Saturday, November 15, 2014

Joy Road Updates

© Gary Carner. Copyright Protected. All rights reserved.


Here's new updates to Joy Road. In discographies, as many of you know, things are always changing! This update will post at pepperadams.com sometime this weekend.




I've been amassing corrections and additions since the August 2012 publication of Pepper Adams’ Joy Road. As you will see, there are some very exciting new Pepper Adams discoveries. The 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. In the meantime, please send any corrections or additions to info@pepperadams.com.



Correction:
STAN KENTON - VOICES IN MODERN
570304, page 32

Personnel should reference 17 January 1957, not 17 January 1956.


Correction:
DAVE PELL - A PELL OF A TIME
570320, page 34

The two-line note about Walter Bruyninckx should be deleted.


Addition:
BOB KEENE - SOLO FOR SEVEN
570321, page 34

The tune Solo (from Andex LP: A-4001) should be added.


Correction:
AUTHOR'S NOTE, page 52

See 731216 should be See 731217.



Correction
BUD SHANK - THE JAMES DEAN STORY
570813
13 August 1957, Radio Recorders,Hollywood CA: Charlie Mariano, Herbie Steward as; Bill Holman, Richie Kamuca ts; Pepper Adams bs, bcl; Claude Williamson p; Monty Budwig b; Mel Lewis dm; Mike Pacheco bongos; FEATURED SOLOISTS: Chet Baker tp; Bud Shank as, fl.

a Lost Love
b People
c Rebel at Work

Regarding Bill Holman and Johnny Mandel’s participation, on July 29, 2104 researcher James Harrod emailed me this: "The [AFM] contracts just list the musicians. Holman might have retained the charts that he arranged. I believe that he has placed most of his archive with the LOC. He received arranger credit on the 14th only. Mandel is not listed as arranger on the 13th. He might have had a direct agreement with Dick Bock for his services. The back liner of P-2005 notes that Mandel arranged The Search, Jimmy's Theme, and Success; with Holman arranging the other selections. Mandel might have retained his charts as well." Harrod also told me that Chet Baker was listed on the LP as co-leader merely as a marketing strategy to boost sales. Also, Johnny Mandel likely functioned as a conductor at both sessions.


Correction
BUD SHANK - THE JAMES DEAN STORY
570814
14 August 1957, Radio Recorders, Hollywood CA: Same as 13 August, add Ray Linn, Don Fagerquist tp; Milt Bernhart tb; Mike Pacheco bongos; Chet Baker voc*.

a Jimmy's Theme
b Fairmount, Indiana
c Let Me Be Loved
d Let Me Be Loved*
e Hollywood

-b: Omit Pacheco.
-c is an instrumental version.
-d is a vocal arrangement, featuring Chet Baker voc.
See 570813 notes.


Correction
PEPPER ADAMS - CRITICS' CHOICE
570823
23 August 1957, Radio Recorders, Hollywood CA.

Pepper’s second date as a leader was done on one day, from 1-6pm. The LP cites the 22nd of August as the recording date but this is incorrect as per Jim Harrod’s American Federation of Musicians contract research in 2014.


Correction:
SOUL OF JAZZ PERCUSSION
600400
Spring 1960, Bell Sound Studios, New York: Donald Byrd tp; Pepper Adams bs; Bill Evans p; Paul Chambers b; Philly Joe Jones dm; Earl Zindars timpani, perc.

This was likely recorded between 9-18 April or in May-June.


Addition:
PEPPER ADAMS - MOTOR CITY SCENE
601115, page 107

All tracks on Bethlehem CD: BCP-6056.


Correction:
PEPPER ADAMS-DONALD BYRD - OUT OF THIS WORLD
610125
between 25 Jan- 5 Feb 1961, New York: Donald Byrd tp; Pepper Adams bs; Herbie Hancock p; Teddy Charles vib*; Laymon Jackson b; Jimmy Cobb dm.

Sometime between 25 January and 5 February 1961 the Donald Byrd-Pepper Adams Quintet record their date for Warwick. This was Pepper Adams’ eighth date as either leader or co-leader. New research reveals that, with the exception of a 13-20 December gig at Curro’s in Milwaukee (see 601213), the Quintet worked steadily in Chicago for nearly two months (from 22 November 1960 until 22 January 1961). Assuming a long travel day back to New York on 23 January and the opening of their week run at the Five Spot on the 24th, the band likely recorded no earlier than 25 January. As yet, no known information exists on band gigs for the period 1-5 February, prior to the group embarking on their two month tour of the Midwest and Eastern Canada.


New Entry:
DONALD BYRD-PEPPER ADAMS
610616
16 June 1961, TV broadcast, Cleveland: Donald Byrd tp; Pepper Adams bs; Herbie Hancock p; Cleveland Eaton b; Teddy Robinson dm.

The Quintet appeared on the program The One O'Clock Club while in town working at Algiers. The show was broadcast by WEWS (Channel 5), hosted by Dorothy Fuldheim. It isn't clear if either the audio or video still exists.


Addition:
DONALD BYRD-PEPPER ADAMS
610624, page 115

Also performed at Jorgie's was Out of This World (VGM unissued).


Correction:
LIONEL HAMPTON
611209
9 December 1961, Metropole Cafe, New York: Dave Gonsalves, Virgil Jones, Floyd, Richard Williams tp; Vince Prudente, Harleem Rasheed, Lester Robinson tb; Bobby Plater, Ed Pazant as; Andy McGhee, John Neely ts; Pepper Adams bs; Kenny Lowe p; Billy Mackel g; Lionel Hampton vib; Lawrence Burgan b; Wilbert Hogan dm.

a At the Metropole Glad-Hamp LP: GHLP-3050
b Encore (= Greasy Greens)
c After You've Gone Glad-Hamp LP: GHLP-1005
d They Say It's Wonderful (1)
e It's All Right with Me
f Take My Word
g McGhee

(1) Hampton and the rhythm section.
-c, -e, -g on Hindsight CD: HCD-242.


Correction:
JIMMY WITHERSPOON
630700
c. Summer 1963, CBC TV broadcast,Toronto: Dizzy Reece tp; John Gilmore ts; Pepper Adams bs; John Hicks p; Ali Jackson b; Charli Persip dm; Jimmy Witherspoon voc.

a Evenin'
b Ain't Nobody's Business
This program was entitled Sixty Minutes with Spoon, produced by Daryl Duke. Thirty minutes of it
was broadcast on 11 February 1964 on the program "Quest."


Addition
LIONEL HAMPTON
640723
23 July 1964, probably ORTF TV broadcast, Antibes Jazz Festival, Juan-les-Pins, France: Martin Banks, Benny Bailey tp; Bobby Plater as, fl; Ed Pazant ts, cl; Pepper Adams, Cecil Payne bs; Billy Mackel g; Lionel Hampton, vib, voc; Lawrence Burgan b; Floyd Williams dm.

a Hamp's Boogie Woogie
b unknown blues
c unknown blues
d Stardust
e Flying Home
f Our Love Is Here to Stay
g unknown blues
h unknown blues
i Air Mail Special
j Midnight Sun
k Air Mail Special
m The Man I Love
n Sophisticated Lady

See 640707, 640724, 640725 and 611209 notes. 


