Straight Life - Art Pepper [31]
THANKS to Benny, when I got with Stan I was able to play lead. But while it had been possible to play solos by ear with Benny, with Stan things were different. He had a syncopated style, very original; things were built on an eighth note, three quarter notes, and another eighth note. It wasn't easy to hear when you played a solo, and it got increasingly difficult. Finally, when we played the first record date that we did, on Capitol Records, and I did a solo on "Harlem Folk Dance," it was just impossible. That's when I realized I had to learn something about chord structure and the theory of music, so I started asking the guys in the band, "What happens with this? What happens with that?" And I gradually learned to read the chords. Red Dorris helped me a lot. He played tenor and sang with the band. He sang on that first date "Do Nothin' Til You Hear From Me."
Patti came to the jobs. She never did anything to excess. Sometimes she'd have a drink, and later on she smoked a little pot, but all she cared about was making love to me and watching me play. There I was. I had been a child living in my fantasies. Now I was a married man making lots of money. One of the first things I did, when I was still with Benny Carter, I took Patti downtown and bought her a watch with diamonds and emeralds. I remember that watch cost me a hundred and seventy-five dollars, almost a month's salary. I'd buy her sexy panties and when we were riding on the bus I'd put my hand up under her dress when nobody was looking. We'd play games. Sometimes I'd make her pay her own way on the bus and we'd sit in separate seats like strangers. Then I'd start talking to her. We'd end up getting off the bus together and all the people would see it; it was so obvious. Guys would watch: "I didn't think she was that kind of a girl! He must have a great line." I'd look back and they'd all be staring. We were living down toward Los Angeles, downtown. We'd wander around and see an old hotel or one of those apartment houses and walk in the front door and down the hallway. We'd sneak into the hall bathroom, lock the door, and lie down on the floor and make love.
We'd go to the market together, and coming home I would slow up and walk behind her. We did this so many times and neither of us ever did anything to ruin it. I'd say, "Oh, pardon me, young lady, do you live around here?" She'd say, "Yes, I live down the street with my husband." And I'd say, "I thought so because I've seen you and you sure are beautiful." She'd say, "You shouldn't say that because I'm a married woman." I'd say, "I just can't help it. You're so gorgeous. I'd give anything in the world if I could make love to you." I'd walk home with her. She'd go up to the house and look in. She'd come back and say, "Well, my husband isn't home. I don't know where he's at. I guess you could come in. You could maybe kiss me or something." I'd get all excited. We'd go in. I'd put my arms around her. I'd kiss her. Then she would say, "Please stop. I told you I'd give you a kiss but that's all. I'm sorry, because you are a nice boy; you are handsome; and if I wasn't married . . . " I'd say, "Oh, please, please, please! Anything you want I'll give you. I'll do anything. Just let me look at you. Just let me look at your breasts." "Don't say that!" "Oh, please!" "Will you promise that's all you'll ask of me?" "I promise. I swear." So she'd pull up her sweater and take her brassiere off and stand there posing with her titties hanging out. And I'd ask if I could just touch them....
I used to like to scare her, too. She'd go to the store and I'd hide in the closet. She'd come home and she'd shout, "Art? Where are you? Come on, Art, please. I know you're here." Then I'd start making noises. Growling. She'd say, "Come on out. Don't act silly. Please!" And she was always scared. I'd sneak out of the closet, and she'd turn around, and there I'd be with this horrible Frankenstein look I had. She'd say, "Oh stop it, honey,