Blood Brothers: Pepper Adams and Bob Wilber

© Gary Carner. Copyright Protected. All rights reserved.

My  apologies to any readers who expected a post yesterday and were disappointed not to see it. For more than a year I've dutifully posted every Saturday. This weekend, however, I needed a slight reprieve. Better to supply something of value than rotely produce drivel just for the sake of a deadline?

I was very pleased this past week to hear from Pug Horton, Bob Wilber's wife. Here's what she wrote:

"Sorry to have taken so long to get back to you--we have been on the road. Are you in NY? We will be coming to NY Sept 26th. Hopefully seeing Mike [Steinman] around that time too. Let me know how we can get together & Bob would love to talk about his relationship with Pepper. He talks about the time in Rochester quite a lot…He hated it except for the time he spent with him!!!"

My reply:

"Thanks so much for your email. I left NYC in 2004 and currently live in Atlanta. I'd be thrilled to speak with Bob again, either by phone or Skype, at that time. I'm heading out of town on Sept. 27th to celebrate my 30th anniversary, back on the 30th, but I'm sure I can grab an hour if those days are best for him. Just let me know. 

Did you see my blog post?: 

http://gc-pepperadamsblog.blogspot.com/2015/08/william-paterson-university-and.html

Thanks,

Gary Carner

pepperadams.com"

In 1987 I interviewed Bob Wilber about Pepper Adams. It's the only time we ever spoke. There's much I'd still like to ask him about his brief time in Rochester and about his subsequent work with Pepper. As I've written, I believe that Wilber was the single most important influence on Pepper as a young player. I only came to that conclusion by virtue of my research this summer into Pepper's early life. I've had a chance to listen to many hours of interview I conducted in the late 1980s with some of the musicians who were on the Rochester scene in the mid-1940s and knew Pepper--most importantly Raymond Murphy, John Huggler, Everett Gates, Skippy Williams, Ralph Dickinson, and, of course, Bob Wilber. I'd like to ask Wilber if he remembers any specific advice he gave Pepper, such as exercises, fingerings, pieces to play, or any kind of technical advice on getting around the horn. Besides that, anything new he can tell me about Pepper as a 14- to 16-year-old would be fascinating! Wilber, much like Raymond Murphy and John Huggler, was almost three years older than Pepper. In a way, all three of them functioned as Pepper's big brothers and, to some degree, as a prosthetic family after the death of Pepper's father in 1940, when Pepper was nine. I'd like to ask Wilber about that too, or at least his perception of Pepper's sense of loneliness.

Regarding Bob Wilber and the very strong bond that he and Pepper established in those formative early days, it's not surprising how their paths continued to cross as both became in-demand professionals. I've already written how the two of them spent a good amount of time together during Wilber's one semester at the Eastman School in the Fall of 1945. Here's a summary of their very early experience, from pepperadams.com:

1945

cAug: New York: Adams and his mother travel to New York and meet Bob Wilber at a Max Kaminsky gig at the Pied Piper in Greenwich Village. The Pied Piper was later renamed the Cafe Bohemia.

Sept: Rochester NY: Adams begins 10th Grade at John Marshall High School and plays in the school band throughout the year. See http://instagram.com/p/tyuB3PJntF/?modal=true. On Saturday afternoons, Adams, John Huggler and Bob Wilber have sessions at Bob Wilber's apartment, playing along with jazz records. See cJuly 1944. (Wilber was attending Eastman, but only that Fall semester.) Wilber goes to Adams' place to play along with jazz records and have dinner. Wilber also visits with Adams and Huggler at Raymond Murphy's house.

Oct: Rochester NY: Adams in 10th Grade. On Saturday afternoons, Adams, John Huggler and Bob Wilber have sessions at Bob Wilber's apartment, playing along with jazz records. See cJuly 1944. (Wilber was attending Eastman, but only that Fall semester.) Wilber goes to Adams' place to play along with jazz records and have dinner. Wilber also visits with Adams and Huggler at Raymond Murphy's house.

Nov: Rochester NY: Adams in 10th Grade. On Saturday afternoons, Adams, John Huggler and Bob Wilber have sessions at Bob Wilber's apartment, playing along with jazz records. See cJuly 1944. (Wilber was attending Eastman, but only that Fall semester.) Wilber goes to Adams' place to play along with jazz records and have dinner. See cJuly 1944. Wilber also visits with Adams and Huggler at Raymond Murphy's house.

Nov 29-30: Rochester NY: A serious snow storm paralyzes the city. Adams is likely homebound.

