Return of the Pepper Bio

© Gary Carner. Copyright Protected. All rights reserved.





I've begun writing Part II of Pepper Adams' biography (1930-1986). In the last two weeks I've written about forty pages, starting with Pepper's death at home on September 10, 1986 and working my way back in time. My plan is to write in reverse chronological order until I reach the end of Part I, when Pepper packed his bags and moved to New York. Then, having come full circle, I'll conclude by assessing whether what he set out to do in music was actually achieved.

I've finished listening again to the interview I did with Tommy and Diana Flanagan. They had a lot to say about how Pepper approached death, how and why his marriage collapsed, and what really took place versus what the New York jazz community thought was going on. I quote a few very poignant letters to give a sense of what Pepper was enduring at that time. The one below was written as a kind of confessional and published in the July, 1986 issue of JazzTimes. By the time of its publication, he would only have about six more weeks before he passed away:


I’d like to thank you for the kind words in the current JazzTimes, and thank you particularly for stressing the fact that I’m continuing to work. People have been exceedingly kind, and their contributions have been quite helpful, but opposed to the cost of the treatments that are, to put it bluntly, keeping me alive, private charity can only go so far. The bulk of the costs have been offset by my own efforts in being able to work, and work effectively. And, if I may say so myself, I’ve done remarkably well for fourteen months, and the next three months appear quite secure.

And this despite the efforts of a few unscrupulous agents, who have used my name to secure work and then, when the job was secure, informed the purchaser that I was too ill to perform and substituted someone else. I’ve learned about these incidents when the purchaser (club owner, festival executive, etc.) would call to commiserate about my health when I was sitting home, feeling fine but out of work. I wonder if these agents considered that by eroding my reputation for reliability they were diminishing my chances for survival; if they did think about it, they were obviously not deterred. Which is why I consider it important that people be reminded occasionally that I’m still a credible working musician. . . .

I must report, though, that my string of playing every job I had contracted for has finally come to an end. It happened on my last trip to Europe, in April, which ended in near-disaster. It started at the Dublin Festival, where they drove me into the ground like a tent peg. I had five concerts with five different bands (four of them requiring lengthy rehearsals), a 2 1/2 hour master class, and a live television show, all within three days. I was already in a lot of pain when I arrived in Paris to work seven straight nights at Le Petit Opportun; after five nights the pain became so overwhelming that I had to sit out the last two nights.

When I got home it was discovered that I had a severe case of pleurisy, which was raging out of control since it had been there, untreated, for ten days or so. My oncologist held off the chemotherapy while I was in such rotten shape, but finally the point was reached when it had to be administered, ready or not. I could tell that the doctor was worried and, frankly, so was I, but it’s worked out well. I’m recovering nicely. I’ve felt nearly myself for several days, and still have a couple of weeks to recoup my strength before I resume work. My itinerary through the middle of September is sprinkled with nice paydays, and at no point so burdensome as to tempt a return bout of the pleurisy, nor of the pneumonia I went through twice last winter. Things are definitely looking up.



Since I'm donating my large book and periodical collection to Georgia State University, I have in front of me access to this huge jazz library that for fourteen years was packed up in boxes in my basement. I've spent this month skimming through many articles from Wire, Cadence, JazzTimes, Down Beat, Jazz Journal and many others to locate interesting tidbits I can use for color in the narrative. So far, I've found these:

ABOUT KENTON:
“He was terrified when the band started to swing, he didn’t understand it,” said the bassist Red Kelly.

ABOUT ELVIN JONES:
“If Elvin was anything drum-wise, it’s about fullness of sound . . . the absolute fullness of the tonal palette,” said the saxophonist Dave Liebman.

ON THE ROAD WITH WOODY HERMAN:
“It was very grueling," said Joe Temperley. "There used to be some awful bus journeys. It was a hard life, you know: ten-hour bus ride and you’d get to the job twenty minutes before you had to hit, then change your clothes in the toilet downstairs and play all night. And then, maybe sleep that night and then the next night you would hit and run; but you play the gig. You sleep all night and travel all day to the gig, and play the gig -- this is the second night -- play the gig and then travel all night to save a night’s rent. Those were the days. That happened all the time.”

