In 1980, Pepper was aged 54. Despite a career full of might-have-beens and what-if’s, he had, with the help of his indefatigable wife Laurie, finally managed, after brief spells in the Don Ellis Big Band and Buddy Rich’s Big Band, to get his career on track.

By 1980, although his past lifestyle had not left him in the best of health, he never betrayed it while onstage. It was in contrast to the equally well-publicised former addict, Chet Baker, whom you could never be sure if he’d turn up, and even if he did, what level of his performance to expect.

Pepper was far more resolute and professional, seemingly determined to make up for lost time. His comeback years were well-documented on recordings, revealing a consistency that frequently reached a high level of performance.

This two-CD set, recorded in Geneva, was to a large, enthusiastic audience clearly appreciative of the altoist’s playing. A week earlier, on the 27 to 29 June, Pepper’s quartet played Ronnie Scotts where Blues for the Fisherman and True Blue were recorded by Mole Jazz, albeit for contractual reasons both were released under pianist Milcho Leviev’s name. Leviev’s contribution to Pepper’s music often gets overlooked, but most certainly deserves mention.

Born and educated in Bulgaria, he was a gifted musician who in the 1960s was conductor of the Bulgarian National Radio Big Band before becoming soloist and conductor of the Plovdiv Philharmonic Orchestra prior to moving to the USA. His performance here complements and contrasts the altoist’s angular, bitten lyricism with an impressive technique, harmonic depth and well balanced fingering able to express often complex ideas fluidly and with a seeming effortless ease.

Pepper’s playing is consistent, aspiring to the high standards he set himself, with songs such as ‘Patricia’, ‘Make a List (Make a Wish)’ eloquent examples of Pepper’s very personal artistry.