The Hard Copy-Ebook Dilemma

{SEE BELOW}

This month has been an exciting one. Much to my surprise, I found thirteen

unmarked tapes that I had to review. Some fascinating material came out

of them, especially regarding Pepper and Elvin Jones’ early days together

in New York City. I even found a tape of Tommy Flanagan’s trio live at the

Village Vanguard!

Most of my efforts continue to be readying the first part of the biography for

publication. I’m in the process of making my final edits, then passing it on

to three readers for their final comments. That will push the publication date

into January but make for a stronger book.

I’ve put some time, too, into writing Chapter 7. It covers Adams’ recordings

from 1963-1977. I expect a first draft to be in place by the end of the year.

That’s well ahead of schedule. For my work on this chapter, I’ve been

listening to all my versions of Pepper’s Thad/Mel solos features. Although

there are sixteen of them, six in particular form the core of Pepper’s solos

with the band: “Once Around,” “Three and One,” “Us,” “Thank You,” “Little

Rascal on a Rock” and “My Centennial.”

Tony Faulkner sent me an exciting video of the University of Illinois Concert

Jazz Band. Three Pepper tunes are played: “Patrice” (at 9:00), “Mary's Blues”

(at 1:14:40) and “Etude Diabolique” (at 1:32:45). “Patrice” features Glenn

Wilson bs. “Mary's Blues” features Ron Bridgewater ts and Carlos Vega

ts. “Etude Diabolique” features all three plus Chip McNeill ts.

https://www.youtube.com/watch?v=odBCOgzJoJ0

Two Pepper concerts, both jam sessions done at the Highlights of Jazz series

In New York, are available to check out. The first was led by David Amram

from May 6, 1974: https://digitalcommons.unf.edu/kleinsinger/16/ Scroll

towards the bottom of the page. On -a, Adams solos begin at 9:55, 35:52;

48:24., and 1:05:12. A “Tribute to Al Cohn” took place on December 15, 1977.

Pepper’s solo on “In a Mellow Tone” begins at 44:32. His ballad feature on

“My Ideal” begins at 1;00:37: https://digitalcommons.unf.edu/kleinsinger/41/ 

I’ll let you find them.

I’ve gotten commitments from three European writers to review the biography.

Because everyone prefers a hard copy edition but the Pepper book will be

released only as an ebook, it was necessary to explain to them my rationale

for that decision. The following will be posted soon at pepperadams.com: 

A Word About Hard Copy

Books vs. Ebooks

The only publishers who produce hard copy books about important yet unglamorous 

jazz figures are either academic or small independent presses. To keep the cover price 

affordable, their modus operandi is to include mostly text and not exceed around 250 

pages. Music examples and musicological analysis, in particular, are anathema. It 

increases the book’s cost and scares off a substantial part of their readership. 

We strongly feel, however, that Pepper Adams is worthy of a major study well beyond 

what these publishers will accept. For one thing, a 250 page limit for this work’s 

biographical and cultural study (Part One) would necessitate significant excisions, 

even, as was suggested, if the entire first part was decoupled from the musicological 

section (Part Two) and published as a freestanding volume. Secondly, the musical 

analysis of Adams’ artistry is the science that proves his many accomplishments. Best 

conjoined with the biographical study, it buttresses some of the assessments in Part One 

just as surely as the biography contextualizes the analysis of Part Two. Simply put, they 

need each other.

Although the authors are fully aware that many readers prefer hard copy books, the way 

that the current publishing landscape restricts jazz scholarship is the reason why an ebook 

for a work of this kind is the only sensible alternative. By cutting out the middleman, we 

don’t have to reconsider the book’s length or scope. Photographs, music examples, 

and audio samples, too, aren’t a constraint. 

We’re especially excited that our interactive, multidimensional study allows the reader to 

listen to the recordings that are discussed in the book, and view an array of photographs 

and other related material. To that aim, all the links that are enabled within the text are tied

to corresponding documentation that’s found at other websites. Furthermore, we’ve 

Designed an inclusionary approach to Part Two so that musicians and non-musicians alike

can appreciate Adams’ eminence. Divided into two sections, the first part will contain 

general observations about his style that can be understood by non-musicians. The other, 

quite technical and intended for musicians, will include musical jargon and notation.

