Reflectory

© Gary Carner. Copyright Protected. All rights reserved.




I'm just back from a vacation in Canada. Sorry for the delay in uploading this post. On my way home I visited with trumpeter Denny Christianson, who was the only musician to ever record Pepper Adams in a big band setting with Adams as the featured soloist. That recording, Suite: Mingus, and its follow-up date, More Pepper (with a few additional cuts from the Montreal session), were released posthumously. Adams, very weak from cancer in February, 1986, made it through the recording but it was a Herculean struggle for him to get through the date. Denny told me that, for the first few takes, the rhythm section was pulling back the time to stay with Pepper because he was back-phrasing. Denny had to instruct them to keep the time in place so Pepper could express himself as he wished.

Christianson has run the esteemed Humber College jazz program in Toronto for eighteen years, building it to its current state as one of the world's finest. At age 75, he has just retired. He intends to begin writing his memoirs once all his things in his office are organized and packed.

It was a joy to reminisce about Pepper with him and his wife, Rose, and to share parts of the first half of my Pepper book with them. Later, saxophonists Pat LaBarbera, Kirk MacDonald, and Shirantha Beddage, all on the Humber faculty, came by for a barbecue. What a great experience! From Denny, Rose and Kirk I was able to record some more valuable interview material that will be helpful in the second half of the biography.

While in Canada, before returning to Toronto, I hung out with my pepperadams.com webmaster. We made considerable progress with the Dedications page, gathering performances. That page, and Big Band Arrangements, are currently being updated. New Chronology files have already been posted at the site. In some cases, these are the first updates in over a year, with much new information, including the newly researched inception of the Thad Jones-Pepper Adams Quintet.

My co-author on the Pepper biography, John Vana, and I have adopted a new working title for the Pepper Adams book. We're running with Reflectory: The Life and Music of Pepper Adams. Do you like it? John felt that the title underscored Pepper's contemplative, intellectual side. I felt that it had an air of poetry to it. The subtitle needs to be there to reflect the bifurcated nature --  Pepper's life and the musical analysis -- of our twin approach. As with my first Adams book, Pepper Adams' Joy Road, we'll use on the cover what I feel is Pepper's most iconic photograph.

I've added a surprise, very special guest to write an Afterword to the book. Still another contributor is in the works. The idea is to have at least one world renowned jazz scholar/musician validate some of John Vana's observations, to add weight and emphasis to them. For one thing, putting Adams in a class with Bird and Trane will surprise some, if not many. I feel it's important that Vana's conclusions not be perceived as the ranting of a biased fan. Having an Afterword will silence the cynics, and startle those who have been asleep about Adams.

To that aim, Vana will be teaching a graduate course at Western Illinois University in the Spring, 2019: "The Big Three: Charlie Parker, John Coltrane and Pepper Adams." I expect he'll make all sorts of discoveries that will make its way to our book.

I've been listening recently to my interviews with Tommy and Diana Flanagan. I'm nearly finished with them. The great value of this documentation is that it helps me understand the last few years of Pepper's life, especially how he dealt with his final illness.

I did listen to my interview with Bob Wilber that I conducted in 1988, between sets at the Sticky Wicket Pub in Hopkinton, Massachusetts, where he appeared as a soloist with a rhythm section. Wow, was he tremendous that Sunday afternoon!

Here are some Wilber interview excerpts about Pepper:

"He saw the possibility of taking the big sound from the baritone, from Carney, and applying it to bebop jazz -- which was a difficult thing to do because when you have a really big sound it tends to be sluggish. It tends to slow you down."

"One of the tensions that he achieved in his playing was this feeling of being slightly behind, as though he was falling behind. It added tension to his playing."

"Yeah, legato tongue, where Carney tended to be more legato without any tonguing. He had great harmonic sophistication. He explored all the possibilities of using the diminished scale, and all kinds of things. Very sophisticated harmonically."

"A gentle guy. He had that soft way of speaking."