Dec: Rochester NY: Adams in 10th Grade. On Saturday afternoons, Adams, John Huggler and Bob Wilber have sessions at Bob Wilber's apartment, playing along with jazz records. See cJuly 1944. (Wilber was attending Eastman, but only that Fall semester.) Wilber goes to Adams' place to play along with jazz records and have dinner. See cJuly 1944. Wilber also visits with Adams and Huggler at Raymond Murphy's house.

I'd especially like to know if Wilber studied or hung out with Eastman professor and clarinetist Jack End. End, against tremendous institutional bias, fought to have jazz at least played by students at Eastman in the 1940s and early '50s, though at that time it was not accepted as an official part of the curriculum. Wilber, it's clear, hated his time at Eastman. Might have an association with End at least made it marginally palatable? Did Wilber introduce Pepper to End? I'd love to know more about what End dealt with at Eastman and more about End and his playing on the Rochester scene.

Unless Pepper saw Wilber in New York on a visit south to the big city, Pepper may not have seen Wilber again from January, 1946, when Wilber left Eastman, until Pepper moved to Detroit in June, 1947. That's because, much to Pepper's mother's credit, on their way west to Detroit, Pepper and his mother lived at the Hotel Edison in Manhattan for a full month. It was then that Adams and Wilber reunited. By then, Wilber was living with Sidney Bechet. Talk about getting close to the source! As musicians, Adams, Murphy and Huggler, with Wilber, had strived, in their listening and practicing, to get as close as possible to the true source of New Orleans music--"from the horse's mouth," as Huggler told me. Now, Adams could finally meet Bechet and see that Wilber was indeed living the dream. Here's my citation about that time:

1947

July: New Yor: Adams moves with his mother to New York City for a month while their belongings are transported to Detroit. They live at the Hotel Edison on 47th Street in the Theater District before moving to Detroit. Cleo Adams decided to relocate because elementary school teaching jobs paid far more in Detroit than in Rochester. Pepper meets Sidney Bechet, probably through Bob Wilber. Pepper studies saxophone with Skippy Williams, the tenor saxophonist in Ellington’s band who he met at the Temple Theatre in early March, 1944 and who first replaced Ben Webster in Ellington's band. See 3-5 Mar 1944. Adams attends rehearsals of the Joan Lee Big Band (based in Hershey PA) at Williams' apartment on 48th Street. Lee's band was an all-white, all-female group that Williams was rehearsing.

After Pepper moved to Detroit, it's not known if Wilber and Adams saw each other or remained in contact until Pepper moved to New York City in early 1956. I'd like to ask Bob about that, if they didn't speak at all for ten years, and whether Bob attended any of those heady loft-jam-sessions around New York City that were taking place when Pepper first arrived. 

The first band that Adams and Wilber actually worked together in as professional musicians was Benny Goodman's. The two of them had this tour:

1959

Apr 1-5: New York: Benny Goodman rehearsals. Later, the Pepper Adams Quintet at the Village Vanguard. See 24-31 Mar. See http://instagram.com/p/sApVGBpniG/?modal=true. 

Apr 6-9: New York: Benny Goodman rehearsals.

Apr 10: New York: Benny Goodman rehearsal. Later, Benny Goodman "Swing Into Spring" telecast.

Apr 11-21: New York: Benny Goodman rehearsals.

cApr 22: Troy NY: Benny Goodman Orchestra begins its three-week tour. The band boards a bus that morning (in front of the Hotel President on West 48 Street in New York) for its Troy gig that evening, then stays in Albany.

cApr 23: Rutland VT: Benny Goodman Orchestra's second gig of the tour.

Apr 24: Hershey PA: Gig with Benny Goodman, probably at Hershey Park. Herb Geller and Pepper Adams are featured, with the rhythm section (Russ Freeman, Turk Van Lake, Scott LaFaro, Roy Burns), on Bernie's Tune. Other band members are Taft Jordan and Bob Wilber. Dakota Staton and the Ahmad Jamal Trio are also on this General Artists tour package.

Apr 25: Off/travel?

Apr 26: Montreal: Gig with Benny Goodman at the Forum, then Adams and Herb Geller sit in after hours at the Little Vienna with trumpeter Herbie Spanier.

Apr 27: Montreal: Off day for Goodman tour. Adams does small group gig at Vieux Moulin with Herb Geller, Scott LaFaro and Roy Burns.

Apr 28: Toronto: Gig with Benny Goodman at Maple Leaf Gardens.