Three separate ebook installments will be released upon completion. “The Life of Pepper 

Adams” (Part One, 1930-1955) will be published first: Chapters 1-3 in 2020, Chapters 

4-10 a year later. “The Music of Pepper Adams” (Part Two, 1956-1986) will be published 

by 2029, in time for Adams’ centennial in 2030. Please join us for the worldwide 

celebration.

Chapter Five is Done

© Gary Carner. Copyright Protected. All rights reserved.

Happy April Fools Day. I’m not the recipient of any pranks today, fortunately,
but I can say in all honesty that Chapter Five of my Pepper Adams biography
is basically finished. At 58 pages, it covers the following topics:

1. The History of the Thad Jones-Pepper Adams Quintet
2. Interlude: The 1960’s New York Scene
3. Adams’ Work in Europe and Japan
4. His Work as a Single, 1966-1977
5. The Inception of the Thad Jones/Mel Lewis Orchestra
6. Thad/Mel’s First Japanese Tour, Management of the Band
7. The Trip to Russia
8. Sax Section Reformulation, Pepper’s Lack of Solos, Thad’s Influence
9. The Duke Pearson Big Band
10. Pepper’s Move to Canarsie, His Interest in Art
11. The Nirvana Party
12. Life in Greenwich Village
13. Adams as an Educator

All that remains before I turn to researching and writing the “Listener’s Guide, 1964-1977,” is hearing

another eleven interviews on cassette and another 46 on microcassette. That’s about 100 hours of

documentation, just to be sure I didn’t miss anything of importance or make errors. I should be done

with that by early summer, at which point I’ll start listening to every Pepper solo that he made once he

joined forces again with Thad Jones in 1964. By year’s end, I expect to have that finished. Then I can

turn to writing the final chapter of the book. I expect to finishing by Christmas, 2020.

No news yet on when the first half of the biography will be posted at pepperadams.com and available

for sale. That will happen this summer, but it will take some research to figure out the best e-book

provider. If anyone has any suggestions, please post your responses below.

Here’s a quote that I grabbed today from an interview I heard. I did this one with Andy McCloud,

the Newark-born bassist who worked with Elvin Jones from 1978-1983. About Pepper, he said:

“He rose above all the muck and mire of what cats have to go through with color, and all the barriers.
He busted them all because he could play, and didn’t give a fuck about who you were or your attitudes.
All the negative stuff, he seemed to just push aside, and that’s why I think everybody liked him. Also,
that’s the sign of a strong man or woman (or human). The fact that he played so good. He played jazz!
There were only a few white boys who could play like that.”

I may use the following in Chapter Six. It involves how Detroiters self-policed themselves, especially in
the post-1956 years, after the big influx of Detroit jazz musicians went east to New York:

Oliver Shearer was seven years older than Pepper and acted with him in a very paternal way. “He
used to get high. He got me high, not forcibly, but got me high to let me know what it was.
Because he and Tommy [Flanagan] were getting high, and they were laughing at me ‘cause I
would be pulling off this big father act. They’d laugh at me. So he finally let me know what is
was. Then, I didn’t bother them that much more about smoking. But anything else, they knew
that I made another kind of rule.

I wasn’t the only one. Milt Jackson was the same way. He called us up one night. Pepper and I
had a gig and somehow we showed up late. Milt found out that we were late. This cat called us
up [on] like a Sunday morning — he called me up and said, ‘What did I hear about you being
late?’ This was just playing a simple gig out on Long Island or somewhere. We got lost, car
trouble, or whatever it was. I had to satisfy Milt that that’s what it was, and it wasn’t somebody
bullshitting around.” This was a Detroit thing, that they represented Detroit jazz players and
needed to be professional because it reflected on all Detroit jazz players, agreed Shearer.

I’ll be leaving for St. Louis on April 8th. On the 9th, I’m lecturing about Pepper at John Vana’s graduate
school class at Western Illinois University. After a few days of fun and frolic in Minneapolis, I’ll be
lecturing on April 15 at both the University of Wisconsin (Lacrosse) and Winona State University. On
the 17th, I’ll be speaking at Beloit College, then that night is the Anders Svanoe Quartet concert, plus
my brief book reading at Artlitlab (see below). On the 18th, I’ll be speaking at Northern Iowa University.
Then, a few more days of fun in the Twin Cities before I return home after the Easter weekend and get
back to listening to those interviews. Hopefully, I’lI see some of you on the road.

https://artlitlab.org/events/the-life-and-music-of-pepper-adams-reading-and-concert

Thank You, Pepper

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Make tweaks, leave comments, and share with others to edit at the same time.