In the next few weeks I'll begin cataloging part of Adams' collection before I drive up to New Jersey to donate it to the William Paterson University Archive. I'll be including a list of Pepper's 78s and LPs, as well as his personal 8-Track collection, as appendices in the biography. How appropriate to have the Pepper and Thad Jones collections together at the same institution!

Last month I promised to share Eddie Locke interview excerpts. That will have to wait until my next installment. I may also include some of Doc Holladay's interview excerpts next month too.
Happy Summer to all!

Bob Cornfoot Remembers Pepper Adams

In the last month I've worked my way through two lengthy and significant interviews that I conducted in 1988. The first one is with Pepper's college roommate, Bob Cornfoot. The others is with the Detroit-born drummer Eddie Locke, who worked for four years with Coleman Hawkins. The only interviews yet to be heard before I'm officially done with Part I of Pepper's biography (1930-1955) are those with the singer Lodi Carr, the saxophonist Doc Holladay, the bassist Major Holley, and the pianists Hank Jones and Tommy Flanagan. Listening to, and taking notes about these last handful of interviews will help me finish Chapter 3, which covers Pepper's stint in the US Army and his time in Detroit from 1953 through the end of 1955.

Additionally, I finally located my interview with the saxophonist Bob Wilber. I'll listen to that one, too, to also see, as I do with all the others, if I've missed or misrepresented any important facts. In Wilber's case, I want to determine if I've overlooked anything important about Pepper's early days in Rochester, New York. Wilber attended the Eastman School of Music for one semester in the mid-1940s. While there, he, Pepper, Raymond Murphy and Bob Huggler spent a lot of time together, listening to jazz records and playing along on their instruments.

As it only relates to Pepper's time in Detroit before he moved to New York City in early 1956, the thrust of Cornfoot's interview was recalling a number of interesting facts about his time knowing Pepper at Wayne University (now Wayne State) and when they worked together at several record stores in Detroit. Cornfoot mentioned that Pepper liked Leo Parker's early work with Fats Navarro. They both adored Gilbert & Sullivan, and, apart from that, they listened together to recordings of Honegger's Pacific 231, and by Coleman Hawkins, Lester Young, Charlie Parker, Wardell Gray and Dexter Gordon. Pepper also liked Benny Bailey's trumpet playing. There was a lot of knocking on the walls at 3am, said Cornfoot, because of the late-night listening. The great Detroit pianist Bu Bu Turner used to come to their dorm a lot to listen to 78s at half speed and learn solos. In the dorm, Pepper practiced soprano sax.

While rooming together, he and Pepper in the middle of the week used to go to the Center Theater, about six blocks from Wayne, to catch matinees of older films that were made during the twenties and thirties. At all-night theaters they would catch comedies at the Mayfair Theater. They enjoyed shorts by Laurel and Hardy (with Charlie Chase), Bobby Clark, Charlie Chaplin, Buster Keaton, and the Marx Brothers.

About Pepper's sense of humor, he said, "His humor seemed to be based more on human foibles, and bringing up short the pompous, the powerful. A tremendous punster. A lot of word play at times." When Pepper told a story, he would wait a few seconds, with a deadpan expression or a half-smile on his face, before laughing with his characteristic chuckle.

Cornfoot introduced Pepper to the works of Anthony Burgess. "He got all wrapped up in him," said Cornfoot. "When he got interested in something, he went thoroughly, all across the board."

Regarding classes at Wayne: "He used to use my notebooks because I was on the GI Bill. So they paid for my paper, and my notebooks, and that. So I'd come back from a class. Pepper would take the notebook and go to his class and make his notes. I remember he had a music appreciation class. They were covering Haydn. He had a marginal note that said, 'No wonder the guy write 104 symphonies. The son of a bitch only scored in octaves!'" Pepper did his term paper on Stravinsky. Pepper's favorite class was a film history course taught by Fran Striker. Striker wrote radio scripts for the Lone Ranger show.

Pepper told Cornfoot that he studied with Sidney Bechet. I've written Bob Wilber about that, because if true, it would have been when Wilber was living with Bechet.

"Hellure" is how Pepper answered the telephone, and "Cheers" is how he signed off on his correspondence.

