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CTA may refer to:

Science[link]

• Cellulose triacetate
• Charge transfer amplifier
• Computed tomography angiography
• Cherenkov Telescope Array, a project to build a system of very high energy gamma ray telescopes.
• Constant temperature anemometry, see anemometer

Companies and organizations[link]

• Brazilian General Command for Aerospace Technology
• Cairo Transportation Authority
• Canadian Transportation Agency
• Central Tibetan Administration
• Chicago Transit Authority
• Colorado Translators Association
• Chinese Taoist Association
• California Teachers Association, a labor union
• Technical Centre for Agricultural and Rural Cooperation ACP-EU (CTA)
• Central de los Trabajadores Argentinos
• Consolidated Tape Association, which oversees the stock market transactions
• Community Training Australia, an Australian registered training organisation based in Townsville, Queensland
• CTA Architects Engineers, Architectural and Engineering services firm, based in Billings, Montana

Travel[link]

• Catania-Fontanarossa Airport (IATA code)
• Central Texas Airport
• Crystal Thai Airlines
• Cyprus Turkish Airlines
• Control area, controlled airspace that exists in the vicinity of an airport.
• Common Travel Area, comprising Ireland, Great Britain, the Isle of Man and the Channel Islands

Education[link]

• Chisholm Trail Academy
• Columbus Torah Academy
• The Common Tasks for Assessment, an educational programme run by the Department of Education of South Africa

Places[link]

• Central African Republic (FIFA code: CTA)
• Container Terminal Altenwerder

Other[link]

• Call to Action, a Christian organization
• Call to action (marketing), a web design tenet that requires each page to clearly indicate the desired user response
• Call to arms
• Chicago (band), originally known as Chicago Transit Authority before a lawsuit threat
• Cased telescoped ammunition
• Central technical area, an equipment room used in broadcasting facilities
• Chartered Tax Adviser, a tax accountant who is a member of The Chartered Institute of Taxation (UK)
• Commodity trading advisor
• Criminal Tribes Act, British legislation in India passed in 1871 which labeled entire communities as criminal
• Cryptologic technician administrative
• Children's Television Act, American legislation passed in 1990 that enforces a certain degree of educational television

Chet Baker
Background information
Birth name	Chesney Henry Baker, Jr.
Born	(1929-12-23)December 23, 1929 Yale, Oklahoma, U.S.
Died	May 13, 1988(1988-05-13) (aged 58) Amsterdam, Netherlands
Genres	West Coast Jazz
Occupations	Trumpeter Jazz singer
Instruments	Trumpet Vocals Flugelhorn Piano[1]
Years active	1949–1988[2]
Associated acts	Gerry Mulligan Art Pepper

Chesney Henry "Chet" Baker, Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter, flugelhornist and singer.

In the 1950s, Baker earned much attention and critical praise, particularly for albums featuring his vocals, such as Chet Baker Sings. Jazz historian David Gelly descibed the promise of Baker's early career as seemingly representing "James Dean, Sinatra, and Bix, rolled into one."^[3] However, his "well-publicized drug habit"^[4] also drove his notoriety and fame, as Baker was in-and-out of jail for much of his life before enjoying a career resurgence in the late 1970s and '80s.

Baker died in 1988 in Amsterdam, the Netherlands.^[5]

Biography[link]

Early days[link]

Baker was born and raised in a musical household in Yale, Oklahoma; his father was a professional guitar player. Baker began his musical career singing in a church choir. His father introduced him to brass instruments with a trombone, which was replaced with a trumpet when the trombone proved too large.

Baker received some musical education at Glendale Junior High School, but left school at age 16 in 1946 to join the United States Army. He was posted to Berlin where he joined the 298th Army band. Leaving the army in 1948, he studied theory and harmony at El Camino College in Los Angeles. He dropped out in his second year, however, re-enlisting in the army in 1950. Baker became a member of the Sixth Army Band at the Presidio in San Francisco, but was soon spending time in San Francisco jazz clubs such as Bop City and the Black Hawk. Baker once again obtained a discharge from the army to pursue a career as a professional musician.