NO THANKSGET THE APP

Dec 2018 blog

© Gary Carner. Copyright Protected. All rights reserved.

I hope all the Americans who are reading this had a great Thanksgiving holiday. Every day, either overtly or implicitly, I give my thanks to Pepper Adams, who so generously brought me into his life and, by doing, set the course of mine forever. 

I traveled out to Salt Lake City on Thanksgiving Day to visit with my daughter. Fortunately, no hiccups with the weather, either going or coming. I stayed for a week, taking side trips to Robert Redford’s Sundance resort and to the college town of Logan.

While in Salt Lake, I had the opportunity to appear on Steve Williams’ radio show “Jazz Time.” It’s being aired today at 4pm Eastern Time (New York) at https://kcpw.org/stream/. I had a chance to play some Pepper material for an hour (in the second hour of his show), and chat a little bit about my upcoming Adams biography, etc.

By the way, one of the most iconic restaurants in SLC is Red Iguana. If you like big portions of tasty Mexican food, I recommend it. Terrific mole! It’s easier to get in to Red Iguana II, just around the corner, than the original spot.

While in Logan, I gave a lecture at Utah State University about some of the things I’ve discovered about Pepper Adams since I began writing the biography. Since I only had 75 minutes, and some of that time needed to be relinquished to show a few videos at http://www.pepperadams.com/ and play a music example, I focused on three subjects: Pepper’s paternal genealogy, his military experience, and his abiding sense of isolation in the world. For the genealogy, I discussed his sixth great-grandfather, James Adams. James Adams was captured at the Battle of Durham and in 1650 transported to the Massachusetts Bay Colony as an indentured servant. His will to survive his many travails to become a free man, including seven years of hard labor, I wrote, is embedded within the Pepper Adams DNA.

As for Pepper’s military time, I discussed how he, in his six months on Korean soil, traveled from battlefield to battlefield, and just how dangerous a time it was for him. More than that, though, I pointed out how much he hated his army experience, and how he was able to get his way with his superiors, if he felt that their orders were inappropriate.

Lastly, I discussed Pepper’s sense of isolation in the world. His family was mostly prosthetic, comprised of fans and musicians around the world, and he lived mostly alone. I go into great detail about it in the biography.

As for the upcoming e-book, it looks like I will be selling halves of the biography in two chunks at $9.99 each. Both sections will be embedded with music links so that the reader can instantly listen to all the music that’s referenced.  I hope to get the first half up for sale at www.pepperadams.com by April, 2019.

Chapter Four -- the first of three chapters that comprise Part Two of the biography -- is at around seventy pages now, and it doesn’t yet include all my notes about some of Pepper’s greatest performances, nor a concluding section about why he was beloved by his colleagues. I hope to get all that done in the next thirty to sixty days. Then I can move on to Chapter Five, all about Pepper’s time with Thad Jones, roughly 1964-1977. Have a great December! 

Pepper Adams Biography Release Date

© Gary Carner. Copyright Protected. All rights reserved.




The exciting news this month is that I’ve decided to release the first three chapters of my Adams biography as e-books. Once John Vana and I came to the conclusion that we are better off releasing the book digitally, it became obvious that there’s no reason to wait any longer. Getting the chapters out in early 2019 will help bridge the gap between then, the near future when I release Chapters 4-6, and some eight or so years from now when Vana starts publishing his musicological analysis.

The plan at this point is to release the chapters individually at $4.95, or the first half of the book for $9.99. I’d love some feedback on whether this approach makes sense, and especially if you have any advice about what vendors to choose, how I should go about it, etc. I’ve heard good things about iUniverse, and I’m aware of CD Baby and Amazon as two other options.

This week I’ll be sending to the Jazz History Database three large reel-to-reel tapes that contain the entire contents of all of my interviews with Pepper Adams. I started interviewing him in June, 1984, and only some of the material was excerpted by Cadence in their four-part series in 1986. The idea, of course, is to make all of this material available, and to link it to pepperadams.com.

