Pepper Adams Biography is Finished!

 

I’m thrilled to report that the Pepper Adams biography 

is now officially done! It’s quite a moment for me, after

37 years of work and a particularly grueling stretch

the last four years. I just spent the last eight hours

today proofing the first half, adding captions to photos, 

checking music links, and wrapping it up. This after

doing the same yesterday to the second half. 

The manuscript has been sent to my trusted webmaster,

Dan Olson, who is finishing the formatting before he

submits it to Lulu for processing. I’m not sure how much

time they’ll need before they ask us to sign off on it before

publication, but I’m hopeful that it can be released before

month’s end. 

Here’s the complete Advance Praise page:

Advance Praise for Reflectory

 

 

 

 

Gary Carner’s deep and painstaking research into the life and music

of Pepper Adams, coupled with his sure feel for this underappreciated

jazzman’s complex personality, has yielded an absorbing biography

that also reveals much about the jazz life writ large. Carner’s nimble

narrative captures Adams as a man of reserve and sensitivity thrown

into the always bracing, sometimes exasperating tumult of jazz’s post-

bop Detroit-to-New York vector. Reflectory is jazz history of the first rank.

– John Gennari

Author of Blowin’ Hot and Cool: Jazz and Its Critics

 

 

Most jazz biographies are predictable chronologies of gigs and

recordings, friendships and rivalries, kindness and cruelty. We know

how they start; we know how they end. Carner’s admiring multi-

dimensional portrait of Pepper Adams is a delightful corrective.

Irresistibly, it floats from story to story. I couldn’t wait to find out

what happens next. Even if readers know Pepper only as a bracing,

lovely sound, before we are ten pages in we are happily encountering

him as a fully-rounded person, reading Yeats, eating ribs, impatient

with cliche, searching and finding wherever he goes. It takes lung

ower to play the baritone saxophone: this biography has the breath of

life.   

– Michael Steinman

Author, Jazz Lives blog

 

 

Gary Carner has been stalking the life, music, and legacy of the brilliant

baritone saxophonist Pepper Adams (1930-86) with an Ahab-like

obsessiveness for 37 years. The great news for the rest of us is that Carner

has landed his whale. Reflectoryis a meticulously researched and insightful biography of one of the defining

modern jazz musicians of his era and one of the key products of Detroit’s post-

war bebop explosion. We need more books like this in jazz historiography and

more authors willing to dig this deeply.

– Mark Stryker

Author of Jazz from Detroit 

 

This comprehensive and insightful study of a major music master fills a yawning

gap in the writing on Detroit’s jazz scene in its heyday. Even within a constellation

of huge talents, Pepper Adams shone with his own distinctive light.

– Mark Slobin

Author of Motor City Music: A Detroiter Looks Back

 

 

 

 

Pepper Adams was a heartbreakingly great musician who never got the love from

the jazz press that he deserved, which, in a way, makes him even more important in

the history of the music because it represents an experience that happens all too

often and places Pepper firmly at the heart of the jazz life.  As Johnny Griffin once

said, “Jazz is music made by and for people who have chosen to feel good in spite

of conditions.” But to limit Pepper to the jazz life would be a mistake. He was a man

of literature and culture, a great reader and thinker, as were many of his heroes,

notably Charlie Parker, and Gary Carner’s loving tribute to him finally delivers some

justice to the man and to the whole range and span of his too short and underappreciated

but brilliant career.

– Ben Sidran

Author of Talking Jazz: An Oral History and There Was a Fire: Jews, Music and the American Dream

 

 

Gary Carner’s biography about Pepper Adams honors one of America’s great musicians.

It is a joy to read and reread, and worth waiting for all these years. Having known and

worked with Pepper from 1955 until he left us, reading this biography makes you feel

that you are there with him. His humor, wit, and devotion to music are all written about

in a way that Pepper himself would have loved. Gary Carner has kept this story real.

– David Amram

Author of Vibrations: The Adventures and Musical Times of David Amram 

 

Pepper Adams was a consummate performer on the unwieldy baritone sax. Perhaps

he was insufficiently valued by fans of the music, but never by fellow musicians.

The dedicated research of Gary Carner has uncovered a huge amount of detail about

his life, documenting his opinions and his recordings, both official and unofficial.

– Brian Priestley 

Author of Mingus: A Critical Biography and Chasin’ The Bird: The Life and Legacy

of Charlie Parker

Author Gary Carner must be commended for dedicating much of his life to

documenting the legacy of the great baritone saxophonist Pepper Adams. Adams was

a major contributor to the sub-genre of jazz known as hard bop and his many

influential recordings pulsate with excitement and originality. Reflectory: The Life

and Music of Pepper Adams represents a monumental effort to examine every aspect

of Adams’s career and the research that has gone into it was carried out in a manner

suggesting that no stone has been left unturned. This book exemplifies the best in jazz

biography.