Career breakthrough[link]

Baker's earliest notable professional gigs were with saxophonist Vido Musso's band, and also with tenor saxophonist Stan Getz, though he earned much more renown in 1951 when he was chosen by Charlie Parker to play with him for a series of West Coast engagements.^[6]

In 1952, Baker joined the Gerry Mulligan Quartet, which was an instant phenomenon. Several things made the Mulligan/Baker group special, the most prominent being the interplay between Mulligan's baritone sax and Baker's trumpet. Rather than playing identical melody lines in unison like bebop giants Charlie Parker and Dizzy Gillespie, the two would complement each other's playing with contrapuntal touches, and it often seemed as if they had telepathy in anticipating what the other was going to play next. The Quartet's version of "My Funny Valentine", featuring a memorable Baker solo, was a major hit, and became a song with which Baker was intimately associated.

The Quartet found success quickly, but lasted less than a year because of Mulligan's arrest and imprisonment on drug charges. In 1956, Pacific Jazz released Chet Baker Sings, a record that increased his profile but alienated traditional jazz fans; he would continue to sing throughout his career. Baker formed quartets with Russ Freeman in 1953-54 with bassists Carson Smith, Joe Mondragon, and Jimmy Bond and drummers Shelly Manne, Larry Bunker, and Bob Neel. The quartet was successful in their three live sets in 1954. In that year, Baker won the Downbeat Jazz Poll. Because of his chiseled features, Hollywood studios approached Baker and he made his acting debut in the film Hell's Horizon, released in the fall of 1955. He declined an offer of a studio contract, preferring life on the road as a musician. Over the next few years, Baker fronted his own combos, including a 1955 quintet featuring Francy Boland, where Baker combined playing trumpet and singing. He became an icon of the West Coast "cool school" of jazz, helped by his good looks and singing talent. Baker's 1956 recording, released for the first time in its entirety in 1989 as The Route, with Art Pepper helped further the West Coast jazz sound and became a staple of cool jazz.

Drug addiction and decline[link]

Baker was a heroin user from the 1950s for the remainder of his life, and eventually saw his musical career decline as a result. At times, Baker pawned his instruments for money to maintain his drug habit. In the early 1960s, he served more than a year in prison in Italy on drug charges; he was later expelled from both West Germany and the UK for drug-related offenses. Baker was eventually deported from West Germany to the United States after running afoul of the law there a second time. He settled in Milpitas in northern California where he played in San Jose and San Francisco between short jail terms served for prescription fraud.^[5]

In 1966, Baker was savagely beaten (allegedly while attempting to buy drugs) after a gig in San Francisco, sustaining severe cuts on the lips and broken front teeth, which ruined his embouchure. He stated in the film Let's Get Lost that an acquaintance attempted to rob him one night but backed off, only to return the next night with a group of several men who chased him. He landed finally in a car where he was surrounded. Instead of rescuing him, the people inside the car pushed him back out onto the street where the chase by his attackers continued, and subsequently, he was beaten to the point that his teeth, never in good condition to begin with, were knocked out, leaving him without the ability to play his horn. He took odd jobs, among them pumping gas. Meanwhile he was fitted for dentures and worked on his embouchure. Three months later he got a gig in New York.

Between 1966 and 1974, Baker mostly played flugelhorn and recorded music that could mostly be classified as West Coast jazz.^[5]

Comeback and later career[link]

After developing a new embouchure resulting from dentures, Baker returned to the straight-ahead jazz that began his career, relocating to New York City and began performing and recording again, notably with guitarist Jim Hall. Later in the seventies, Baker returned to Europe where he was assisted by his friend Diane Vavra, who took care of his personal needs and otherwise helped him during his recording and performance dates.

From 1978 until his death in 1988, Baker resided and played almost exclusively in Europe, returning to the USA roughly once per year for a few performance dates.

Chet Baker with Stan Getz in 1983

This was Baker's most prolific era as a recording artist. However, as his extensive output is strewn across numerous, mostly small European labels, none of these recordings ever reached a wider audience, even though many of them were well-received by critics, who maintain that the period was one of Baker's most mature and rewarding. Of particular importance are Baker's quartet featuring the pianist Phil Markowitz (1978–80) and his trio with guitarist Philip Catherine and bassist Jean-Louis Rassinfosse (1983–85). He also toured with saxophonist Stan Getz during this period.