I’ve spent most of my free time this month listening to Pepper Adams solos, trying to find some more of those incredible gems that reside within the many audience recordings I’ve catalogued in Joy Road. I’ve been focused mostly on the period 1983-1986. There’s so much great material, and I did find a few things that are truly special (see below). Before I started listening a few weeks back, I was under the impression that Adams, because of his bizarre car accident in December, 1983, had lost some of his facility due to his long layoff. I was led to believe that principally because of the way he sounded on a gig or two in New Jersey and elsewhere. After listening to his first gig back (at the Detroit Institute of Arts in June, 1984) once ambulatory again, and to other dates later that year and afterwards, however, I realized that there was no diminution of his playing at all. If his playing suffered at any time, it was toward the very end of his life, when he was very deep into his cancer, battling secondary infections, and physically quite weak.

Below is a roster of the samples you can expect to hear in the coming months at pepperadams.com that I discuss in Chapter 4 of my Pepper biography. While some are obscure audience recordings, others are landmark commercial releases. Have a great month and Happy Thanksgiving!


Chapter 4:
Pepper Adams, Montreal Jazz Festival (1986)
[“Dobbin’”]
Denny Christianson, Suite Mingus (1986)
[“Lookin’ for the Back Door, “My Funny Valentine,” “Fables of Faubus”]
Pepper Adams, Plays the Music of Charlie Mingus (1963)
[See Chapter 6]
Joshua Breakstone, Echoes (1986)
[“It’s Easy to Remember,” “Bird Song,” “My Heart Stood Still”]
Pepper Adams, The Adams Effect (1985)
[“Binary”]
Pepper Adams, Encounter (1968)
[See Chapter 5]
Pepper Adams Live (1977)
             [“How Long Has This Been Going On?”]
Nick Brignola, Baritone Madness (1977)
[“Donna Lee”]
Pepper Adams at Gulliver’s (1978)
            [“Half Nelson,” “Time on My Hands,” “Three Little Words,” “Chelsea Bridge,” “‘Tis,”    
            “Apothegm,” “A Blue Time,” “Body and Soul,” “Sweet Georgia Brown,” “‘Tis,” “I’ve Just
            Seen Her,” “What Is This Thing Called Love,” “I Love You”]
Pepper Adams, Eastman Theater (1978)
             [“Body and Soul”]
Pepper Adams, Reflectory (1978)
[“Reflectory,” “Sophisticated Lady,” “Etude Diabolique,” Claudette’s Way,” “I Carry Your
Heart,” “That’s All”]
Walter Bishop Jr, Cubicle (1978)
            [“My Little Suede Shoes,” “Summertime,” “Cubicle,” “Now, Now That You’ve Left Me”]
Sture Nordin (1978)
[“Straight, No Chaser” https://www.youtube.com/watch?v=k5jQMY4dbU4  “Day Dream”
https://www.youtube.com/watch?v=aHXa-WrFw98]
Curtis Fuller (1978)
            [“Four on the Outside”  https://www.youtube.com/watch?v=2rsx8oN2HRE
            “Suite-Kathy” https://www.youtube.com/watch?v=0xVwaCW7Dj4
             “Hello Young Lovers” https://www.youtube.com/watch?v=tNf0I_o2SIg
             “Little Dreams” https://www.youtube.com/watch?v=JoD4yPwp0BI
              “Ballad for Gabe-Wells” https://www.youtube.com/watch?v=MAm2zUS2uek
              “Corrida del Torro” https://www.youtube.com/watch?v=WpB71ceky4M]
Pepper Adams in Montreal (1978)
  [“Dylan’s Delight,” A Child Is Born,” Mean What You Say,” I Carry Your Heart,” “Bossa
  Nouveau,” “In Love with Night,” Three Little Words,” “Claudette’s Way,” “Oleo”]
Bill Perkins (1978)
  [“La Costa,” “Dylan’s Delight, “Civilization and Its Discontents”]
Dick Salzman (1978)
  [“Mean to Me,” “Love Walked In,” “My Little Suede Shoes”]
Helen Merrill, Chasin’ the Bird/Gershwin (1979)
               [“Summertime,” “Embraceable You/Quasimodo”]
Pepper Adams at the Pizza Express (1979)
  [“Bye, Bye Blackbird,” “Civilization and Its Discontents,” “Oleo,” “’Tis”]
Oliver Nelson, More Blues and the Abstract Truth (1964)
  [See Chapter 6]
Jimmy Witherspoon, Blues for Easy Livers (1966)
  [See Chapter 6]
Pepper Adams at the Jazz Forum (1979)
  [“I Carry Your Heart”]