Apr 29: Buffalo: Gig with Benny Goodman at Kleinhans Music Hall.

cApr 30: New York: Gig with Benny Goodman at Madison Square Garden.

May: Indianapolis: Adams, Scott LaFaro and Bob Wilber sit in with Wes, Buddy and Monk Montgomery at the Missile Club. 

May: Dallas: Adams rooms with Taft Jordan and shares an elevator ride in their hotel with Lassie, the celebrity TV collie, who was in town on a promotional tour.

May: Iowa City IA: Gig with Benny Goodman at the University of Iowa.

cMay 13: Pittsburgh: Gig with Benny Goodman at the Old Mosque.

cMay 14: New York: Returns from Goodman tour.

After the Goodman tour, I don't know to what degree they saw each other in New York or even worked together. There is this gig for the Duke Ellington Society, then the very fine Bobby Hackett date Creole Cooking, for which Wilber wrote the arrangements: 

1966

May 22: New York: Bob Wilber gig for the Duke Ellington Society gig at the Barbizon Plaza Theatre, with Shorty Baker, Quentin Jackson, Jackie Byard, Wendell Marshall, Dave Bailey and Flo Handy. See http://instagram.com/p/sA3ydoJnrT/?modal=true. 

1967

Jan 30: New York: Bobby Hackett date for MGM, with Bob Wilber, Bob Brookmeyer, Jerry Dodgion, Zoot Sims, et al. Later, possible double appearance with the Joe Henderson All-Star Big Band and Thad Jones-Mel Lewis Orchestra at the Synanon Jazz Benefit at the Village Theater preceding the Thad Jones-Mel Lewis Orchestra at the Village Vanguard.

Mar 13: New York: Bobby Hackett date for MGM, with Bob Willber, Bob Brookmeyer, Jerry Dodgion, Zoot Sims, et al. Later, Thad Jones-Mel Lewis Orchestra at the Village Vanguard.

Mar 30: New York: Bobby Hackett date for MGM, with Bob Wilber, Bob Brookmeyer, Jerry Dodgion, Zoot Sims, et al. Later, Elvin Jones gig at the Five Spot. See 28-29 Mar.

After the Hackett date, I'm not sure if Adams and Wilber recorded or worked any gigs until the interesting 1972 project below for Music Minus One. The label's concept was to provide a backing band for the practicing soloist, well before Jamey Aebersold started his series. Wilber did tell me about his writing for saxophone quartet (two altos, tenor and baritone). Wilber held rehearsals at his New York City apartment, possibly in the late 1960s. Other than Wilber and Adams, someone I forget played tenor and possibly Rudy Powell played the other alto part. I don't know precisely when the rehearsals took place, if any were recorded, nor over how long a stretch of time the rehearsals lasted. 

1972

June 8: New York: Bob Wilber rehearsal, probably for 19 June.

June 15: New York: Bob Wilber rehearsal, probably for 19 June. See 8 June.

June 19: New York: Bob Wilber date for Music Minus One. Later, possible Thad Jones-Mel Lewis Orchestra gig at the Village Vanguard.

In 1974, Wilber put together a band to play Ellington tunes:

1974

Apr 26: New York: Bob Wilber gig at Carnegie Hall, with Taft Jordan and Quentin Jackson, perform a tribute to Duke Ellington.

Apr 28: New York: Bob Wilber gig at the New York Jazz Museum, with Quentin Jackson, Taft Jordan, Larry Ridley and Bobby Rosengarden.

In 1977 Adams and Wilber were in a band together, led by Dick Hyman, doing a tribute to Duke Ellington:

1977

July 17: Nice: Dick Hyman gig at La Grande Parade du Jazz, broadcast on FR3 television. Also, Thad Jones sextet gig at La Grande Parade du Jazz. Later, a third festival gig: Thad Jones-Mel Lewis Orchestra at La Grande Parade du Jazz.

The Hyman gig for me has special significance. It gives me a chance to hear Pepper with the Ellington big band repertoire and imagine what it might have been like had he actually subbed for Harry Carney. I've written before that Pepper was Carney's designated sub in the Ellington band. Yet, in fifty years Carney never missed a gig! Well, I slightly exaggerate: He missed one two-week stretch of work--just once! Pepper told me that it was easier to reconstitute the Ellington reed section and slide Russell Procope or someone else from the section into the bari chair, then hire a local sub for tenor or alto, than to get Pepper to the gig.