In 1983, British singer Elvis Costello, a longtime fan of Baker, hired the trumpeter to play a solo on his song "Shipbuilding", from the album Punch the Clock. The song was a top 40 hit in the UK, and exposed Baker's music to a new audience. Later, Baker often featured Costello's song "Almost Blue" (inspired by Baker's version of "The Thrill Is Gone") in his live sets, and recorded the song on Let's Get Lost, a documentary film about his life.

The video material recorded by Japanese television during Baker's 1987 tour in Japan showed a man whose face looked much older than he was; but his trumpet playing was alert, lively and inspired. Fans and critics alike agree that the live album Chet Baker in Tokyo, recorded less than a year before his death and released posthumously, ranks among Baker's very best. "Silent Nights", another critically acclaimed release, and Baker's only recording of Christmas music, was recorded with Christopher Mason in New Orleans in 1986 and released in 1987.

Chet Baker's compositions included "Chetty's Lullaby", "Freeway", "Early Morning Mood", "Two a Day", "So Che Ti Perderò" ("I Know I Will Lose You"), "Il Mio Domani" ("My Tomorrow"), "Motivo Su Raggio Di Luna" ("Tune on a Moon Beam"), "The Route", "Skidadidlin'", "New Morning Blues", "Blue Gilles", "Dessert", and "Anticipated Blues".

Death[link]

At about 3 am on May 13, 1988, Baker was found dead on Prins Hendrikkade, near Zeedijk, on the street below his second-story room (Room 210) of Hotel Prins Hendrik in Amsterdam, Netherlands, with serious wounds to his head. Heroin and cocaine were found in his hotel room, and an autopsy also found these drugs in his body. There was no evidence of a struggle, and the death was ruled an accident.

Baker's body was brought home for interment in the Inglewood Park Cemetery in Inglewood, California, USA. A plaque outside the Hotel Prins Hendrik now memorializes him.

Legacy[link]

Plaque in Amsterdam

Jeroen de Valk has written a biography of Baker which is available in several languages: Chet Baker: His Life and Music is the English translation, Chet Baker: Herinneringen aan een lyrisch trompettist (remembrances of a lyrical trumpet player) is the Dutch edition (updated and expanded in 2007),^[7] and it is also published in Japan and Germany. James Gavin has also written a biography: Deep In A Dream — The Long Night of Chet Baker. Baker's "lost memoirs" are available in the book As Though I Had Wings, which includes an introduction by Carol Baker.^[5]

Baker was immortalized by the photographer William Claxton in his book Young Chet: The Young Chet Baker. An Academy Award-nominated 1988 documentary about Baker, Let's Get Lost, portrays him as a cultural icon of the 1950s, but juxtaposes this with his later image as a drug addict. The film, directed by fashion photographer Bruce Weber, was shot in black-and-white and includes a series of interviews with friends, family (including his three children by third wife Carol Baker), associates and women friends, interspersed with film from Baker's earlier life, and with interviews with Baker from his last years.

Time after Time: The Chet Baker Project, written by playwright James O'Reilly, toured Canada in 2001 to much acclaim.^[8] The musical play Chet Baker - Speedball, explores aspects of his life and music, and was premiered in London at the Oval House Theatre in February 2007, with further development of the script and performances leading to its revival at the 606 Club in the London Jazz Festival of November 2007.

Baker was reportedly the inspiration for the character Chad Bixby, played by Robert Wagner in the 1960 film All the Fine Young Cannibals. He was also the inspiration for the lead character in Fabrizio Federico's film Black Biscuit. Another film, to be titled Prince of Cool, about Baker's life, was cancelled as of January 2008.^[9]

The song "Chet Baker", which appears on the 2007 CD Wally Page and Johnny Mulhern: Live at the Annesley House, by Irish folk singer-songwriter Wally Page, describes the end of Baker's life in Amsterdam.