Pepper Adams, The Master (1980)
[The entire date, plus alternates]
Pepper Adams at Far and Away (1980)
[Falling in Love With Love, “How Long Has This Been Going On,” “What Is This Thing
            Called Love,”  “Three and One,” “A Child Is Born,” Mean What You Say, “Urban
            Dreams,” “Happy Birthday,” “I Carry Your Heart,” “I’ll Remember April”]
Pepper Adams at Far and Away (1981)
[“In a Mellow Tone,” “Confirmation”]
Pepper Adams at Far and Away (1982)
[“What Is This Thing Called Love,” “Shuffle”]
Pepper Adams at Far and Away (1983)
[4/16: “Times Have Changed,” “The Days of Wine and Roses,” “Rue Serpente”]
[9/30: “That’s All”]
[10/1: “Time on My Hands,” “Times Have Changed,” “Witchcraft”]
[11/19: “Falling in Love with Love,” “Wrap Your Troubles in Dreams,” “Bye, Bye
            Blackbird”]
Noreen Grey at the University of Bridgeport (1984)
[“A Woman Is a Sometime Thing”]
Pepper Adams at Far and Away (1984)
            [“Three and One”]
Pepper Adams at Far and Away (1985)
            [850112: “Witchcraft”]
            [850413: “In Love with Night”]
Pepper Adams at the Downtown Athletic Club (1980)
[“My Funny Valentine,” “Blues in the Closet”]
Pepper Adams with the Skymasters Big Band (1981)
[“The Preacher”]
Pepper Adams at The Flags (1981)
https://www.youtube.com/watch?v=na-jnzMTQpQ
Pepper Adams, Urban Dreams (1981)
[“Urban Dreams”]
Pepper Adams at the Bull’s Head (1982)
[“Isn’t It Romantic,” “Witchcraft”]
Pepper Adams at Nick’s (April 1, 1982)
[“I Carry Your Heart”]
Pepper Adams at DeFemio’s (1982)
[“If You Could See Me Now”]
Hank Jones at the International Jazz Festival (1982)
[“Urban Dreams”]
Nobby Totah in Westport (1982)
[“Get Happy,” “Urban Dreams,” “Take the ‘A’ Train”]
Pepper Adams with the Metropole Orchestra (1982)
[“Urban Dreams,” “Linger Awhile,” “I’m All Smiles,” “Witchcraft,” “Gone with the Wind”]
Pepper Adams at Nick’s (December 10, 1982)
[“My Little Suede Shoes,” “Reflectory,” “No Refill”]
Pepper Adams at Struggle’s (1983)
[“Chelsea Bridge,” “Pent-Up House”]
Pepper Adams at the OCC Jazz Festival (1983)
[“Oleo” (solo only)]
Pepper Adams at the Four Queens Hotel (1983)
[“A Child Is Born”]
Elvin Jones at the Village Vanguard (1983)
[“Island Birdie”]
Hank Jones at the Stockholm Jazz and Blues Festival (1983)
[“Doctor Deep”]
Pepper Adams at the Ottawa Jazz Festival (1983)
[“What Is This Thing Called Love,” “Bossallegro”]
Pepper Adams at DeFemio’s (1983)
[“Alone Together”]
Danny D’Imperio at Eddie Condon’s (1983)
[“Have You Met Miss Jones” (with D’Imperio’s intro), “Scrapple from the Apple,” “My
            Ideal,” “Hellure,” “Star Eyes,” “Minority,” “Just You, Just Me,” “Blues for Philly Joe” (full
            take)
Ray Alexander at Eddie Condon’s (1983)
[“Green Dolphin Street,” “In a Sentimental Mood,” “Bernie’s Tune,” “Witchcraft”]
Pepper Adams, Live at Fat Tuesday’s (1983)
[“Doctor Deep” (8/20: track -w, p. 436 of Joy Road]
Denny Christianson at the CBC Radio Studios (1984)
[‘Autumn Leaves,” “A Pair of Threes,” “Reflectory,” “Claudette’s Way”]
Pepper Adams at the Singapore International Jazz Festival (1984)
[“What Is This Thing Called Love,” “Bossa Nouveau,” the concluding half-chorus (directly
            after the bass solo) and cadenza to “Body and Soul”]
Pepper Adams at the Bull’s Head (February 5, 1985)
[“Isn’t It Romantic”]
Pepper Adams at the Bull’s Head (February 18, 1985)
[“My Shining Hour”]
Pepper Adams at the Ship Hotel (1985)
[“Lady Luck”]
Michael Weiss at the Angry Squire (1985)
(“If You Could See Me Now,” “Milestones”]
Pepper Adams at the San Remo Jazz Festival (1985)
[“Doctor Deep”]
Pepper Adams at the Pellerina Bar (1985)
[“Bye, Bye Blackbird”]
Pepper Adams at the Artists’ Quarter (January 15, 1986)
[“Three Little Words,” “Quiet Lady,” “The Days of Wine and Roses,” “Pent-Up House,”
“’Tis,” “Hellure,” “Bossallegro”]
Pepper Adams at the Artists’ Quarter (January 16, 1986)
[“How Long Has This Been Going On”]
Pepper Adams at the Artists’ Quarter (January 18, 1986)
[“Three and One”]