Correction:
AUTHOR'S NOTE, p. 145

The Thad Jones-Pepper Adams Quintet’s first known gig took place at the Clifton Tap Room in Clifton NJ on 26-27 March 1965.


Correction
JOE ZAWINUL - MONEY IN THE POCKET
660207

This was Pepper’s only recording that day, thus the change from 660207a. Adams was not at the Village Vanguard for the opening gig of the Thad Jones-Mel Lewis Orchestra. See Author’s Note directly below.


Author's Note
THAD JONES-MEL LEWIS ORCHESTRA
660207b

Pepper Adams was not on this date. As per new research, it’s now confirmed that Marv Holladay is the baritone saxophonist. George Klavin was the engineer for the live recordings at the Village Vanguard and he still owns the tapes. Fortunately, he wrote the personnel on the tape boxes. CDs of this performance are held at the Thad Jones Archive at William Paterson University. The following are the tunes at the Archive, cross-referenced with those tunes released as a bootleg by Alan Grant on the CD "Opening Night."

a All My Yesterdays (unissued)
b All My Yesterdays (released by Grant)
c Back Bone (unissued)
d Big Dipper (unissued)
e Big Dipper (unissued)
f Mean What You Say (released by Grant)
g Mornin’ Reverend (released by Grant
h The Little Pixie (released by Grant)
i Willow Weep for Me (released by Grant)

According to saxophonist Jerry Dodgion, the tunes hadn’t yet evolved into what they eventually became. For example, The Little Pixie became a chase for the entire saxophone section. Here, though, only Jerome Richardson solos on the tune.

Mel Lewis told Michael Bourne in Jazz Journal International (Vol 42, No. 4, April 1989, p. 14) the following about Thad Jones’ big band arrangements and the early band book:

"Thad left Basie [in 1963]. We were thrown together in the Mulligan band. We’d been friends
for years. He’d just started writing for Gerry's band. Thad was experimenting. He was going to
bring things in for Gerry's band but he never got around to finishing anything. Thad was 
searching at that point. Basie commissioned Thad to write an album, 11 or 12 charts, and Thad
did them. Thad and I were still just hanging around with each other, still talking about a band of
our own. Basie rejected the arrangements. They were such a drastic change from what the Basie
band was all about. Thad called me and said, 'I’ve got some arrangements. Let’s have a 
rehearsal.’ We started our band with stuff written for Basie. Basie’s name was on the charts 
when we made our first rehearsal, but that became us. When we opened at the Vanguard a
month later, that first Monday night, we only had nine charts. We just hadn’t gotten around to
doing all of them. We played those nine charts and stretched them out. That’s where the whole
style with long solos and riffs happened. That was the band with Brookmeyer and Snooky Young.
We had all that experience in the band. Anything could happen."

Correction:
Pages 152, 203, 205, 253, 254, 263, 275, 287, 292, 305, 330, and 740312 

According to David Demsey, Curator of the Thad Jones Archive at William Paterson University, the correct title of Thad Jones’ tune Back Bone is most likely two words, not one. See 660318, 690902, 690908, 690909, 730814, 730815, 740313, 740712, 750915, 751111, 760113, 770727.


New Entry:
THAD JONES-MEL LEWIS
660321
21 Mar 1966, private recording, Village Vanguard: Thad Jones flh; Snooky Young, Jimmy Nottingham, Bill Berry, Jimmy Owens tp; Bob Brookmeyer vtb; Garnett Brown, Jack Rains tb; Cliff Heather btb; Jerome Richardson as, ss, cl fl; Jerry Dodgion ss, as, fl; Joe Farrell fl, ts, ss; Eddie Daniels ts, ss, cl; Pepper Adams bs, cl; Hank Jones p; Sam Herman g; Richard Davis b; Mel Lewis dm.

a Once Around BMG (NZ) CD: 74321-51939-2
b Don’t Ever Leave Me
c Lover Man
d A--That’s Freedom   unissued
e All My Yesterdays
f Back Bone
g Big Dipper
h The Little Pixie
i Low Down
j Mornin’ Reverend
k Willow Weep for Me

The following is excerpted from a 26 April 2014 post at my blog "The Master" 
(http://gc-pepperadamsblog.blogspot.com/2014/04/double-trouble-alan-grant-george-klabin.html):

Since the 2012 publication of Pepper Adams' Joy Road, the first of two books I'm doing on Pepper Adams, a controversy over what constitutes the first performance by the Thad Jones-Mel Lewis Orchestra has remained. My information was based on Pepper's itinerary, interviews with musicians in the band and also what I could infer from the CD "Opening Night." At the very least I wanted to know if Pepper Adams or Marv Holladay was playing baritone, since both are listed on the cover as participating musicians. Thanks to new information from my recent interview with engineer George Klabin, plus the efforts of saxophonists Frank Basile and David Demsey, I'm able to report some changes to the historical record.

First a little background. In 2000, DJ and impresario Alan Grant released a CD called "Opening Night" that purported to be music from the incredibly important first appearance of the Thad Jones-Mel Lewis Orchestra at the Village Vanguard on 7 February 1966. But others, such as saxophonists Jerry Dodgion and Bill Kirchner, contested that what Grant suggests (and partly what I wrote in my book) about the gig is not entirely true. Dodgion was in the band from its inception and Kirchner had been researching a book about Thad Jones with fellow saxophonist Kenny Berger. Detroit journalist Mark Stryker, too, in his research for his forthcoming book on Detroit jazz, also takes issue with Grant and some of my assump-tions. Like Dodgion and Kirchner, he disputes that all the tunes on Grant's CD are from 7 February and says there are two separate dates. The reason for the discrepancy mostly stems from all of them having heard recordings of the band made at the Village Vanguard that exist at the Thad Jones Archive at William Paterson University. 

In Joy Road (pages 150-52) I discuss the situation as I saw it just prior to publication in 2012. At that time I owned the Alan Grant CD but hadn't known about the two CDs at the Archive. Moreover, based upon the excellent recording quality of Grant's CD, the fact that Grant had a show on WABC-FM that routinely broadcasted live performances in New York City clubs, and that Grant was also actively promoting at that time on his show Pepper, Thad and Mel, I felt that the music likely emanated from ABC Radio. It turns out, however, that a nineteen-year-old self-taught engineer, George Klabin – who at the time (1965-69) had an evening jazz radio show on WKCR – recorded Thad and Mel's performance at the Vanguard. 