Honors[link]

• In 1987 he was inducted into the Big Band and Jazz Hall of Fame.
• In 1989 he was elected to Down Beat Jazz Hall of Fame by that magazine's Critics Poll.
• In 1991 he was inducted into the Oklahoma Jazz Hall of Fame.
• In 2005 Oklahoma Governor Brad Henry and the Oklahoma House of Representatives proclaimed July 2 as “Chet Baker Day”.
• In 2007 Mayor of the City of Tulsa Kathy Taylor proclaimed December 23 as “Chet Baker Day”.

Discography[link]

References[link]

External links[link]

• Chet Baker Foundation
• Chet Baker at the Internet Movie Database
• Chet Baker at Find a Grave
• Encyclopedia of Oklahoma History and Culture - Baker, Chet

Art Pepper
Art Pepper in 1979, Los Angeles
Background information
Birth name	Arthur Edward Pepper, Jr.
Born	(1925-09-01)September 1, 1925
Origin	Gardena, California, USA
Died	June 15, 1982(1982-06-15) (aged 56)
Genres	Cool jazz West Coast jazz Bop Mainstream jazz Hard bop Post-bop
Occupations	Saxophonist
Instruments	Alto Saxophone Tenor Saxophone Clarinet
Associated acts	Stan Kenton Shorty Rogers

Art Pepper (September 1, 1925 – June 15, 1982),^[1] born Arthur Edward Pepper, Jr., was an American alto saxophonist and clarinetist.

About Pepper, Scott Yanow of All Music stated, "In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker" and: "When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist."^[2]

Career[link]

Pepper was born in Gardena, California. He began his career in the 1940s, playing with Benny Carter and Stan Kenton (1946–52).^[1] By the 1950s Pepper was recognized as one of the leading alto saxophonists in jazz, epitomized by his finishing second only to Charlie Parker as Best Alto Saxophonist in the Down Beat magazine Readers Poll of 1952. Along with Chet Baker, Gerry Mulligan and Shelly Manne, and perhaps due more to geography than playing style, Pepper is often associated with the musical movement known as West Coast jazz, as contrasted with the East Coast (or "hot") jazz associated with the likes of Charlie Parker, Dizzy Gillespie and Miles Davis. Some of Pepper's most famous albums from the 1950s are Art Pepper Meets the Rhythm Section, Art Pepper + Eleven - Modern Jazz Classics, Gettin' Together, and Smack Up. Representative music from this time appears on The Aladdin Recordings (three volumes), The Early Show, The Late Show, The Complete Surf Ride, and The Way It Was!, which features a session recorded with Warne Marsh.

His career was repeatedly interrupted by the years he had to spend in jail because of his recurring legal transgressions, stemming from his addiction to heroin, but Pepper managed to have several memorable and productive "comebacks". Remarkably, his substance abuse and legal travails did not affect the quality of his recordings, which maintained a high level of musicianship until his death from a brain hemorrhage.

His last comeback saw Pepper, who had started his career in Stan Kenton's big band, becoming a member of Buddy Rich's Big Band from 1968 to 1969. In 1977 and 1978 he made two well received tours of Japan.^[1] During this period, he recorded two albums - Goin' Home with George Cables, and Winter Moon with a string orchestra - which were among his favorites and which he considered his definitive achievements.^[3]

Personal life[link]

Pepper lived for many years in the hills of Echo Park, in Los Angeles. He had become a heroin addict in the 1940s, and his career was interrupted by drug-related prison sentences in 1954–56, 1960–61, 1961–64 and 1964–65; the final two sentences were served in San Quentin.^[1] While in San Quentin he played in an ensemble with saxophonist Frank Morgan. In the late 1960s Pepper spent time in Synanon, a drug rehabilitation group.

After beginning methadone therapy in the mid-1970s, Art had a musical comeback and recorded a series of albums including Living Legend, Art Pepper Today, Among Friends, and Live in Japan: Vol. 2.

His autobiography,^[3] Straight Life (1980, transcribed by his third wife Laurie Pepper), discusses the jazz music world, as well as drug and criminal subcultures of mid-20th century California. Soon after the publication of this book, the director Don McGlynn released the documentary film Art Pepper: Notes from a Jazz Survivor,^[4] discussing his life and featuring interviews with both Art and his wife Laurie, as well as footage from a live performance in Malibu jazz club. Laurie Pepper also released an interview to NPR.