The Hyman performance has additional significance. There's two especially wonderful Adams/Wilber moments. On the very first tune, Ellington's original theme "St. Louis Toodle-Oo," Pepper takes the first solo--classic, harmonically inventive Pepper all the way--and Eddie Daniels and Bob Wilber are both visibly amused by the incongruity of it. Later in the show, Wilber (on alto) and Adams have another beautiful moment together, playing the two opening 8-bar "A" sections in the theme of Ellington's "Blue Goose." (You can see Billy Mitchell totally broken up over how Pepper navigated the passage.) How far Adams and Wilber have traveled since the 1940s!

I'm especially enthused about this concert because I recently acquired a rare video of the TV show. I'm trying to get it uploaded to YouTube so everyone can see it. How about that sax section?: Bob Wilber, Eddie Daniels, Zoot Sims, Billy Mitchell, Pepper Adams.

In 1978, Adams and Wilber were able to play in several venues together in Nice. They were already touring together as part of an all-star 50th Anniversary Lionel Hampton commemorative gig:

1978

June 28-30: New York: Rehearsals with Lionel Hampton.

June 30: New York: Lionel Hampton gig at Carnegie Hall, with Charles McPherson, Bob Wilber, Ray Bryant, et al, recorded by Sutra. 

July 1-2: Saratoga NY: Hampton gig at the Performing Arts Center, with Charles McPherson, Bob Wilber, Ray Bryant, et al.

July 3: Brooklyn NY: Off?

July 4: Travel. Departure for France. 

July 5: Travel. Transfer to Nice. 

July 6: Nice: Off. 

July 7: Nice: Hampton gig at les Jardins des Arenes de Cimiez, with Charles McPherson, Bob Wilber, Ray Bryant, et al., at La Grande Parade du Jazz. Recorded by Radio France. 

July 8: Off. 

July 9: Nice: Hampton gig at les Jardins des Arenes de Cimiez at La Grande Parade du Jazz. Recorded by Radio France. See 7 July.

July 10: Nice: Hampton gig at les Jardins des Arenes de Cimiez, with guest Dzzy Gillespie, at La Grande Parade du Jazz. Recorded by Radio France. See 9 July.

July 11: Nice: Hampton gig at les Jardins des Arenes de Cimiez at La Grande Parade du Jazz. Recorded by Radio France. See 10 July.

July 12: Nice: Dick Hyman gig, "Tribute to Count Basie," at les Jardins des Arenes de Cimiez, at La Grande Parade du Jazz. Recorded by Radio France. 

July 13: Nice: Hampton gig at les Jardins des Arenes de Cimiez at La Grande Parade du Jazz. Recorded by Radio France. See 11 July.

July 14: The Hague: Hampton gig at Prins Willem Alexander Zaal, with Charles McPherson, Bob Wilber, Ray Bryant, et al., at the Northsea Jazz Festival. Recorded by AVRO television. 

July 15: Orange, France: Hampton gig at Theatre Antique, with Charles McPherson, Bob Wilber, Ray Bryant, et al. 

July 16: Nice: Hampton gig at les Jardins des Arenes de Cimiez with guest Stephane Grappelli, at La Grande Parade du Jazz. Recorded by Radio France. See 13 July. 

July 17: Salon-de-Provence, France: Dizzy Gillespie gig, at Cour du Chateau de L'Empri as part of the Festival of Jazz, with Kai Winding, Curtis Fuller, Charles McPherson, Ray Bryant, Mickey Roker, et al. Recorded by Radio France. 

July 18: Perugia: Hampton gig, with Charles McPherson, Bob Wilber, Ray Bryant, et al., and guest Dizzy Gillespie, at Umbria Jazz. Recorded by RAI. 

July 19: Travel. Hampton band arrives from Italy, possibly by bus. 

July 20: Travel. Hampton band arrives in England. 

July 21: Middlesbrough, England: Hampton gig, with Charles McPherson, Bob Wilber, Ray Bryant, et al. 

July 22: Comblain-au-Pont, Belgium: Hampton gig, with Charles McPherson, Bob Wilber, Ray Bryant, et al. Later, a nearby gig with the Georges Arvanitas trio. 

Did Wilber and Adams see each other again after this 1978 tour? Did Bob reach out for Pepper when he heard that Pepper was dying of cancer? Pug Horton told me that Wilber greatly admired Pepper. I think she was referring to both personal and musical admiration. These are just some of the questions I'm eager to ask Bob Wilber. More soon! Have a great week.