I interviewed George Klabin on 23 April 2014 to find out more about the recording's pedigree and to once and for all try to solve the riddles that remain about this great music. Klabin now lives in Los Angeles and runs Resonance Records (resonancerecords.org). His company specializes in releasing historically important jazz recordings, many that Klabin recorded live in clubs and for which he still retains legal ownership. Klabin developed a reputation around New York in the mid-60s for recording jazz musicians well and affordably. He would lug his own equipment into nightclubs, record musicians, then play some of it on his radio show. Klabin promoted these recordings to his listeners as music they'd never hear anywhere else. One of the first things he recorded was Keith Jarrett and Charlie Haden for George Avakian that became an important early Jarrett demo. Another is a Bill Evans date. See the label's web-site for a roster of recordings.

Alan Grant and George Klabin were DJ colleagues in New York City. One day in early 1966 Grant called Klabin. He told him there was a new all-star big band that was playing their first gig at the Village Vanguard. Grant needed a recording. Would Klabin do it? Sure. Klabin brought six mics and was given two cocktail tables near the pole where Pepper Adams sat (at the far stage-left side of the club) to set up his Crown two-track stereo 7.5 ips recorder. He mixed everything live in his headphones. After the gig, he gave Alan Grant a copy and that was it. I doubt Klabin played any of the music on his own radio show. Klabin did confess that he was "completely blown away" by the band. He knew right away that this was a band unlike any other. 

A few weeks later Grant asked Klabin to return to the Vanguard on 21 March to record the band a second time. For that gig Klabin used 10 mics. Klabin said the band sounded even better. More polished, for one thing. For both gigs Klabin ended up with several hours of music.

Fast forward 34 years. To make a fast buck Alan Grant decides to bootleg a bunch of tunes from these two nights. Although Klabin owns the rights, Grant never got permission from Klabin to release it, never credited Klabin as the engineer and never paid the musicians. Essentially, Grant did an end run and went to BMG/New Zealand to print 2,500 copies. Jason Blackhouse (from Auckland), not Klabin, is credited as the engineer, and liner note verbiage throughout only trumpets the 7 February recording date. As David Demsey, director of the Thad Jones Archive has pointed out, the implication is that Blackhouse was the engineer on hand at the Vanguard. Furthermore, misleading listeners into believing that all the material derives from the band's first gig was equally duplicitous.

When Klabin learned about the release he was furious. He hired a detective to find Grant, who was living in Florida. Klabin telephoned Grant and said bluntly, "What's going on here? How can you do this without giving anyone credit?" Grant replied contritely, "I know, it wasn't a good idea." Miffed, Klabin left it at that.

Grant's bootleg is long sold out but a copy exists at William Paterson. Two CDs worth of Klabin's original tapes, presumably given to Thad Jones by Alan Grant, have been transferred from reel-to-reel and are there as well. A third reel may be missing, says Klabin, but he believes he still might have even more material. Fortunately, personnel for each night is specified on Klabin's tape boxes. 
Thanks to the work of David Demsey, who meticulously compared all the recordings, here's what's on the two Klabin CDs versus Grant's bootleg (listed as parenthetical comments):

7 February 1966
CD #1:
1. All My Yesterdays (unissued)
2. All My Yesterdays (released by Grant)
3. Back Bone (unissued)
4. Big Dipper (unissued)
5. Big Dipper (unissued)
6. Mean What You Say (released by Grant)
7. Mornin' Reverend (released by Grant
8. The Little Pixie (unissued)
9. Willow Weep for Me (released by Grant)

21 March 1966

10. Once Around (released by Grant)

CD #2:
1. A--That's Freedom (unissued)
2. All My Yesterdays (unissued)
3. Back Bone (unissued)
4. Big Dipper (unissued)
5. Don't Ever Leave Me (released by Grant)
6. The Little Pixie (released by Grant)
7. Lover Man (released by Grant)
8. Low Down (unissued)
9. Mornin' Reverend (unissued)
10. Willow Weep for Me (unissued)

What else does Klabin have and did a third reel he recorded get lost? What's the derivation of three tunes from Grant's CD – Big Dipper, Polka Dots and Moonbeams, and Low Down – that Demsey asserts is neither on Grant's or Klabin's CDs? What's the complete personnel of each date? Klabin has promised to clear up the remaining mysteries. Fortunately, since our interview he's already had the time to look at his tape boxes from 7 February and 21 March to at least confirm that Marv Holladay, not Pepper Adams, was on the 7 February date. Conversely, Pepper appears on the 21 March date in place of Holladay. 

According to Jerry Dodgion, Klabin has wanted to produce these important recordings since Grant's release to correct the historical record and get the music out the right way. Hopefully Klabin will release his definitive version soon, in its original running order, especially with Thad's announcements, and maybe even with Alant Grant as emcee? For Klabin, these brilliant Thad Jones-Mel Lewis Orchestra performances remain the greatest recordings he's ever made.


Correction
JOE WILLIAMS AND THAD JONES - SOMETHING OLD, NEW AND BLUE
680423
23-27 April 1968, Los Angeles: possible personnel: Thad Jones flh; Snooky Young tp, flh; Garnett Brown, Jimmy Knepper or Benny Powell tb; Jerome  Richardson as; Eddie Daniels ts; Pepper Adams bs; Roland Hanna p, org; Kenny Burrell g; Larry Bunker vib; Richard Davis b; Mel Lewis dm; Joe Williams voc; string section.

Delete Hallelujah I Love Her So, Nobody Knows the Way I Feel This Morning, How Sweet It Is and Evil Man Blues.


New Entry:
THAD JONES-MEL LEWIS                                                                          
680720
20 July 1968, audience recording or radio broadcast, Pit Inn, Tokyo: Thad Jones flh; Bob Brookmeyer vtb; Jimmy Knepper, Garnett Brown tb; Cliff Heather btb; Jerry Dodgion as, fl; Jerome Richardson as, cl, fl; Seldon Powell ts; Eddie Daniels ts; Pepper Adams bs; Roland Hanna p; Kunimitsu Inaba b; Mel Lewis dm.

a Lover Man
b Bachafillen
c unknown title
d Don't Git Sassy
e Back Bone
f   Don't Ever Leave Me
g St. Louis Blues

 -c is a solo piano feature.
According to bassist Richard Davis, in a 2014 email to the author, Davis left the gig early and Inaba took his place. Because the Pit Inn was a small room for a big band, it's conceivable that Thad Jones scaled the band down to twelve pieces and Davis left the club along with the entire trumpet section before the final set.

This is the only known recorded gig from the band's first "tour" of Japan. Elvin Jones' future wife, Keiko, had agreed to put together eleven days worth of gigs. There was a great deal of excitement because this was the band's first overseas trip. An itinerary of events was given in advance to members of the band. On the morning of 11 July the band, along with seven of the musicians' wives, waited at JFK Airport to board a plane but the promised tickets never arrived at the gate. Thad Jones and Mel Lewis were left with no alternative but to charge the tickets on their American Express cards, without which the orchestra might've dissolved. To make matters worse, despite the itinerary, only one gig was arranged for the band in advance. The orchestra was in limbo each day until gigs could be acquired. The photographer K. Abe lent his life savings to pay for airplane tickets to get the group back to New York. After Mel Lewis returned, he paid Abe back by leveraging his residence with a second mortgage.