Next month I'll tell you about the Eddie Locke interview and other things I've learned.

Pepper Adams Biography News

© Gary Carner. Copyright Protected. All rights reserved.






A belated happy New Year to everybody! My apologies to those who have been awaiting a post from me. Yes, I've been away from the blog for some time. My life has been a little chaotic job-wise, though things have sorted themselves out recently.
I'm very pleased to announce that the first half of my Pepper Adams biography is now finished. I completed it a few days ago. It's about 100 pages. I began writing around the middle of April, 2017, upon my return from lecturing at four colleges in Utah. Looking back, I'm still amazed how I got all this done in eleven months. It sure helps to have 34 years of notes! During the next four weeks I'll be editing the manuscript, and going over my Pepper Adams interview transcript and listening to about 25 interviews, just to be sure I don't leave any important things out.

Here's an overview (finding aid) of Part I, what I call "Ascent":

Ch. 1:
Charlie Parker at the Mirror Ballroom
Move to Detroit, Rochester NY vs. Detroit
Skippy Williams
Arrival in Detroit, race relations
Detroit in the 1950s
History of Detroit, 1700-1900
History of Detroit, 1900-1950
Grinnell's
Lionel Hampton
Wayne University
The Music Box, Little John and His Merrymen
Getting the Berg Larsen and Selmer, Detroit's baritone history, Beans Bowles

Ch. 2:
Pepper's father in Detroit
Paternal genealogy
Family's musical roots
History of Rochester
Early life in Indiana, move to Rochester
Age 4-9, father's death
War years
Rochester musicians during World War II
Age 10-12, Everett Gates
Duke Ellington at the Temple Theatre, Rex Stewart, trip to Seattle
Ellington, Skippy Williams, classical music
Importance of elders (especially Rex Stewart), Duke Ellington
Raymond Murphy, Bob Wilber
John Huggler
Isolation
The Elite
John Albert

Ch. 3:
Service in the U.S. Army, Korean War
The Blue Bird Inn
The World Stage
The West End Hotel, Klein's Show Bar
Detroit's jazz history
Thad Jones, Wardell Gray, baritone players on the scene
Obscure Detroit jazz musicians
Pepper's personality, Detroit pianists
Maternal genealogy
Detroit musical education
Detroit's outlier jazz generation, Malcolm Gladwell outlier concepts related to Pepper
Pepper demo played for Prestige and Blue Note, Pepper sits in with Miles and Rollins
Stan Getz story, Pepper moves to New York City

I met with my trusted webmaster, Dan Olson, last week. We're planning important upgrades this year to pepperadams.com. New context will be added to "Radio Interviews" and "Big Band Performances." A link to a new WikiTree genealogy of Pepper Adams is planned.
I had to wipe clean the hard drive on my iPad a few months ago. By doing so, I lost my trusty app for Blogspot. If anyone has a recommendation for an app I can use that DOES NOT ask for my Google password, please let me know. It will help me format future posts.
I did submit my first section from Ch. 3 about Pepper's experience in the U.S. Army for publication in 2019. I'll let you know if it's approved. I'm

View From the Bridge

© Gary Carner. Copyright Protected. All rights reserved.

A new video from Nice has just been posted on YouTube: https://www.youtube.com/watch?v=3XU-7kC--ws. It's Dick Hyman's New York Jazz Repertory Company in the summer of 1978. They're playing a tribute to Count Basie. This is the last video in which Pepper and Bob Wilber are seen playing together and both have solos. Wilber plays a great clarinet solo beginning at 3:02 and Pepper's only solo is at the 24:18 mark on "Broadway."

Also posted is this great Dick Hyman tribute to Duke Ellington, done the summer before, with Wilber and Pepper also in the band together: https://youtu.be/wwHwyAgSMiM  Be sure to check out Pepper's amazing solo on "East St. Louis Toodle-Oo," the first of the concert. After Pepper's first few notes, you'll notice Eddie Daniels and Bob Wilber's delight in Pepper's solo--how harmonically daring it is in the context of a 1920s Ellington piece. Another equally great moment is Wilber and then Pepper's back-to-back eight-bar statements in "Blue Goose." Tenor saxophonist and Detroit compatriot Billy Mitchell is so utterly impressed with Pepper's articulation of the passage that he gives Pepper a round of applause, much to Pepper's delight.