Pepper died of a stroke in Los Angeles.^[3][5] He is interred in the Abbey of the Psalms Mausoleum in the Hollywood Forever Cemetery, Hollywood, CA.

Discography[link]

Stan Kenton, Eddie Safranski, Shelly Manne, Chico Alvarez, Ray Wetzel, Harry Betts, Bob Cooper, and Art Pepper (second from right), 1947 or 1948

As leader[link]

• 1951 Popo - w/ Shorty Rogers (Xanadu Records)
• 1952 The Early Show (Xanadu Records)
• 1952 The Late Show (Xanadu Records)
• 1952 Surf Ride (Savoy)
• 1952 A Night at the Surf Club, Vol. 1 [live] (EPM)
• 1952 A Night at the Surf Club, Vol. 1 [live] (Xanadu)
• 1952 A Night at the Surf Club, Vol. 2 [live] (EPM)
• 1952 A Night at the Surf Club, Vol. 2 [live] (Xanadu)
• 1952 Art Pepper: Sonny Redd (Savoy)
• 1953 Art Pepper Quartet: Volume 1 (Time Is)
• 1954 Art Pepper Quintet (Discovery)
• 1956 Val's Pal (VSOP)
• 1956 The Art Pepper Quartet (Tampa/OJC)
• 1956 The Artistry of Pepper (Pacific Jazz)
• 1956 Art Pepper with Warne Marsh (Victor (aka The Way it Was! Contemporary))
• 1957 Show Time Japanese Import
• 1957 Art Pepper Meets the Rhythm Section (Contemporary/OJC)
• 1957 The Art of Pepper, Vol. 3 (Blue Note)
• 1957 The Art of Pepper, Vol. 1 (VSOP)
• 1957 The Art of Pepper, Vol. 2 (VSOP)
• 1957 Mucho Calor (Much Heat) (Andex/VSOP/TOFREC)
• 1958 The Art Pepper: Red Norvo Sextet (Score)
• 1959 Art Pepper + Eleven - Modern Jazz Classics (Contemporary/OJC)
• 1959 Two Altos (Savoy)
• 1960 Gettin' Together (Contemporary/OJC)
• 1960 Smack Up (Contemporary/OJC)
• 1960 Intensity (Contemporary/OJC)
• 1963 Pepper/Manne (Charlie Parker)
• 1964 Art Pepper Quartet in San Francisco (1964) [live] (Fresh Sound)
• 1968 Art Pepper Quintet : Live at Donte's 1968 (1968) [live] (Fresh Sound)
• 1975 Garden State Jam Sessions [live] (Lone Hill Jazz)
• 1975 I'll Remember April : Live at Foothill College (Storyville)
• 1975 Living Legend (Contemporary/Original Jazz Classics)
• 1976 The Trip (Contemporary/OJC)
• 1977 A Night in Tunisia [live] (Storyville)
• 1977 No Limit (Contemporary/OJC)
• 1977 Tokyo Debut [live] (Galaxy)
• 1977 Thursday Night at the Village Vanguard [live] (Contemporary/OJC)
• 1977 Friday Night at the Village Vanguard [live] (Contemporary/OJC)
• 1977 Saturday Night at the Village Vanguard [live] (Contemporary/OJC)
• 1977 More for Les: at the Village Vanguard Vol. 4 [live] (Contemporary/OJC)
• 1977 San Francisco Samba: Live at Keystone Korner (Contemporary)
• 1977 The Gauntlet / Original Sound Track (Warner Bros.)
• 1978 Live in Japan, Vol. 1: Ophelia (Storyville)
• 1978 Live in Japan, Vol. 2 (Storyville)
• 1978 Among Friends (Discovery)
• 1978 Art Pepper Today (Original Jazz Classics)
• 1978 Birds and Ballads (Galaxy)
• 1979 So in Love (Artists House)
• 1979 New York Album (Original Jazz Classics)
• 1979 Artworks (Galaxy)
• 1979 Tokyo Encore [live] (Dreyfus)
• 1979 Landscape [live] (Galaxy/OJC)
• 1979 Straight Life (Galaxy/OJC)
• 1980 Winter Moon (Galaxy/OJC)
• 1980 One September Afternoon (Galaxy/OJC)
• 1980 Blues for the Fisherman with Milcho Leviev Live at Ronnie Scott's London.(TAA/Mole)
• 1981 Art Pepper with Duke Jordan in Copenhagen 1981 [live] (Galaxy)
• 1981 Art Lives (Galaxy)
• 1981 Roadgame [live] (Galaxy/OJC)
• 1981 Art 'N' Zoot (WestWind)
• 1981 Arthur's Blues (Original Jazz Classics)
• 1982 Goin' Home (Original Jazz Classics)
• 1982 Tête-à-Tête (Galaxy/OJC)
• 1982 Darn That Dream (Real Time)
• 1991 Art in L.A. (WestWind) - 2 CD set of two different sessions in 1957 and 1960.
• 2006 Summer Knows (Absord) - Japanese release from earlier sessions