According to Jerry Dodgion, Jerome Richardson made the trip and the trumpet section on the tour was Snooky Young, Jimmy Nottingham, Danny Moore and Richard Williams. Richard Davis remembered the following musicians: Thad Jones, Mel Lewis, Richard Williams, Garnett Brown, Bob Brookmeyer, Cliff Heather, Eddie Daniels, Pepper Adams and Roland Hanna.


Correction:
DUKE PEARSON - NOW HEAR THIS
681203

Pearson on p and e-p.
Randy Brecker and Marvin Stamm tp and flh.
Correct title is I'm Tired Cryin' Over You. Pearson on e-p here only.


New Entry:
DUKE PEARSON
690427
27 April 1969, Famous Ballroom, Baltimore: Burt Collins, Joe Shepley, Jim Bossy Donald Byrd tp, flh; Julian Priester, Joe Forst, Eddie Bert tb; Kenny Rupp btb; Jerry Dodgion, Al Gibbons as, fl; Frank Foster, Lew Tabackin ts; Pepper Adams bs; Duke Pearson p; Bob Cranshaw b; Mickey Roker dm.

a Hi-Fly Uptown CD: UPCD-2772
b New Girl
c Eldorado
d In the Still of the Night
e Tones for Joan's Bones
f Straight Up and Down
g Ready When You Are C.B
h Night Song

Recorded by the Left Bank Jazz Society. See 671215.


Correction
THAD JONES-MEL LEWIS
690909

According to historian Bert Vuijsje, the broadcast also featured the Kenny Clarke-Francy Boland Big Band and Boy Edgar's Big Band, not the Kurt Edelhagen Orchestra. Video of the broadcast does still exist.


Addition:
RICHARD DAVIS
691209

Reissue on Polydor (J) CD: POCJ-2164.


Correction:
DAVID AMRAM - NO MORE WALLS
710701

George Mgrdichian, not Mrgdichian, is the proper spelling.


Correction:
ELVIN JONES, page 239

See 720713 should be deleted.  Although that 13 July 1972 session produced three other tracks (Soultrane, Gee Gee, and One’s Native Place), Pepper Adams is not on them, therefore the session isn’t listed in the text.


Correction:
RICHARD ROUNDTREE
720216
16 February 1972, New York: Overdubs: Thad Jones tp, flh; Joe Dupars tp; Garnett Brown tb; Jerry Dodgion as; Sonny Fortune, Billy Harper, Andy Gadsden ts; Pepper Adams bs; Joe Farrell bcl.

a Gets Hard Sometimes MGM LP: SE-4836
b Peace in the Morning
c I'm Here
d Street Brother
e Man from Shaft
f Tree of Life
g Lovin'
h Sagitarian Lady
i The Letter

All tracks on MGM (UK) LP: 2315-121.


New Entry:
RUBY BRAFF
19 July 1972, audience recording, Half Note, New York: Ruby Braff cornet; Pepper Adams bs; Dill Jones p; George Mraz b; Dottie Dodgion dm.

a unknown blues

This recording was discussed in Michael Steinman's blog "Jazz Lives" (http://jazzlives.wordpress.com/author/jazzlives), published on 5 August 2014:

I will close with my single Pepper Adams sighting. In 1972, several friends and I followed Ruby Braff to gigs.  Although Ruby was unpredictable and unreasonably given to rage, he was always pleasant to us and allowed us to tape-record him. On July 19 of that year, my friend Stu and I came to the Half Note to record Ruby with the Welsh pianist Dill Jones, bassist George Mraz (then working with Pepper in the Thad Jones – Mel Lewis ensemble, and Dottie Dodgion on drums.  About two-thirds through the evening, where the music had been very sweet, with Ruby’s characteristic leaps through the repertoire of Louis, Duke and Billie, a tall man ascended the stand with a baritone saxophone, was greeted warmly by the players, and the quintet launched into an extended blues in A-flat. I remember Dottie Dodgion being particularly enthusiastic about the unnamed musician’s playing, who packed his horn and went off into the warm Greenwich Village night. Who was that unmasked man? The subject of Carner’s book, and yes, the tape exists, although not in my possession.


Correction 
PEPPER ADAMS, page 241

The correct recording date of the Oslo gig was 29 October 1972 and the rhythm section was Christian Reim p; Sture Janson b; Ole Jacob Hanson dm.


New Entry:
THAD JONES-MEL LEWIS
17 Sept 1973, audience recording, Blighty's, Farnworth, England: Thad Jones cornet; Jon Faddis, Steve Furtado, Jim Bossy, Cecil Bridgewater tp; Jimmy Knepper, Billy Campbell, Steve Turre tb; Cliff Heather btb; Jerry Dodgion ss, as, fl; Ed Xiques ss, as, fl, cl; Billy Harper ts, ss, cl; Rob Bridgewater ts, cl; Pepper Adams bs; Roland Hanna p; George Mraz b; Mel Lewis dm; Dee Dee Bridgewater voc.*

a Us
b 61st and Richard
c Suite for Pops:
Meetin’ Place
Only for Now
The Farewell
d The Second Race
e Fingers
f Bye Bye Blackbird*
g How Insensitive*


Correction 
PEPPER ADAMS - EPHEMERA
730910
10 September 1973, EMI Studios, London: Pepper Adams bs; Roland Hanna p; George Mraz b; Mel Lewis dm.

This account of the date was provided to the author by Tony Williams, owner of Spotlite Records, on 13 November 2014:

The Thad Jones-Mel Lewis Band were working the Ronnie Scott Club at 47 Frith Street in Soho (Central London). As I was a good friend of baritonist Cecil Payne, when I went to hear the band I intro- duced myself to Pepper and he asked me if I would record him with Roland, George and Mel. I had only started Spotlite and was beginning to record American musicians – for example Joe Albany, Cecil, Duke Jordan, Red Rodney, Al Haig, Ben Webster, Jon Eardley, Dexter Gordon and Lockjaw Davis. I do recall, when Lockjaw approached me about doing an album I said I couldn’t afford him. He smiled and told me not to worry about that and things could be amicably figured out!

I agreed to fix a recording date with Pepper and got things set up at EMI Studios on Sunday, September 9th. Pepper’s Quartet made some recordings but Pepper was not satisfied with the results so the Quartet was recorded again the following day, September 10th, 1973. Pepper was well pleased with everything that was recorded that day which, apart from a few false starts, was done all in single takes. Pepper did ask me not to keep anything from the previous day which, out of respect to him, I did not. . . No photographs were taken but Pepper did get some photos to me of himself that were taken by Jill Freedman. He and I selected a couple to use on the LP sleeve. The LP was issued in 1974 and I got copies to Pepper to give to the other guys in the Quartet.