–  Noal Cohen

Co-author of Rat Race Blues: The Musical Life of Gigi Gryce

Reflectory: The Life and Music of Pepper Adams is het overtuigende portret van een

ernstig onderschatte jazzgrootheid. Gary Carner’s indrukwekkende levenswerk

(decennialange research, inclusief 250 interviews) heeft geresulteerd in een uitgebreide

biografie die fascinerende lectuur vormt.Reflectory: The Life and Music of Pepper Adams is the persuasive portrait of a seriously underrated jazz giant. Gary Carner’s impressive

work of a lifetime (decades of research, including 250 interviews) has resulted in an

extensive biography that makes for fascinating reading. 

– Bert Vuijsje

Co-author of Rita Reys: Lady Jazz and Ado Broodboom Trompet

Før læsningen havde jeg, ligesom mange andre, kun et sporadisk kendskab til Pepper

Adams. Dette skyldes måske at hans hovedinstrument var baryton-saxen, der som dybt-

klingende ofte har stået i skyggen af de andre saxofoner. Efter nu at have lyttet mere

indgående til hans musik, er jeg blevet overbevist om den status han i bogen bliver givet:

en jazz improvisator i den øverste liga; en person, der i lighed med musikere som Bud

Powell, Wardell Gray, Fats Navarro og  J. J. Johnson formåede at få Charlie Parkers

musikalske sprog til at blomstre på deres eget instrument uden uden at fremstå som epigoner.

Before reading, like many others I had only a sporadic knowledge of Pepper Adams. This

is perhaps due to his main instrument being a baritone sax, which, as deep-sounding, often has

been overshadowed by the other saxophones. Having now listened more in depth to his music,

I have become convinced of the status he is given in the book: a jazz musician and improviser

in the top league; a man who, like musicians such as Bud Powell, Wardell Gray, Fats Navarro,

and J. J. Johnson, managed to get Charlie Parker’s musical language to blossom on their own instrument without being epigones.

– Leif Bo Petersen

Co-author of The Music and Life of Theodore “Fats” Navarro: Infatuation

Pepper Doings, April 2021

 

Before signing off on Chapter Three, my account of

Adams’s experience in the US Army, I decided to send

my final draft to a reader for his feedback. Although this

is one of my shortest chapters, I think I’ve been dealing

with this material for such a long time that perhaps I’ve

lost some perspective. Hopefully he’ll agree that it’s in

OK shape and, apart from some minor changes, I can

finally put it to bed.

I started a demanding full-time job five weeks ago and

my progress on the book has been slowed down. I still

think I’m on track to publish in September, but the most

important thing is to ensure that it’s in the best shape

that I can muster.

I’m excited to report that a very significant cache of

Pepper tapes and interviews have recently been trans-

ferred to a producer/musician who is restoring them,

releasing some of it to the public, and making all of it

available to me for study. Although I can’t yet reveal

the source of the material or its newfound recipient,

I’ve been aware of the collection for over thirty years

and am so excited that I’ll soon have a chance to

analyze the material and consider it for inclusion in

the biography. Typically, all of Pepper’s interviews

yield gems, so it’s likely that I’ll discover something

new for the book. 

The Adams discography has been updated with new

discoveries: https://www.pepperadams.com/JoyRoad/DiscoUpdates.pdf 

Yesterday I had a wonderful conversation with the

eminent blogger Michael Steinman. He’s perhaps the

first person who really understands what I’ve tried to

do with the narrative structure of the biography, and

who has the breadth of knowledge about the subject

to truly grasp how I tried to diverge from the typical birth-

to-grave, tragedy or romance, cliched approach. After

our call, he wrote this wonderful blurb that I’ll be using

as advance praise

(https://www.pepperadams.com/Reflectory/AdvancePraise.pdf):

Most jazz biographies are predictable chronologies of gigs

and recordings, friendships and rivalries, kindness and cruelty.

We know how they start; we know how they end. Carner’s

admiring multi-dimensional portrait of Pepper Adams is a

delightful corrective. Irresistibly, it floats from story to story.

I couldn't wait to find out what happens next. Even if readers

know Pepper only as a bracing, lovely sound, before we are

ten pages in we are happily encountering him as a fully-

rounded person, reading Yeats, eating ribs, impatient with

cliche, searching and finding wherever he goes. It takes lung

power to play the baritone saxophone: this biography has the

breath of life.   

 

– Michael Steinman

Author, Jazz Lives blog

 

Next weekend I’ll get a jump on Chapter Four corrections.

Happy springtime. 

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)