ABOUT NEW YORK AROUND 1965:
“New York was vibrant then," said Joe Temperley. "You could go and hear Al and Zoot; go one night and Phil would be sitting in with them and another night Richie Kamuca would be sitting in with them. You could go hear John Coltrane and sit all night -- buy a bottle of beer, two bottles of beer -- and sit all night and listen to the music.”

 ABOUT NEW YORK IN 1968:
“When I left in ‘68," said Art Farmer, "the United States was in a very bad situation. There were assassinations, social unrest, people afraid to go out at night, and with so many jazz clubs in the so-called ‘ghetto areas,’ people felt that they were taking their lives in their hands if they went out to hear jazz. That had a bad effect on a person who tried to play for a live public.”

ABOUT MEL LEWIS:
Mel Lewis’ greatest influence was the drummer Tiny Kahn, said the bassist Red Kelly.

ABOUT PEPPER AND THAD:
“I heard Pepper say a couple of things that made me know that he and Thad had been very close in their lives," said Seldon Powell. "And I think they were still close, but there maybe was a rub or two here and there. Pepper told Thad one time, when he figured that he wasn’t getting his share of solos and whatnot. But I remember Pepper saying one time -- somebody said something about that to Pepper, and he turned and said to him, ‘When I was in the army and they sent me to Japan during the Korean War,’ he said, ‘I received two letters the entire time I was over there. One of them was from Thad Jones.’ And the inflection that was in his voice told me something about how he felt about [Thad]. They might have had a conflict here or there but I’m sure they felt very close to each other as human beings and as musicians, and they were the giants of their time.”

See you next month,
GC

Researching Utah Gigs

© Gary Carner. Copyright Protected. All rights reserved.

Here’s a snapshot of how some of my days go by when tracking down Pepper Adams data. Look at the volume of correspondence below to simply try to pin down one Byrd-Adams gig. It's kind of incredible where it eventually leads, isn't it?

On March 31, 2017 I spoke with Lisa Chaufty at the University of Utah’s Music Library regarding the Donald Byrd-Pepper Adams Quintet’s only known performance in Salt Lake City. I think I first learned about it from a Down Beat performance listing. I tried not to bias her about the actual date. Later in the day Lisa replied:

Hi there,

After searching online, it looks like the quintet was performing here from August 30-31 and September 1-4, 1960. I've been looking through digitized copies of the Salt Lake Tribune from those dates and haven't been able to find any articles or advertisements. From what I can gather, the main events advertised in the newspaper at that time included movie showings and groups like the Four Freshmen at Lagoon. Lagoon actually hosted many big names: Louis Armstrong was there the weekend before Labor Day that year.

There are no columns about local music that I've been able to find in the relevant dates that I browsed.

Sorry I can't be of more help! I would need more time to research; but I'm headed out of town this afternoon for a conference.

Best,

Lisa

I then sent the following email to Allison Connor, at a different division of the University of Utah:

Hi Allison: I'm trying to find anything--a clipping, an advertisement, a concert review--regarding the August or September appearance in SLC of the Donald Byrd/Pepper Adams Quintet. Often, it was billed as Donald Byrd's group, since he had the record contract with Blue Note. If you can find anything, I'd be very much in your debt. I'll discuss the quest to find it in my upcoming blog post (see pepperadams.com).

Thanks so much for any help you can offer,

Gary Carner

PS: More specifically, I'm showing these:

Aug 30-31: Salt Lake City: Donald Byrd-Pepper Adams Quintet gig with Duke Pearson, Laymon Jackson and Joe Dukes.

Sept 1-4: Salt Lake City: Donald Byrd-Pepper Adams Quintet gig. See 30-31 Aug.

Here’s the email I received back from her:

I have started work with Ron Bitton and Lezann Keshmiri, this type of material is their area of expertise. We will let you know what progress we are making. Please let me know if you have any questions.