New Entry:
SADAO WATANABE
740311
c. 11 March 1974, FM-Tokyo radio broadcast, Tokyo: Sadao Watanabe as; Pepper Adams bs; Roland Hanna p; Eizo Honda b; Fumio Watanabe dm.

a Wistful Moment
b When Lights Are Low
c Ride On
d Ephemera
e Oleo


Correction/Addition:
THAD JONES-MEL LEWIS
740312
12 Mar 1974, Yubin-Chokin Hall, Tokyo: Thad Jones cornet, flh; Jon Faddis, Steve Furtado, Jim Bossy, Cecil Bridgewater tp; Jimmy Knepper, Billy Campbell, Quentin Jackson tb; Cliff Heather btb; Jerry Dodgion ss, as, fl; Ed Xiques ss, as, fl, cl; Billy Harper ts, fl; Rob Bridgewater ts, cl; Pepper Adams bs; Roland Hanna p; George Mraz b; Mel Lewis dm.

a Mean What You Say Nippon-Columbia (J) LP: YX-7557
b Don't Ever Leave Me Nippon-Columbia unissued
c The Little Pixie Nippon-Columbia (J) LP: YX-7557
d Once Around Nippon-Columbia unissued
e A - That's Freedom
f Willow Tree
g Back Bone
h Don't Git Sassy

-d is likely a spliced version of this take and -a from 13 March 1974.
Takawa Isizuka should be Takao Ishizuka.


Addition
THAD JONES-MEL LEWIS ORCHESTRA
740312
12 or 13 March 1974, Yubin-Chokin Hall or Toshi Center Hall, Tokyo: Add Dee Dee Bridgewater voc.

a Don't Ever Leave Me
b A-That's Freedom
c The Little Pixie
d Bye Bye Blackbird
e Get Out of My Life
f unknown title
g Fingers
h The Little Pixie

Dee Dee Bridgewater on -c and -d.
According to information posted at rhythmhouse.co.jp, these are alternate tracks that were recorded by Nippon-Columbia. The site doesn't specify what tunes were performed on either night.

Correction/Addition:
THAD JONES-MEL LEWIS
740313
13 Mar 1974, Toshi Center Hall, Tokyo: Same as 12 March 1974, add possibly Dee Dee Bridgewater voc.*

a Once Around Nippon-Columbia (J) LP: YX-7557
b Kids Are Pretty People Nippon-Columbia unissued
c Say It Softly
d 61st and Richard
e A Child Is Born
f Back Bone Nippon-Columbia (J) LP: YX-7557
g Bachafillen Nippon-Columbia unissued
h I Love You*
i The Farewell
j Fingers
k The Intimacy of the Blues

-a is likely a spliced version of this take and -d is from 12 March 1974.
-h might be a feature for Dee Dee Bridgewater. The band also performed it as an instrumental.


Correction:
THAD JONES
740728

Walter Norris, not Roland Hanna, is the pianist on this date. Roland Hanna's last international tour with the Thad Jones-Mel Lewis Orchestra band was the band's trip to Japan in February-March 1974. Hanna's last recording with the band was in New York on 8-10 May 1974. By 27 June 1974 (the beginning of the band's 1974 European summer tour) Walter Norris had permanently replaced Hanna, ending Hanna's eight year tenure with the band. Hanna was the longest serving pianist in the Thad Jones-Mel Lewis Orchestra's history.


Addition
THAD JONES-MEL LEWIS ORCHESTRA
751026
26 October 1975, FM-Tokyo radio broadcast, Tokyo: Add Juanita Fleming voc*.

a Once Around
b Thank You
c Mean What You Say
d A Child Is Born
e Bird of Beauty*
f Fingers


Addition:
FRANK FOSTER - GIANT STEPS
751113 

Foster also plays ss.
-a and -b on Denon (J) LP: YC-7567-AX.


Correction/Addition:
FRANK FOSTER - GIANT STEPS
751117a 

See 751113 for personnel.
-a and -b on Nippon-Columbia-Denon (J) LP YX-7576 and Denon (J) LP: YC-7567-AX.


New Entry:
THAD JONES-MEL LEWIS
751215
15 December 1975, audience recording, Village Vanguard, New York: Thad Jones flh; Al Porcino, Waymon Reed, Sinclair Acey, Cecil Bridgewater tp; Billy Campbell, Janice Robinson, John Mosca tb; Earl McIntyre btb; Jerry Dodgion, Ed Xiques ss, as, fl; Frank Foster, Gregory Herbert ts, cl; Pepper Adams bs; Onaje Allan Gumbs p; George Mraz or Steve Gilmore b; Mel Lewis dm.

a Big Dipper
b Kids Are Pretty People
c Bachafillen
d Samba con Getchu
e Giant Steps
f Thank You
g A Child Is Born


Correction:
THAD JONES-MEL LEWIS
751217a, page 303

Love and Understanding should be Love and Harmony.


Deletion:
THAD JONES-MEL LEWIS
760113

Ed Xiques took Pepper's place on this three-week winter tour that was intended mostly to open the new Domicile in Munich. It's likely that Adams declined going on the trip because the tour ended two weeks before his wedding on 14 February.


Deletion:
THAD JONES-MEL LEWIS
760125

On this WDR radio broadcast from Cologne, Ed Xiques subs on baritone sax for Pepper and takes two baritone solos on tunes that are customary Adams features. It's possible that Adams didn't make this somewhat brief three-week trip to Europe to open up the new Domicile because the tour ended two weeks before his wedding on 14 February and he was needed to help with wedding arrangements.


Correction:
PEPPER ADAMS
770222
22 February 1977, audience recording, Restaurant La Redoute, s'Gravenwezel, Belgium: Pepper Adams bs; Tony Bauwens p; Roger Vanhaverbeke b; Freddy Rottier dm; GUESTS: Eddy House as*; Johnny Kay p+.

a Pepper Adams
b A Child Is Born
c What Is This Thing Called Love
d On the Sunny Side of the Street*+
e Misty*+
f Scrapple from the Apple*+

-a is the first public performance of Tony Bauwen's dedication to Adams. Although it was untitled at the time of its premiere and tentatively named "P/A. . . Pepper Adams," by 1984 it was retitled "Pepper Adams" for the big band arrangement of the tune that was recorded by the BRT Jazz Orchestra.


Correction:
PEPPER ADAMS
770228
28 February 1977, BRT radio broadcast, Witte Hoed at the Royal Anderlecht Sporting Club Bar, Anderlecht, Belgium: Pepper Adams bs; Tony Bauwens p; Roger Vanhaverbeke b; Freddy Rottier dm.

a Mean What You Say
b A Child Is Born
c Ephemera
d Pepper Adams

Regarding -d, see 770222 above.


Correction:
THAD JONES-MEL LEWIS
770502
c. 2 May 1977, audience recording, West Virginia University, Morgantown WV.


Correction:
THAD JONES
c. 3 May 1977, audience recording, Kilcawley Center at Youngstown State University, Youngstown OH.


Addition
JOHN SPIDER MARTIN - ABSOLUTELY
770600
According to Dave Loeb, pianist Bill Dobbins wasn't available for the date so Loeb subbed for him. At the recording session, after Martin and Adams had discussed whether a certain take was acceptable, they learned from the engineer that the take had been erased. Adams said that this was the most unprofessional thing he had ever seen in his thirty years of recording.