                                            (Bob Wilber)

       (Adams in London, at the Ephemera 

            photo shoot, September, 1973)

The Early Rochester Jazz Scene

© Gary Carner. Copyright Protected. All rights reserved.

Why hasn't anyone written about Rochester's early jazz history? During the last few weeks I've been corresponding with reference librarians at the Eastman School of Music and the University of Rochester. Nothing has been written about pre-1950s Rochester jazz, at least that they can locate. Lewis Porter suggested I contact Eastman because the most likely place for any work on early Rochester jazz would have been done by an Eastman student. As it turns out, if a paper or thesis on the topic was ever done at Eastman, it hasn't been saved by the library. For that matter, nothing in the way of pertinent clippings or articles at any library has turned up. Why?

As far as I can put it together, it's a multifactorial issue, although, admittedly, I'm still early in the gathering process. I do know that Eastman professor Everett Gates only established the very first jazz workshop at Eastman in the summer of 1959, one year after returning to Eastman after ten years (1948-58) of teaching at Oklahoma City University. He established his Eastman jazz arranging workshop in the midst of a fair amount of indifference (or should I say "hostility?") against jazz. Since that pioneering two-week class (at which Pepper Adams was the guest soloist), Eastman's jazz program has grown into one of the finest jazz programs in the world, graduating countless outstanding musicians, such as Ron Carter, Bob Sheppard and John Fedchock.

As a Rochester institution, The Eastman School goes back to 1921, when it was established by George Eastman, the founder of Eastman Kodak. According to Wikipedia, "After a one-year interim under Acting Director Raymond Wilson, the young American composer and conductor Howard Hanson was appointed director of the school in 1924. Dr. Hanson is credited for transforming the Eastman School into one of the most prestigious music conservatories in the world." Hanson retired in 1964, after running the school for forty years. He still ran Eastman when Gates arrived. As I see it, Eastman set the tone for music performed in Rochester and Hanson set the tone for Eastman. Clearly, jazz wasn't part of the agenda under his watch. Eastman's summer session, however, was less restrictive. As Everett Gates told me, jazz, to some degree, was at first snuck in during the summer, when Hanson was out of town.

Apart from institutional indifference towards jazz, in 1935-47, when Pepper Adams lived in Rochester, the makeup of Rochester's black population was another mitigating factor in jazz not being embraced. As Rochester resident and University of Rochester sociology professor Raymond Murphy explained to me, African-Americans in Rochester comprised only 1% of the city's population. As a very small subculture of around 3,400 people, Murphy said, they were mostly well-educated, middle-class citizens that historically regarded jazz quite poorly. That's not to say that black clubs didn't exist or thrive in Rochester. It's just that blacks in Rochester who supported the music were, in Murphy's view, very few in number.

How did Eastman's curriculum and the prevailing sentiments of Rochester's black community in the 1940s affect coverage in the press about jazz? Was it an anomaly as compared to other cities of its size at that time? Perhaps this is a question for cultural historian John Gennari, who has written extensively about the history of jazz criticism in America. To what degree did local Rochester black newspapers cover jazz? At this point, I don't know, though it doesn't appear to be extensive. Interestingly, from 1847-72 Rochester was home to Frederick Douglass. A newspaper named in his honor, The Frederick Douglass Voice, was established in 1934. How did that publication treat Rochester's music, if at all, and were there others, perhaps regionally? 

I've seen announcements for dance bands and entertainment of all sorts in the 1940's Rochester mainstream press. Several examples are posted here: instagram.com/pepperadamsblog. But until some advocate for the music emerges in the Rochester press of that day, or until I see reporting that's respectful of the art form, it's hard to explain the absence of concert reviews, appreciations and biographical portraits of famous touring musicians such as Louis Armstrong, Duke Ellington and Count Basie as anything other than a barometer of America's pervasive and shameful disregard of African-American culture.

It's understandable that Rochester jazz would not necessarily be one of the more obvious places to research, especially as compared to the enormous amount of activity that took place in New Orleans, New York, Los Angeles, Chicago, Kansas City and other large cities. That's not to say that some diehard fan, journalist or disk jockey couldn't have written something about Rochester or broadcasted a retrospective. So far, however, nothing has shown up, and that still strikes me as odd. 