Thank you,

Alison

Some time later, Bitton replied:

Having looked over the Salt Lake Tribune for August 1960 and September 1-4, I’m sorry to report that I couldn’t find any press coverage or advertisements for the Donald Byrd/Pepper Adams Quintet. This isn’t unusual; aside from one brief mention of an upcoming performance by Johnny Mathis and another for the Four Freshmen, no popular music performers received any press coverage during this time period, and at the time popular music performers weren’t reviewed. Advertisements for upcoming performances were only slightly less sparse. The August and September 1960 Tribune is available on microfilm for public checkout, so you may want to double-check our search. But I regret to say this doesn’t look like a promising avenue of inquiry.

All the best,

Ron Bitton

Curator, Historical Maps and Newspapers

Marriott Library, Special Collections

Additionally, since I also reached out for a reference librarian at the Salt Lake City Public Library’s, I received this from Stephanie Goodliffe:

Mr. Carner,

I wanted to let you know that I am working on your reference request. I should be back in touch with you in the next few days.

Stephanie

A few days later, Stephanie wrote back:

We narrowed the dates of the performances by looking on Pepper Adams Chronology (https://www.pepperadams.com/Chronology/ByrdAdamsQuintet.pdf). I searched the Salt Lake Tribune for the dates surrounding the August 30-31 and September 1-4 performance dates for advertisements or reviews. I did not find any. If you would like, I can also search the Deseret News, our other local newspaper. These are the only resources that we have which would contain that type of information.

Sincerely,

Stephanie

I guess I should be happy that all these research specialists are using pepperadams.com as their source?

As I also contacted a librarian at Utah State, I received this, too, from Rachel Wishkoski:

Hi Gary,

Thanks for your message! I took a spin through a few newspaper databases and haven’t turned up anything yet. Unfortunately, the Salt Lake Tribune isn’t indexed going back that far in our subscription newspaper databases, so I can’t run a search there. Your best bet is probably to consult the microfilm of the Tribune from the week prior and following the concerts. (I also looked in Utah Digital Newspapers to see if Salt Lake County newspapers other than the Salt Lake Tribune had covered the performance. No luck there either.)

Do you have any further information about venue(s), radio broadcasts, or other locations the quintet might have performed in during this 1960 tour? Those might give us other ways to search. I’ll keep digging, but let me know if you can share more details or if you are in a location where you can get your hands on the 1960 microfilm of the Salt Lake Tribune.

Best,

Rachel

My reply:

Rachel: Thanks for all your help! I'm traveling back to SLC today after a terrific visit to USU. I'll reply soon. I learned last night that Lionel Hampton played USU in either 1963 or 1964. Any info on that? February through April 1963, or January through July, 1964 seems to be the likely timeframe.

And here’s my reply to her first email:

Rachel: I have this info from the Byrd-Adams tour. Not too many venues are listed herein:

Aug 2-14: Chicago: Donald Byrd-Pepper Adams Quintet gig at the Bird House, with Duke Pearson, Laymon Jackson and Lex Humphries. After Humphries unexpectedly leaves the band, Byrd replaces him with Harold Jones for the rest of the engagement, then Joe Dukes is added for the remainder of the tour.

Aug 15: Chicago: Off?

Aug 16-21: Minneapolis: Donald Byrd-Pepper Adams Quintet gig, probably at Herb's, with Duke Pearson, Laymon Jackson and Joe Dukes. Aug 22: Travel.

Aug 23-28: Dallas: Donald Byrd-Pepper Adams Quintet gig, with Duke Pearson, Laymon Jackson and Joe Dukes.

Aug 29: Travel. Aug 30-31: Salt Lake City: Donald Byrd-Pepper Adams Quintet gig with Duke Pearson, Laymon Jackson and Joe Dukes.

Sept 1-4: Salt Lake City: Donald Byrd-Pepper Adams Quintet gig. See 30-31 Aug.

