainy Day is interrupted during Warne's solo, and then it's picked up again, still during the solo.  I've faded out and in.  I guess they had to change the reel.

Chameleon starts late.  Fade in.

Broadway ends during Mike Lang's solo, but the track is 24 minutes long!  Fade out.

This hasn't been remastered.  Can't afford it at these prices.
Speaking of which:  I'm dividing the take, such as it is, with the Marshes.  Please don't share the album.  $7 is CHEAP.

K.C. is making a documentary about his dad (https://www.facebook.com/AnImprovisedLife)

& I'm just beginning a kickstarter campaign to publish my memoir  about my life with Art.  I'll let you all know how to participate once I've gotten all the begging figured out.  It'll be available as a print book (softcover) and as an ebook.

Meanwhile, here's a draft of the book jacket:  Just a draft.  I'd love feedback.

Sunday, April 21, 2013

Free Music to Remember April by:
Art & Warne

Art Pepper, Warne Marsh (photo, Mark Weber)

Maybe April, 2013 is a month you don't want to remember, but this tune is one I think you'll want to hear. On April 20, 1975 Art accepted an afternoon gig at an L.A. club called "The Foxy Lady." That hoot of appreciation at the end is my voice, so I must have been there. I can't remember it. Also in the band, my notes say, is Carol Kaye on electric bass. I don't know who the electric keyboardist is and I have no guess as to who the drummer is.

[ This just in!: The band includes Mike Lang on electric piano, John Morrell on guitar, Tommy Vig on drums, and though he's missing on this track, Buddy Collette on flute and clarinet. The concert was produced by Dan McKenna.]

The track starts out a bit noisy and confused but promptly at the 15-second mark it jumps right into the groove and never leaves it.

Pay nothing.  Most of the music I post here is really truly free. Just enter zero in the amount box.  But if you can, please donate -- and help Widow's Taste issue new recordings (and restock the old ones).

Sunday, March 31, 2013

FREE MUSIC: Art Pepper, Jack Sheldon

During the late ‘70s, while Art was working on his last comeback, Jack Sheldon offered him a regular weekend gig at a club in Monterey, right up the coast. The other regular band members were Dolo Coker and Blue Mitchell. I don’t remember who the drummer was or even if there was a drummer. Dolo played keyboard and Jack mostly sang, told jokes, played electronic organ from time to time. No trumpet. He was working in a TV sitcom at the time and said the trumpet deformed his lip. In the photo you can see Jack singing his own composition, “Fuck You Very Much,” with Blue and Art joining in on the chorus.

A few years later Art’s career was in the ascendant, and he was making a bunch of one-offs as-a-sideman-only for a Japanese label: Yupiteru, later Atlas records. Art was permitted to choose the tunes he wanted to play and which musicians he would play them with. For one of these sessions he chose Jack, and Art begged him to sing “Historia del un Amor” as he had done, regularly, in Monterey. Art loved the way Jack sang. Me, too. (He sang “You Don’t Know Me” better than anyone except, of course, Ray Charles.) Unfortunately, the Japanese did not want to include Jack’s singing. But they didn’t erase it. Here it is. Jack’s voice, Art’s sax, and just a teeny bit of Jack’s trumpet. Forgive the audio quality. Got it from a very old cassette. (Also, Milcho Leviev, p; Tony Dumas, b; Carl Burnett, d.)

Download the tune for free.  Simply enter a zero in the "amount" box.  Or you can donate to the cause (so Laurie can release more albums).

Wednesday, March 6, 2013

1995 Interview: Laurie by Terry Gross, Fresh Air

Monday, February 18, 2013

MUSIC: February Freebie: Just a few hoops to jump thru to get it

Pay nothing, zero, zilch, just put a zero in the "amount" box.  (Or, if you want to keep those Unreleased Art CDs coming from Widow's Taste, support the label by donating any amount at all.)

 Click below the photo to get to the music: previously unreleased, absolutely gorgeous 
and just a smidge incomplete.
 Live.  Patricia.

There's something new happening.  I've finally completed my memoir of my life with Art and I'm looking for an actual book publisher, but my favorite plan is to publish it as an ebook with a zillion photos, music tracks, Art's voice actually describing some events, documents, etc.

So meanwhile, I'm accumulating photos, etc. and putting them up on a separate site.  You can explore them, and you can also hear AND download free music from that site.

The freebie this month is yet another terrific (unfortunately incomplete) performance.  But I wouldn't be giving it away if it was releasable!

This time it's the intro & opening melody statement that's missing, but all the rest (about 15 minutes' worth of music) is here and it's beautiful.  The tune is Art's Patricia recorded in Okayama Japan on November 14, 1981 with George Cables, David Williams, and Carl Burnett.  The audio quality is not great, because Wayne Peet has not worked his magic on this one, but you can download it as flac or aiff or any other format and keep it and play it and so on.

Sunday, January 6, 2013

MUSIC: January Freebie PLUS...

Bonuses Galore:  First the freebie (from Disc One of The Art History Project) "Tickle Toe."
It's free (just enter a zero in the "amount" box) but donate if you can— to support continuing releases from Widow's Taste

The Art History Project, a three disc set (31 tracks of music), will be out-of-stock for the foreseeable future (I can't afford to re-stock it), but it will still be available for only $14 as a high quality (flac, wav, aiff, etc.) download from Bandcamp complete with all artwork AND with a downloadable pdf of the originally included 20-page booklet filled with photos and info.

This album ought to be considered the Cliff Notes to your Art (Pepper) history course, spanning his entire fraught, sweet, wild, angry, rocking, swinging, soulful, tender career 1952-1982.

See below for another taste of this album, a music video of "Mr. Dom" (on disc 2 of this set).

Click Here for More Album Details

Play and/or DOWNLOAD Tickle Toe: (and stream any of the other 30 tracks at will)

Check out Video/Art