The day after the recording, most of the group worked a gig in Rochester. After the gig, Pepper stayed at Loeb's house rather than at a seedy hotel in downtown Rochester. Loeb and Adams stayed up all night listening to records. Except for Bud Powell, Pepper refused to listen to any jazz and would only listen to classical music. Asked whether Ellington might've been another exception, Loeb said he didn't have any Ellington in his collection at the time.


Correction
THAD JONES-MEL LEWIS
770625

This Carnegie Hall concert, part of the Newport Jazz Festival, took place at midnight on Saturday. It was a salute to the Jones Brothers (all three of whom performed two tunes with the addition of Rufus Reid) and Dizzy Gillespie. The final two numbers featured Gillespie with Thad-Mel and Elvin Jones replaced Mel Lewis. Because Elvin had sat in twice before with Thad-Mel and one occasion broke one of Mel's calf drum heads, it's likely that Elvin's drums were brought in to replace Mel Lewis’.


Correction:
THAD JONES-MEL LEWIS
770730
30 July 1977, private videotape, Copenhagen: Same as 9 July 1977, omit Rully:

a Once Around
b The Little Pixie
c My Centennial(1)

(1)Thad Jones and some bandmembers play various percussion instruments.

The band performed a free concert in a public square, probably near the Stroget. In the film, Dexter Gordon walks across the screen. Gordon had a gig that night at the Montmartre Jazzhus.


Correction:
THAD JONES-MEL LEWIS
770800B
29-31 July, 1-6 August, or 11 August 1977, DR TV broadcast, unknown outdoor square, Copenhagen: Thad Jones flh; Earl Gardner, Larry Moses, Jeff Davis, Frank Gordon tp; Billy Campbell, John Mosca, Clifford Adams tb; Earl McIntyre btb; Jerry Dodgion, Ed Xiques ss, as, cl, fl; Richard Perry, Dick Oatts ts, cl, fl; Pepper Adams bs; Harold Danko p; Rufus Reid b; Mel Lewis dm, Aura Rully voc.*

a Fingers
b Route 66*
c My Centennial (1)

(1) Thad Jones and some bandmembers play various percussion instruments.
Dexter Gordon is in the audience.  This might be a public square near the Stroget.


Addition:
PEPPER ADAMS-KAI WINDING
780804

See note on 760714 regarding the HNITA Jazz Club.


Addition
VLADIMIR COSMA
771019
19 October 1977, film soundtrack, Paris.

This date has been reissued on Pomme (F) CD: 950-222. It includes an alternate take of Jalousie-Blues but does not include -f (All My Evening Birds). -f was previously issued on Larghetto (F) CD: 0015163 and has been reissued on Larghetto (F) CD: 004- 3760002133478-17CD.


Correction
HELEN MERRILL - CHASIN' THE BIRD/GERSHWIN
790306
6 Mar 1979, RCA Studios, New York: Pepper Adams bs; Dick Katz p; Rufus Reid b; Mel Lewis dm; Helen Merrill voc.

a     It Ain't Necessarily So (1)       Inner City LP: IC-1080
b     Summertime       
c     I Can't Be Bothered Now (2)
d     Someone to Watch Over Me    
e     My One and Only         Trio (J) LP: PAP-9160
f But Not For Me (3) Inner City unissued

See 790309.
(1) Reid, Lewis, Merrill only.
(2) Katz and Merrill duet.
(3) Pepper, Katz and Merrill only.           

Raymond Ross photographed this session and no photos are taken of Puma in the studio with the band on 6 March. Since Puma was added on only three of nine tracks, it's likely he attended only the 9 March session. See 790309. 


Correction
HELEN MERRILL - CHASIN' THE BIRD/GERSHWIN
790309
9 Mar 1979, RCA Studios, New York: Pepper Adams bs; Dick Katz p; Joe Puma g; Rufus Reid b; Mel Lewis dm; Helen Merrill voc.

a     Embraceable You/Quasimodo     Inner City LP: IC-1080
b     I Got Rhythm/Chasin' the Bird        
f I Love You, Porgy

Raymond Ross photographed this session and the first Merrill session of 790306. Ross sent me contact sheets of his work and each strip of photographs are dated. In all, 126 photos were taken. Puma only appears in photos taken on 9 March. Considering this, and the fact that Puma was added on only three of nine tracks, it's unlikely he attended the 6 March session. See 790306. 


New entry
PER HUSBY
790325
25 Mar 1979, audience recording, Kristiansund, Norway: Pepper Adams bs; Per Husby p; Bjorn Alterhaug, Espen Rud dm.

a     Just Friends       
b     Quiet Lady       
c     Eiderdown (1)
d     Embraceable You    
e     Three and One        
f 'Tis           

(1) Rhythm section only.
Sponsored by the Kristiansund Jazz Society.
Correction:
PEPPER ADAMS
790907
7 September 1979, audience recording, Jazz Forum, New York: Pepper Adams bs; Bob Neloms p; Wayne Dockery b; John Yarling dm.

a It Could Happen to You
b In Love with Night
c Blue Champagne
d 'Tis
e Claudette's Way
f Pent-Up House
g I Carry Your Heart


Addition:
PEPPER ADAMS - THE MASTER
800311
11 March 1980, Downtown Sound, New York City.


Correction:
PEPPER ADAMS
801017

The guest on this date is Marv Holladay.


Addition:
PEPPER ADAMS-AL JARREAU
820224

On 24 September 2012 historian Dan Morgenstern discussed this television broadcast at a press party held at New York's Jazz Gallery. The event was held to celebrate the publication of Pepper Adams' Joy Road and kick off the first week-long celebration of Adams' music ever organized in New York. According to Morgenstern,

I had the pleasure of getting to know Pepper a little better, other than having admired him as a player and seeing him many times. We were together for a while in the Recording Academy, and he was one of the few jazz musicians who became active in the Academy. The upshot of that was one of the finest moments in the history of the Grammy television show, which was when somehow we managed to get Pepper on the show and, not only that, he was the climactic attraction at the end. He played "Shining Hour" and it was marvelous! It will never happen again on the Grammys that jazz has such a prominent part of it.


New entry
PEPPER ADAMS
830000
c1983, audience recording, Petit Opportun, Paris: Pepper Adams bs; Georges Arvanitas p; Jackie Samson b; Charles Saudrais dm.

a Pent-Up House


Correction: 
DANNY D'IMPERIO
830930a
30 September 1983, audience recording, Eddie Condon's, New York: John Marshall tp*;
Pat Rebillot p; Reggie Johnson b; Danny D'Imperio dm; GUEST SOLOIST: Pepper Adams bs.

a Have You Met Miss Jones
b Scrapple from the Apple
c Body and Soul
d My Ideal*
e Hellure
f Star Eyes*
g Minority*
h Lover Come Back to Me*
i Just You, Just Me
j Blues for Philly Joe/Billie's Bounce*

The band played two sets, each concluding with a blues (-e and -j). This was the club's first late Friday afternoon "Twilight Jazz" engagement. It was slotted in to precede Condon's customary 8:30 traditional jazz band set.