July's Pepper Activities

© Gary Carner. Copyright Protected. All rights reserved.






I'm very proud to report that just last night I put the finishing touches on Part I of my Pepper Adams biography. Called "Ascent," it loosely covers the first half of Pepper's life, from birth until his move to New York City in early 1956. Although this may imply that the book is a chronologically arranged narrative, that's definitely not the case. Instead, my approach is thematic in nature. I zig-zag across his life where appropriate. For example, I open the book with his epiphany in Detroit, when, as a teenage, he heard Charlie Parker at the Mirror Ballroom. Then I trace how Pepper got back to Detroit from Rochester, New York, after which I discuss his time in Detroit until he enlists in the U.S Army. In sum, the first part of the book covers Pepper from age seventeen until twenty or so before I even get to his Army experience. In Chapter Two I discuss his paternal lineage and his time as a child in Rochester. His Army experience opens Chapter Three, Ascent's final section, followed by quite a long discussion of his Detroit experience in the 1950s, his maternal background, and why Detroit was such an extraordinary place for jazz.

One reason it took another month to wrap up Part I is that I was waiting for my last reader to critique my final draft of Chapter Three and the Prologue. On Friday I finished incorporating my reader's various suggestions to both. Yesterday and today I improved the Prologue's content and added a new paragraph, describing how Pepper Adams has become a spiritual calling for me. Finally, I can truly say that it's time to move on to Part II ("Dominion"), after sixteen months of work. That, of course, won't keep me from peeking at the Prologue a few more times to make sure that I'm totally happy with it.

Also, this past month I was able to finish the very tedious job of transforming what was formerly my set of footnotes into a section retitled "Sources." Now my quotes are more properly placed in the back of the book. This is the modern way of listing attributions, so as to not disturb the reading experience. I've found that this approach also prevents me from submerging somewhat arcane information that didn't quite fit into the text somewhere else in the book. Oh, well.

I'm also pleased to tell you that quite a few upgrades were made in July to pepperadams.com. First, an update to my Byrd-Adams Quintet piece was posted. It includes new information on when the two first played together in Detroit. It was with the Charles Johnson band, by the way, and only for a short period of time. See http://www.pepperadams.com/ByrdAdamsHistory.pdf

I've also added part of the analysis section from my Tufts University masters thesis in Articles: http://www.pepperadams.com/Articles/Scan_0012.pdf. You'll see how I attempted to qualify a bunch of Pepper solos. It was my thesis director, T.J. Anderson's, idea to do it in this manner.

The biography/musical study in progress now has its own book icon. You'll see it at at pepperadams.com directly under Pepper Adams' Joy Road. If you click through, you can access music examples that I'm discussing in Part I of the book. Listed already in boldface are Pepper's earliest recorded baritone solos (Hugh Jackson) and his very first recorded clarinet solo (Oliver Shearer) from 1947 when he was sixteen! New material will continue to be added so please check it out!

Three other additions have been made to the site in July. The first Disco Update in over a year has been posted: http://www.pepperadams.com/JoyRoad/DiscoUpdates.pdf

The Dedications page is almost complete: http://www.pepperadams.com/Dedications/index.html

And my extensive history of Detroit, formerly written for the Pepper biography, has been posted:
http://www.pepperadams.com/Detroit.pdf 

Have a great rest of the summer!
GC