It's been quite a week for me listening to Pepper and performances of Pepper's music. Other than the above videos, just a few days ago I found the set of DVDs that Tony Faulkner (http://tonyfaulkner.net) filmed while we were touring throughout North America in the Fall of 2013. This is the first time I'm seeing these! I've only made my way thus far through the Altsys Orchestra's tentet performance from Montreal in November, 2013. (See http://mountainlake.org/blogs/gens-delights/the-segal-centre-proudly-presents-the-altsys-jazz-orchestra-/) I'm eager to get these posted on YouTube soon. This very fine, hard swinging ensemble, led by alto saxophonist Jennifer Bell and trumpeter Bill Mahar (https://www.mcgill.ca/music/about-us/bio/bill-mahar), did a wonderful concert of Tony Faulkner charts (except for Diabolique II, arranged by Mahar). A heartfelt thanks to Andrew Homzy for helping make this concert happen. Here are the tunes they performed:

1. Conjuration

2. Dobbin'

3. Urban Dreams

4. Ad Astra

5. Freddie Froo

6. Philson

7. Diabolique II

8. Unknown encore

                      (Jennifer Bell)

                            (Bill Mahar)

                            (Tony Faulkner)

Now Hear This

© Gary Carner. Copyright Protected. All rights reserved.

I heard back from Pug Horton. It turns out that she and Bob Wilber have a son that lives in Atlanta. They expect to visit him sometime in 2016. It looks like my interview with Wilber will be put off until that time. Apparently, he prefers to do it in person. Something to look forward to, for sure!

I just found Pepper Adams' very first 8-track jazz "olio" that he put together. (See https://instagram.com/p/6-7Bfzpnmp/?taken-by=pepperadamsblog.) Adams assembled about 40 of these collections to enjoy while motoring around to gigs, etc. Since this first one includes Dedication and Consummation from the Thad Jones-Mel Lewis date Consummation, I figure that Pepper started making these particular sets sometime in late 1971, when the LP was likely released. If these were the first things Pepper made on 8-track, then he would have purchased his Wollensak-3M 8-track (see https://instagram.com/p/rm4zHfpnj3/?taken-by=pepperadamsblog) recorder sometime that year--that is, if he didn't make a bunch of 8-track classical recordings beforehand. What's interesting about this first selection of tunes is the titles he chose. Here's the roster:

1. Duke Ellington: Fade Up

2. Tony Coe: Regrets

3. Pepper Adams: One Mint Julep

4. Thad Jones-Mel Lewis: Dedication

5. Yusef Lateef: Ma, He's Makin' Eyes at Me

6. Barrry Harris: Like This

7. Duke Pearson: Tones for Joan's Bones  https://m.youtube.com/watch?v=vICb0Lggdnc

8. Billy Mitchell: A Little Juicy

9. Bud Powell: Dusk in Sandi

10. Duke Ellington: All Day Long

11. Pepper Adams: Port of Rico

12. Blue Mitchell: Smooth as the Wind

13. Thad Jones-Pepper Adams: Bossa Nova Ova  https://m.youtube.com/watch?v=CPmhYbMdt5s

14. Thad Jones-Mel Lewis: Consummation

15. Joe Henderson: Without a Song

16. Pepper Adams: Azurete

17. Duke Ellington: Rock Skippin' at the Blue Note

18. Music, Inc (Charles Tolliver/Stanley Cowell): Ruthie's Heart

19. Pepper Adams: Moten Swing

What can we make of this? Of the 19 cuts, 1 (#18) was previously unknown to me, 3 are Ellington, 5 are Pepper's dates as a leader or co-leader, 7 are recordings he appears on (it would have been 9 had he not missed most of the Consummation recording), and 12 are led or co-led by Detroiters. I'm especially taken that Pepper would include the four unissued Motown cuts that he did in 1963. Those wonderful tracks, with arrangements by Thad Jones, remain unissued to this day. I've been trying to get Universal to release them.