Correction 
PEPPER ADAMS, page 448

The Gershwin medley is comprised of only two tunes: My Man's Gone Now and I Loves You, Porgy.


Addition: 
DENNY CHRISTIANSON
841023a
For this CBC Studio date, Christianson hired a few subs to replace missing members of his big band. Apart from drummer Guy Nadon replacing Cisco Normand, these subs remain unknown. Delete Paul Picard perc.  Otherwise, personnel (see 860224 and 860225) is mostly correct.


Correction: 
PEPPER ADAMS, page 456

The correct name of the album is Exhilaration.


Correction 
PEPPER ADAMS, page 477

-e and -f: Gary Smulyan on both tracks.
-g is more properly called The Theme and Adams doesn't solo on it.


Correction: 
PEPPER ADAMS
851029
29 October 1985, audience recording, Pellerina Bar, Turin, Italy: Pepper Adams bs; Ricardo Zegna p; Dodo Goya b; Paolo Pellegatti dm.

a Falling in Love with Love
b All the Things You Are
c There Is No Greater Love (1)
d I Can't Get Started
e 'Tis
f Bye Bye Blackbird
g Bossallegro
h Just Friends
i 'Tis
j Old Folks (1)

(1) Rhythm section only.


Correction:
ORANGE COUNTY COLLEGE BIG BAND
860320

Song for Pepper was written by saxophonist Brian Williams, not Bruce Johnstone.


New entry
PEPPER ADAMS
860321
21 March 1986, audience recording, Orange Coast College, OCC Jazz Festival, Costa Mesa CA: Pepper Adams bs; other musicians.

According to collector Andy Katell, this was a clinic that Adams did for students attending the Festival. Katell's brother, Gabe, attended the clinic then took Pepper out to lunch in nearby Garden Grove.


Correction:
PEPPER ADAMS
860323a
23 March 1986, private videotape, Orange Coast College, OCC Jazz Festival, Costa Mesa CA: Pepper Adams, Nick Brignola bs; Claude Williamson p; Art Davis b; Carl Burnett dm.

a All the Things You Are
b Isn't It Romantic
c After You've Gone
d unknown ballad (1)

(1) Adams and rhythm section.


Correction: 
PEPPER ADAMS, page 511

The August, 1982 recording date that is cited is in conflict with the session's 790716 alphanumeric code. Although the drummer believes the date took place in August, 1982, Pepper's chronology for that time makes it impossible. The original 16 July 1979 date is more likely because that's when Pepper first wrote "Binary," that they recorded at that session.


Correction:
INDEX, pages 521-552

Hundreds of changes – mostly incorrect page references – were made to the index for the paperback edition. (These are the only updates that were made to the paperback.) Due to the malfunction of my printer very late in the camera-ready-copy process, it was necessary to use a new printer after much of the manuscript was already printed. This changed the pagination of the original manuscript that had already been delivered to the indexer.

Friday, November 14, 2014

Byrd-Adams Repertoire (1958-61)

Gary Carner. Copyright Protected. All rights reserved.


Who wrote all those great tunes for the Byrd-Adams Quintet? I always knew Donald Byrd wrote a bunch and that Duke Pearson wrote a few. When I began assessing their book recently I was surprised to see the degree to which Byrd's writing dominated the amount of original material written for 1958-61 band. 33 original compositions were written to perform during that period. Of that, 70% of the oeuvre was written by Donald Byrd or (in the case of Each Time I Think of You) co-written by Byrd and Duke Pearson. 

Listen to Each Time I Think of You: http://youtu.be/g0GpidUEMYo 

Nine of the tunes were written by various pianists in the band: Walter Davis Jr., Duke Pearson and Herbie Hancock. Pepper Adams wrote his two compositions for Motor City Scene, the 1960 Bethlehem date under his leadership. It seems doubtful that either of Adams' tunes were ever played by the Quintet in club dates. Herbie Hancock's first recorded composition, Requiem,” can be heard on Royal Flush, the Quintet's last studio date while still a touring band.

Listen to Requiem here: http://youtu.be/RmfEbgoovQ8 

“Jeannine,”* written by Duke Pearson, was recorded by Cannonball Adderley about six months before the November, 1960 Live at the Half Note date. Although not written for the Byrd-Adams Quintet, it's included below, albeit an outlier, because Byrd-Adams helped make the tune part of the standard jazz repertoire. That's in part due to the fact that their seminal Blue Note recording never went out of print in the U.S.

Listen to Jeannine here: http://youtu.be/bovferybdb8 

What about the rest of the book? Judging from the data, 28 other tunes were either recorded or performed in clubs. A few of these tunes were standards but most were tunes that few performed. Even some of the standards were modified in creative ways, such as the ballad “That's All” and the novelty number “I'm an Old Cowhand” being made into uptempo flag-wavers. See the Byrd-Adams repertoire list below.


Pepper Adams:
Libeccio
Philson

Donald Byrd:
Bird House
The Cat Walk
Cecile
Devil Whip
Down Tempo
Curro's
Great God
Here Am I
Hush
The Injuns
Jorgie's
Kimyas
The Long Two/Four (= Off to the Races)
Pure D. Funk
Shangri-La
6M's
Soulful Kiddy
Sudwest Funk
When Your Love Has Gone
Yourna
You're Next
Yourna

Donald Byrd-Duke Pearson:
Each Time I Think of You

Walter Davis Jr.:
Bronze Dance
Clarion Calls

Herbie Hancock:
Requiem

Duke Pearson:
Chant
Child's Play
Duke's Mixture
Hello Bright Sunflower
Jeannine*
My Girl Shirl
Say You're Mine

Other tunes recorded and performed by Byrd-Adams:
Amen (Donald Byrd)
Between the Devil and the Deep Blue Sea (Harold Arlen)
Bitty Ditty (Thad Jones)
Cute (Neal Hefti)
Day Dream (Billy Strayhorn)
Hastings Street Bounce (traditional)
I'm a Fool to Want You (Jack Wolf-Joel Herron-Frank Sinatra)
I'm an Old Cowhand (Johnny Mercer)
I Remember Clifford (Benny Golson)
It's a Beautiful Evening (Raymond Rasch)
Like Someone in Love (Jimmy Van Heusen)
Little Girl Blue (Richard Rodgers)
Lover Come Back to Me (Richard Rodgers)
Mr. Lucky (Henry Mancini)
One More for the Road (Harold Arlen) 
Out of This World (Harold Arlen)
Paul's Pal (Sonny Rollins)
A Portrait of Jennie (J. Russel Robinson)
Sophisticated Lady (Duke Ellington)
Stardust (Hoagy Carmichael)
Stuffy (Coleman Hawkins)
That's All (Bob Haymes-Alan Brandt)
'Tis (Thad Jones)
Trio (Errol Garner)
When Sunny Gets Blue (Marvin Fisher-Jack Segal)
You're My Thrill (Jay Gorney)
Witchcraft (Cy Coleman)