As a sideman[link]

• 1956 Hoagy Sings Carmichael Pacific Jazz (with Hoagy Carmichael)
• 1956 The Marty Paich Quartet featuring Art Pepper Tampa/VSOP (with Marty Paich)
• 1968 Mercy, Mercy Pacific Jazz (with Buddy Rich)
• 1978: Birds and Ballads (Johnny Griffin)
• 1979 California Hard Xanadu Records (with Dolo Coker)
• 1979 Very R.A.R.E. Trio (Japan) (with Elvin Jones)
• 1980 Blues For The Fisherman [Live] Mole (with Milcho Leviev)
• 1980 True Blues [Live] Mole (with Milcho Leviev)
• 1981 Mistral (with Freddie Hubbard)
• 1982 Richie Cole And... Return to Alto Acres Palo Alto (with Richie Cole)

Transcriptions[link]

Published Transcriptions:

• Jazz Styles and Analysis: Alto Sax by Harry Miedema. Chicago, Fifth Printing, Feb . 1979. Includes Broadway.
• Straight Life: the Story of Art Pepper by Art Pepper and Laurie Pepper. New York and London, 1979. ISBN 0-02-871820-8. Includes the head of Straight Life.
• Jazz 2: Sax Alto. Transcribed by John Robert Brown. International Music Publications, Woodford Green, Essex, 1986. ISBN 0-86359-408-5. Includes 'Round Midnight.
• The Genius of Art Pepper. Foreword by Laurie Pepper. North Sydney, Warner/Chappell Music, 1987. ISBN 1-86362-012-5. Includes: Arthur's Blues; Blues for Blanche; Funny Blues; Landscape; Make a List Make a Wish; Mambo de la Pinta; Mambo Koyama; Mr Big Falls his J.G. Hand; Our Song; Road Game; September Song; Tete a Tete. All transcriptions include parts for Alto and Rhythm; Funny Blues also has a part for Trumpet.
• Masters of the Alto Saxophone Play The Blues. Jazz Alto Solos. Transcribed by Trent Kynaston and Jonathan Ball. Corybant Productions, 1990. Includes True Blues.
• The Art Pepper Collection. Foreword by Jeff Sultanof. Milwaukee, Hal Leonard, 1995. ISBN 0-7935-4007-0. Includes: Art's Oregano; Diane; Landscape; Las Cuevas de Mario; Make a List (Make a Wish); Mr. Big Falls his J.G. Hand; Ophelia; Pepper Returns; Sometime; Straight Life; Surf Ride(I); Surf Ride(II); That's Love; The Trip; Waltz Me Blues.
• West Coast Jazz Saxophone Solos transcribed and edited by Robert A. Luckey, Ph.D. Features 15 recorded solos from 1952–1961, including five solos by Art Pepper. Olympia Music Publishing, 1996. ISBN 0-9667047-1-1.