In 1940, Rochester was America's 32nd largest city. Befitting a city of its size, Rochester had a local entertainment community. Rochester did lose many of its players over the years to touring ensembles, to the draw of big cities such as New York and Chicago, or, during Pepper's time growing up there, to World War II. Pepper told me that, during much of his time in Rochester in the 1940s, many of the established Rochester musicians had left to fight in World War II. Acccording to Wikipedia, "Some 29,000 Rochester-area men were drafted into military service." The exodus of male Rochesterians created an opportunty for young players such as Adams to perform with much older musicians who remained. At the Elite Dance Hall, where Adams played in 1946 and half of 1947, that's precisely how it went. The band included former Jimmie Lunceford trumpet player, Ben "Smitty" Smith, and a cigar chomping pianist, Jimmy "The Lion" Stewart. Smith was 62 and Stewart, by all accounts, was close in age. Pepper liked to joke about his time in Rochester doing gigs at age 14-16. "If you could see over the bar," said Adams, "you could get a gig."

A little over an hour away from Rochester is Buffalo. In 1940, Buffalo was America's fourteenth largest city, bigger than New Orleans, Kansas City, Newark or Indianapolis. The US Census for 1950 puts Buffalo's population at 580,132, as compared to the other New York cities of Rochester (332,488), Syracuse (220,583) and Utica (101,531)—all dwarfed, of course, as compared to America's largest city, New York, then at 7,891,957. Buffalo was for many years, through at least the mid-1960s, an important part of the touring circuit that musicians regularly visited. In that way, Buffalo was a ribbon that connected cities of the Great Lakes with those on the East Coast. Rochester partook of musicians who toured through the larger cities into secondary- and tertiary-sized ones. At slightly more than half Buffalo's size, Rochester was not a small town. Just prior to America's involvement in World War II, as Wikipedia points out, "by 1940 the population had decreased to 324,975, the first drop since Rochester was founded. It was still the 23rd largest city in the United States."

I knew very little about Rochester in 1988, when I first stepped into the early-Rochester jazz history vacuum. My early moves were a flurry of interviews with people who knew Pepper in the 1941-47 war and postwar period. Much can be learned about that time simply by peeking at the "Early Years" chronology at pepperadams.com. I'm currently in the process of adding a wealth of new information to it. An update will be posted next week.

As for existing information about Rochester jazz, there is an important collection of material at the University of Rochester. The Hoeffler Collection is comprised of materials from Paul Hoeffler, an avid jazz fan and photographer who lived in Rochester and documented Rochester jazz from about 1955 until the mid-60s. (See http://www.lib.rochester.edu/index.cfm?page=3123) His work roughly corresponded with the early growth of Eastman's jazz program. Hoeffler was a very gifted photographer, trained by Ansel Adams, Minor White and others at Rochester Institute of Technology. Hoeffler went on to photograph musicians for Verve, Prestige, Blue Note and Mercury. His stills were used to a great extent in the Ken Burns multi-volume PBS documentary Jazz. Nevertheless, Hoeffler's Rochester work begins about eight years after Pepper moved to Detroit. I can't use it, except maybe to check on a few Adams gigs. As a corollary to Hoeffler's collection is the ongoing research being done by drummer Noal Cohen, who performed in Rochester from 1955-1961. He's assembled this site: http://www.attictoys.com/Rochester_jazz/Rochester_jazz_music.php

As I wrote last week about pre-1950s Rochester jazz, during the mid-1940s Pepper Adams and trombonist and future sociology professor Raymond Murphy were the best of friends, practicing once a week for more than three years and sharing many experiences around town. I've since learned much more about Murphy from Paul Remington, who serendipitously stumbled upon last week's blog post. It turns out that Remington and Murphy were very close friends too, and Remington wasn't aware, until he read my post, that Murphy had passed away in January, 2015. Remington was trying valiantly to locate Murphy and somehow my piece fell into his lap. 

In not too different a way from how Murphy befriended Pepper Adams, here's Remington's account of Raymond Murphy:

"I was rather curious why this older man would accept me. I was just a twenty-three year old, working as an electrical assembler at the time. He never differentiated people based on status. It all came down to interests and commonalities. I was a fierce music lover with very ecumenical tastes. From 1987 to about 1998 we met weekly for dinner, then a night of jazz listening in his home. He had the largest music collection I have ever seen. I would guess he had close to 100,000 LPs and CDs. I was like a kid in a candy store every time I went in his basement, which is where he had everything very carefully stored and cataloged. It was amazing! Ray taught me the world of classical music, including opera. I would spend forty hours a week working on the line listening to classical stations, then write down every composer I liked. On Friday I would head to his home with the sheet of paper and show it to him. I remember one time he looked at it, his face stretched a wide grin, and he said, 'You have very esoteric tastes!' We’d head to his basement, and of course he had everything on my sheet of paper. He’d pull out things and play them for me, teach me, share material… It was fabulous! I’d come over on Saturday and we’d spend the entire day together, go to music stores, book stores, out to dinner, back to his place and play jazz and classical all night, sometimes into the early hours of the morning. Absolutely wonderful! He was a best friend, mentor, and a father figure all rolled into one. A wonderful man!"