Sept 5: Travel.

Sept 6-18: Denver: Donald Byrd-Pepper Adams Quintet gig, with Duke Pearson, Laymon Jackson and Joe Dukes. On the 8th, Oscar Pettiford dies in Copenhagen at age 37.

Sept 19: Travel. Sept 20-25: Detroit: Donald Byrd-Pepper Adams Quintet gig at the Minor Key, with Duke Pearson, Laymon Jackson and Joe Dukes. Adams meets Claudette Nadra, who he would marry fifteen years later. See http://instagram.com/p/rhfCQXJnmi/?modal=true.

About the Lionel Hampton query I sent Rachel, she replied:

Hi Gary,

I’m glad you had a good visit to USU! I had a chance to look into the Lionel Hampton question with some success. I started by looking through the 1963 and 1964 digitized versions of the USU Buzzer yearbook.

Here’s the 1963 Buzzer: http://digital.lib.usu.edu/cdm/compoundobject/collection/buzzer/id/24209/rec/56

If you look on page 50, it talks about Lionel Hampton playing Junior Prom that year (unfortunately, no pictures of him):

“The mythical land of "Misty" was the theme of the 196# Junior Prom. America's leading vibraphone player, Lionel Hampton, was featured. Kim Webb and his committee spent hard hours making this the biggest dance of the year.” To see if I could find more info, I looked at the 1963 issues of our student newspaper, the Statesman. While there is no concert or event review, there are two articles promoting prom and a pre-prom concert:

·         January 30, 1963, vol. 60 no. 39, “Hamp” Concert to Precede Prom (front page)

·         February 1, 1963, vol. 60 no. 40, Junior Prom Set Saturday Night (front page)

Prom was held on Saturday, Feb. 2. There’s a promotional photo of Hampton in the Feb. 1 article. Hampton give a concert in the USU Fieldhouse at 8 pm on Feb. 2 prior to prom so that students and public who weren’t attending the dance could hear him play. Admission was $1 for the public concert. Perhaps this concert was covered by the local Logan newspaper?

I also searched Hampton’s name in Utah Digital Newspapers (https://digitalnewspapers.org/) and found a few results, including this one from the Utah Daily Chronicle (the University of Utah’s student newspaper): https://newspapers.lib.utah.edu/details?id=639258  Looks like he played the U’s prom on Feb. 1, 1963 (the night before USU’s). Hampton’s papers are at the University of Idaho (http://archiveswest.orbiscascade.org/ark:/80444/xv46578/op=fstyle.aspx?t=k&q=%22lionel+hampton%22#overview ) and they might contain more details.

Best,

Rachel

Then, on Apr 18, 2017 Stephanie Goodliffe wrote back:

I have checked the Deseret News from August 29-September 5, 1960, but I did not find anything that mentioned this quintet.

Sincerely,

Stephanie

I wrote back: Thanks so much for checking! It looks like a dead end, at this point. Perhaps a subsequent write-up in Denver might yield something? That's for another day. 

        All best wishes,

        Gary Carner

For those of you who want to know about the contents of the Lionel Hampton Archive, see this:

Hello Mr. Carner,

Thank you for your interest in the University of Idaho Library Special Collections and Archives.The papers in the Lionel Hampton Collection include business records for Lionel Hampton's record and music publishing companies, arrangements, lead sheets, and sheet music rather than specific tour or performance information. A detailed list of the contents of the collection is available here: http://archiveswest.orbiscascade.org/ark:/80444/xv46578

If I can be of further of assistance, please let me know. Thank you for your inquiury.

Darcie Riedner

Archive Assistant

Special Collections & Archives

University of Idaho Library

Such is the ebb and flow of a jazz researcher’s life! It’s what I’ve been doing for more than 33 years. Fortunately, the process led to the discovery of two new Hampton postings for the Chronology

(see http://www.pepperadams.com/Chronology/Journeyman.pdf ). They will be posted soon. Many thanks to all the Utah and Idaho librarians for their extraordinary help!