Transcriptions available on the Internet:

• Anthropology
• Birk's Works
• Groovin' High
• Red Pepper Blues
• Star Eyes
• The Way You Look Tonight
• Too Close For Comfort
• What Is This Thing Called Love?
• You'd Be So Nice To Come Home To

Compositions[link]

Art Pepper's compositions included "The Trip", "Red Car", "Gettin' Together", "Ol' Croix", "Tynan Time", "Minor Yours", "Diane", "Blues at Twilight", "Bijou the Poodle", "Pepper Pot", "Val's Pal", "Chili Pepper", "Art's Opus", "Brown Gold", "Zenobia", "Angel Wings", "Junior Cat", "Pepper Steak", "Straight Life", "Tenor Blooz", "Walkin' Out Blues", "Patricia", "Five More", "Minority", "Mambo de la Pinta", "Surf Ride", "Las Cuevas De Mario", "Our Song", "Among Friends", "That's Love", "Waltz Me Blues", "Labyrinth", "Make A List", "Pepper Returns", "True Blues", "Landscape", "Miss Who", "Mambo Koyama", "Ophelia", "Lost Life", "Dynaflow" with Stan Kenton, and "Funny Blues".

Bibliography[link]

A more extensive bibliography is issued by the Jazzinstitut Darmstadt

• 1956 Art Pepper... Tells the Tragic Role Narcotics Played in Blighting His Career and Life by John Tynan. Downbeat, September 19, 1956, p. 16.
• 1957 Art Pepper Quartet by John Tynan. Downbeat, May 16, 1957, p. 34.
• 1960 Art Pepper: Profile of a Comeback by J. McKinney. Metronome, lxxvii, September 1960, p. 26.
• 1960 The Return of Art Pepper by John Tynan. Downbeat, xxvii/8, 1960, p. 17.
• 1960 End of the Road by John Tynan. Downbeat, xxvii/25, 1960, p. 13.
• 1964 Art Pepper's not the Same by John Tynan. Downbeat, xxxi/22, 1964, p. 18.
• 1965 "Jazz Discographies Unlimited" Presents "Art Pepper". A Complete Discography Compiled by Ernie Edwards, Jr. Ernie Edwards Jr. et al. Jazz Discographies Unlimited, Spotlight Series, Vol. 4. Oct . 1965. 22pp.
• 1973 Art Pepper: 'I'm Here to Stay!' by C. Marra. Downbeat, xl/4, 1973, p. 16.
• 1975 Pepper's Painful Road to Pure Art by L. Underwood. Downbeat, xlii/11, 1975, p. 16.
• 1979 Straight Life: the Story of Art Pepper by Art Pepper and Laurie Pepper. New York and London, 1979. ISBN 0-02-871820-8. Includes a discography.
• 1979 Art Pepper: Rewards of the Straight Life by P. Welding. Downbeat, xlvi/18, 1979, p. 16.
• 1979 The Contemporary Art of Pepper by Chris Sheridan. Jazz Journal International, Vol. 32, No. 9, September 1979, p. 9.
• 1979 The evolution of an individualist; Interview with Les Tomkins.
• 1980 Art Pepper. Swing Journal, xxxiv/1, 1980, p. 162.
• 1980 At Ronnie's; Interview with Les Tomkins.
• 1980 A rich past, and a bright future; Interview with Les Tomkins.
• 1981 New fields still to conquer; Interview with Les Tomkins.
• 1981 The Whiteness of the Wail by Gary Giddins, in Riding on a Blue Note. New York, O.U.P., 1981, pp. 252–257. (An article originally published in July 1977.)
• 1986 Art Pepper: I Want to Play so Bad by David Nicholson Pepperell. Wire Magazine, Issue 28, June 1986, pp. 26–31.
• 1986 Art Pepper, 1926-1982 by Gary Giddins, in Rhythm-a-ning: Jazz Tradition and Innovation in the 80's. New York, O.U.P., 1986, pp. 106–108. (An article originally published in June 1982.)
• 1992 Straight Life by Ted Gioia, in West Coast Jazz: Modern Jazz in California, 1945-1960. New York and Oxford, O.U.P., 1992, pp. 283–307 (Chapter Fourteen). ISBN 0-19-508916-2.
• 2000 The Art Pepper Companion: Writings on a Jazz Original by Todd Selbert. Cooper Square Press, 2000. ISBN 0-8154-1067-0; ISBN 978-0-8154-1067-6.

References[link]

External links[link]

• The Art Pepper Discography Project
• NPR Interview With Laurie Pepper
• The Art Of Pepper
• MikeL's Unofficial Art Pepper website
• Allmusic