Obviously, Raymond Murphy played a huge role as a mentor to both Paul Remington and, much earlier, Pepper Adams. I'll go into much more detail about Murphy vis-a-vis Rochester's early jazz scene in my Adams biography.

Despite my handwringing about the dearth of information about 1940s Rochester jazz, I'm relieved to say that several key musicians have emerged from my own research who would have been on the scene when Pepper was evolving in Rochester as a young musician. The most important of these, so far at least, are pianist Herbie Brock, trombonist/pianist Dave Remington and organist Doug Duke. Brock, a blind pianist and part-time tenor saxophonist, was arguably the dominant small-group musician in town. He was, according to Raymond Murphy, an Art Tatum disciple who was finally recorded first by Savoy in 1955. A piece done by Marc Myers on Brock (see http://www.jazzwax.com/2014/07/herbie-brock-brocks-tops.html) discusses Brock's recordings and his adoption of a Bud Powell type of pianism. From the little I've heard, Brock—much like Hank Jones, Barry Harris and other Detroit pianists of that period—moved away from an overt Tatum sensibility to a more streamlined, less orchestral, swinging, right-hand-dominated approach more akin to Powell. I'm looking forward to hearing more Brock soon.

As for Dave Remington, I've learned much about the Remington family just in the last few days from Paul Remington, his cousin. The Remingtons are a very distinguished Rochester family of musicians, going back to Emory Remington. A fascinating Wikipedia piece discusses Emory Remington's role as a pioneering trombone teacher at Eastman for some sixty years. One of his greatest pupils is jazz trombonist Jim Pugh. Obviously, Dave Remington had as a father the ultimate trombone teacher and I'm eagerly looking forward to hearing recordings that Paul will be providing of Dave Remington in action, including Chicago Shouts and Live at the Abbey. There's nothing at Google about either recording, nor, I'm afraid, much about Dave Remington.

This from Wikipedia about Papa Remington (see https://en.m.wikipedia.org/wiki/Emory_Remington):

"Emory Brace Remington (1892–1971) was a trombonist and music teacher. His unique method made him one of the most well-known and influential trombone educators in history. He was a member of the Rochester Philharmonic Orchestra from 1923 to 1949, and on the faculty of the Eastman School of Music in Rochester, NY from 1922 until his death in 1971."

This about Emory and Dave from Paul Remington:

"Emory taught Dave early in his life but Dave was a bit of a rebel. He didn’t want to be confined in the bowels of an orchestra all his life. His sister, Janet, took a different approach. She became a very successful harpist and was a staple of the Pittsburgh Symphony, which was, at one point, under the direction of Andre Previn. She embraced life in an orchestra. But Dave was a bit of a disappointment to Emory. He didn’t want to see Dave live the jazz lifestyle. Dave wanted the freedom that jazz offers. So he left Rochester. I’ll never forget seeing, at Emory’s funeral—which was massive, by the way—David sitting in the pew down from me with tears streaming down his face. I always wondered if he regretted the estrangement he had with his mother and father. I suppose we’ll never know. But he did receive his early training from Emory.

Dave started with trombone and moved to piano later in his life. He was a very good piano player—very talented. He could cross over from trombone to piano quite easily, so on some recordings he's playing piano while on others he's playing trombone. The other aspect of Dave you should know about is his abilities as a leader. He was a natural born leader with a vibrant personality. He could also be very opinionated. In his lifetime, he alienated many people, including three of his four sons. But in terms of musicianship, he had a triune of talents: piano, trombone and band leadership.

The Remington Exercises, developed by Emory, are taught in conservatories all over the world as standard trombone pedagogy. Emory also helped to redefine the physical instrument. He had a different vision for the trombone, and this vision formed a sensibility that was the bedrock of his teaching at Eastman. He wanted to see it elevated as a serious instrument, not just a circus instrument (as it was popularly used in the 19^th century). He invented the trombone choir, which is a standard arrangement for trombone formations that is stunning to listen to (in my opinion). Emory was a brilliant man with a natural gift for teaching."