Adams made his second 8-track jazz tape with these tunes (see https://instagram.com/p/6-pNA9JnhE/?taken-by=pepperadamsblog):

1. Hank Jones: Fugue Tune

2. Joe Henderson: Invitation

3. Charlie Parker: Repitition

4. Yusef Lateef: Quarantine

5. Duke Ellington: Just Scratching the Surface

6. Tommy Flanagan: Solacium  https://m.youtube.com/watch?v=iUeuB7K8PCc.

7. Billy Eckstine: Air Mail Special  https://m.youtube.com/watch?v=l5Lq4h9Hhaw

8. Tony Coe: Together

9. Dizzy Gillespie: Serenade to Sweden

10. Ben Webster: Did You Call Her Today

11. Mike Westbrook: Portrait

12. Rubberlegs Williams: What's the Matter Now

13. Duke Ellington: Mr. Gentle and Mr. Cool

14. John Coltrane: Time After Time

What can we make of these cuts, especially as compared to #1? More Ellington and Coe, and, to be sure, a bunch of Detroiters again, plus another surprise cut for me by Rubberlegs Williams. Thank goodness for YouTube, here's the tune: https://m.youtube.com/watch?v=CvGNw9xKp70. It's a Charlie Parker feature from 1945. Flanagan's Solacium (whatever does that mean?) is new to me too. It features early solos by the leader, Coltrane, Idrees Sulieman and Kenny Burrell. The Eckstine tune has Leo Parker on baritone (on the studio version), though I'm not sure if he's audible. This is one of the first great bop bands. This a smoking live version, possibly not what Pepper chose, but presumably with a fantastic Fats Navarro solo and Budd Johnson on tenor. What a great chart. Did Johnson write it?

Shall we check out one more? Here's Pepper's sixth 8-track olio:

1. Duke Ellington: Perdido

2. Freddie Hubbard: Latina

3. Rex Stewart: Georgia on My Mind

4. Bud Powell: Hallelujah

5. Duke Ellington: Primpin' for the Prom

6. Herbie Hancock: The Prisoner  https://m.youtube.com/watch?v=NiCsgkhTp7Y

7. Rex Stewart: Alphonse and Gaston  https://m.youtube.com/watch?v=PRWg53dOWpw

8. Duke Ellington: Tootin' Through the Roof

9. John Surman: Episode  https://m.youtube.com/watch?v=3sdfwks9Ad4

10. Thad Jones: Let's Play One

11. Elvin Jones: Tergiversation  https://m.youtube.com/watch?v=Mtg_GPKZrJg

12. Pepper Adams : Carolyn  https://m.youtube.com/watch?v=eTVldpGemsg

13. Bud Powell: I Want to Be Happy

14. Duke Ellington: Boy Meets Horn

15. Louie Bellson: The Jeep is Jumpin'

16. Ben Webster: The Days of Wine and Roses

How about that exchange on #7 between Cootie Williams and Rex Stewart? #9 surprised me: Quite free, and with no Surman bari solo. 

What fun it's been getting into the heart and mind of Pepper Adams! I hope you've enjoyed the ride.

Pepper's Dry Sense of Humor

© Gary Carner. Copyright Protected. All rights reserved.

This amusing anecdote is from Gunnar Windahl ("Doctor Deep"). He sent it to me in an email on 19 August 2014. The gig he references took place on 26-28 October 1979.

"Dear Gary,

I mentioned Pepper's and my drinking habits way back. I must tell you a story which shows Pepper's kind of humor. In 1979 Pepper played at One Step Down in Washington, DC and I was there with him. Pepper had Eddie Phyfe on drums (had played with Bob Wilber). Before one gig we had dinner at a restaurant and I had to visit the rest room. On my way back to the table I heard at a slight distance the following conversation between Eddie Phyfe and Pepper. Phyfe: "That Swedish friend of yours is a hell of a drinker. He drinks whisky like water." Pepper: "No sane man drinks that amount of water."