As for Doug Duke, I've learned that Pepper sat in with his band c. 1947 at Squeezer's, a club in downtown Rochester. "Doug Duke," a stage name for Ovidio Fernandez, was Argentinian by birth and came to Rochester in 1920. He was a gifted organist in a Swing Era, pre-Jimmy Smith, Wild Bill Davis kind of style. Duke at one time toured with Lionel Hampton. In the late 1960s, years after Pepper left town, Duke ran The Music Room, a Rochester jazz club in suburban Charlotte, that brought in many great Swing musicians, such as Roy Eldridge and Coleman Hawkins. An informative site explains Duke's life and work: http://www.dougduke.com

                 (Emory Remington)

                    (Doug Duke)

                                           (1953 Doug Duke date for Regent)

                                                     

                            (1961 Herbie Brock date for Art)

                                                    (Herbie Brock c. 1956)

Body and Soul, Sonny Rollins and Pepper Adams

© Gary Carner. Copyright Protected. All rights reserved.

We know that the 1939 Coleman Hawkins recording of Body and Soul is an iconic masterpiece of the jazz canon but don't we lose sight of how it influenced a generation of musicians? I recently read a piece by Marc Myers and was struck by how Sonny Rollins' experience as a young musician paralleled Pepper Adams'. Here's what Sonny Rollins recently told Marc Myers in the Wall Street Journal about Coleman Hawkins' recording:

"It's hard today to fully appreciate how different Coleman Hawkins' Body and Soul sounded when it hit Harlem jukeboxes in late 1939. On that three-minute record, Coleman took a popular torch song and, with his tenor saxophone, turned it into a personal statement without ever losing track of the original melody. Wow, that was completely new and it really changed me.

I first heard Body and Soul when I was 10 years old. I was standing outside the Big Apple Bar on the corner of 135th Street and Seventh Avenue, across from Small's Paradise, and heard it on the jukebox through an open window. Back then, I was playing alto saxophone and idolized Louis Jordan — and still do. But when I heard Coleman's Body and Soul, a light went off in my head. If he could personalize a popular song like that without lyrics, any song was possible if you had that intellectual capacity.

People in Harlem know their music, and I remember marveling at how many of them were touched by his record. Coleman went beyond what musicians were doing then by creating new harmonic inventions. Right after hearing the record, I bought a tenor reed and began using it on my alto mouthpiece to get that big Coleman Hawkins sound. Some years later, after much pleading on my part, my mother bought me a tenor sax and I was on my way."

For Pepper Adams, Hawkins' recording also propelled him to get a tenor saxophone and emulate Hawkins' big sound and more aggressive style. Up until that time Adams was playing clarinet, imitating the melismatic and lighter New Orleans playing of Jimmy Noone and Johnny Dodds. Here's a touching excerpt from my book, Pepper's Adams' Joy Road, as told to me by the noted Eastman School educator Everett Gates. I interviewed Gates about Pepper and Pepper's March, 1978 performance at Eastman:

"Adams dedicated Body and Soul to Everett Gates, a professor at Eastman and an early mentor to Adams who was in the audience. Regarding Adams’ performance of Body and Soul, Gates said, “That completely floored me!” In 1942, when Pepper Adams was eleven years old, Adams started visiting Gates on a regular basis at Gates’ home in Rochester, New York. They used to listen to music and discuss jazz and music theory. “He came to the house,” Gates continued, “and one day he said,

“Do you know Body and Soul?” I said, “Sure.” “Well,” he said, “could you write it out for me?” I said, “Sure.” At that time he was going to get a saxophone. So I wrote it out in D-flat, which of course was the key we always used, rather than any other when we’re playing. When we were improvising, it was always D-flat. And, so I wrote it out with the chords. He said, “There’s a record by Coleman Hawkins.” I said, “Yes, he made that a couple of years ago.” He said, “Well, he’s all over the place.” I said, “Yes, it’s very complicated and he gets up even to the high harmonics on the saxophone, like high G, so you have to be pretty advanced to control those.” So he said, “I wonder: Could you write me out a little improvisation that’s simple? Something simple I can play?” I said, “Sure. You can play this either on tenor, or you can play it on a clarinet.” So he got so he could play that, [and] this is what [he began his solo with] when he played at the Eastman Theater with the Eastman Jazz Ensemble. (He played this just with a rhythm section, and the other things he had played with a big band.) And, unbelievably, he played that, and then, of course, he went into his own [thing]. Well, of course, I was just overcome with what he had done there!"

Portrait of Everett Gates that hangs in a gallery at the Eastman School: http://instagram.com/p/t20Ku4pnv3/?modal=true