Saturday, November 8, 2014

The Donald Byrd-Pepper Adams Quintet (1958-61)

Gary Carner. Copyright Protected. All rights reserved.

http://instagram.com/p/r-aenRpnvf/?modal=true 

Here's the piece I wrote for Wayne State University Press. It will be published in their forthcoming anthology about Detroit's musical history. The piece is posted here: 

http://www.pepperadams.com/ByrdAdamsHistory.pdf


Although they certainly knew each other in Detroit, trumpeter Donald Byrd and baritone saxophonist Pepper Adams never played together until both moved to New York City. Their first gig toas probably at the Cafe Bohemia in early February, 1958. Later that month, Byrd and Adams were paired as the front line for a Thelonious Monk studio recording, just as they began a residency at the Five Spot that lasted until June. Already in demand as a dynamic front-line duo, their four-month run (with Detroiters Doug Watkins and Elvin Jones) gave them the opportunity to launch the Byrd-Adams Quintet. Riverside Records recorded the group live in April. Six months later the band would record Off to the Races, its first of a series of recordings for Blue Note Records that cemented the band’s place in jazz history.

In the Summer of 1958, however, directly after the lengthy Five Spot engagement, Donald Byrd toured Europe with Watkins and Belgian tenor saxophonist Bobby Jaspar. Adams, for his part, accepted a six-week engagement with Benny Goodman. Again, in early 1959 the Byrd-Adams Quintet would be shelved in favor of Byrd and Adams’ four-month commitment to the Thelonious Monk Big Band (culminating with the influential Thelonious Monk Orchestra at Town Hall date for Riverside). This on-again/off-again schedule would characterize the early history of the Quintet, from mid-1958 well into 1960. Because steady work wasn’t available for the group’s first two-and-a-half years as a unit, Byrd and Adams continued to take gigs as sidemen while also maintaining active careers as solo artists.

From 1958-1961, Byrd and Adams were busy indeed, working and recording in many settings. Besides their membership in Monk’s orchestra in early 1959, Adams did two tours with Benny Goodman and another with Chet Baker before May, 1959, when the Byrd-Adams Quintet recorded Byrd in Hand, their second date for Blue Note. By then the Quintet had already worked two weeks at New York’s Village Vanguard. In October, 1959 the band was touring again, this time playing gigs in Toronto and Pittsburgh.

In the Spring of 1960 the Byrd-Adams Quintet (including Bill Evans, Paul Chambers and  Philly Joe Jones) recorded three tunes for a stereophonic sampler project for Warwick Records. Before that, Byrd without Adams had worked his way from New York to San Francisco and back while Adams formed a short-lived quintet with tenor saxophonist J.R. Monterose. But by July, 1960 the Quintet’s superb rhythm section of Duke Pearson, Laymon Jackson and Lex Humphries had coalesced. And with Adams back in the group, the Quintet began its incarnation as a steadily working ensemble. A three month tour took the band to Cleveland, Chicago, Minneapolis, Dallas, Salt Lake City, Denver, Detroit, Kansas City and Pittsburgh, then back to Chicago and Detroit before returning to New York in late October.

During the group’s two-month stint in Chicago (that would extend into January, 1961), pianist Herbie Hancock was hired to replace Duke Pearson. This was Hancock’s first gig outside of Chicago with a touring band. Hancock moved from Chicago to New York to join the group.

Back in New York, the Quintet recorded again for Warwick, then toured for most of the year before disbanding in October. In February and March, 1961 the group gigged throughout the Eastern United States and Canada, working at the New Showboat in Philadelphia, then Montreal and Toronto and back to the Bird House in Chicago before working in Indianapolis and Rochester, New York. Returning to New York in April, the group recorded two more dates for Blue Note (Chant and The Cat Walk) within a two week period.

Looking back at the group’s history, there seems to be a direct relationship between the amount of recordings the Byrd-Adams duo made and the frequency of Quintet gigs. Stated another way, the more recordings Byrd-Adams made, the more they created demand for their Quintet to be heard live in performance. Their first recording, 10 to 4 at the Five Spot, released in mid-1958, was followed by the release of the Quintet’s first two Blue Note recordings in 1959, Off to the Races and Byrd in Hand. Those were followed in turn by a double-LP recorded in November, 1960 (Live at the Half Note) and five studio sessions (Motor City Scene, Out of This World, Chant, The Cat Walk and Royal Flush) all recorded before October, 1961. This upward arc of activity in the studios was equally true for their dense club-date calendar. Band itineraries, magazine articles and advertisements in the jazz and lay press all demonstrate that 1960 and 1961 were, indeed, the glory days for the working quintet, when the band was performing regularly and functioning at its peak. This is the main reason why I find the Quintet’s cluster of six recordings made in less than a year’s time to be their finest work. Working steadily for only a year also explains why the Donald Byrd-Pepper Adams Quintet remains to this day not nearly as well-known as some of other similarly constituted great small bands of its time, such as those led by Max Roach, Miles Davis, Art Blakey, Horace Silver or Cannonball Adderley.

What other conclusions can we make about the Quintet’s three early recordings leading up to their great body of work done in late 1960 and 1961? First, it’s clear that Byrd and Adams favored Detroit musicians in their group whenever possible. The live 1958 Riverside date, for example, was an all-Detroit group except for pianist Bobby Timmons, though I suspect they tried to hire Tommy Flanagan. 

For their second and third dates—the Quintet’s first two for Blue Note—commercial pressures dictated that Byrd, as leader, feature some of the musicians in Blue Note’s stable. It also necessitated expanding the front line to three horns. These all-star sessions would soon be phased out in favor of showcasing the working Quintet. That’s because the group started touring steadily in mid-1960, congealing as a unit, and attracting attention as a unique band with its own sound. 

Two other things that characterize the Quintet’s recordings is their inclusion of original compositions and the use of the ballad feature. Both Byrd and pianist Duke Pearson used these recording dates as opportunities to write original tunes and arrangements for small group. The ballad feature, a convention of jazz performance, and something Byrd would’ve been asked to perform as a member of Art Blakey’s band a la trumpeter Clifford Brown, is something Byrd and Adams would always do in club dates and on several of their recordings. They used ballads as solo features for either Byrd or Adams, typically undergirded by the rhythm section, and as a way to affect variety within each set of music. Additionally, having one of the horn players drop out on a slow-tempo number was sensible in another way. It would by necessity abbreviate the duration of the tune and not unduly disrupt the set’s momentum.

In retrospect, there’s no question that Byrd’s exclusive recording contract with Blue Note catalyzed the Byrd-Adams Quintet. Their increasing popularity, due to the wide distribution and overall excellence of their first two Blue Note recordings, also led to them eventually being picked up by the Shaw Agency, who booked tours for the group throughout North America. 

Fortuitously, too, a brief lapse in Byrd’s Blue Note contract allowed Byrd and Adams the opportunity to fit in two additional recording dates. One, Out of This World for Warwick, was for the working group. The other, Motor City Scene (under Adams’ leadership for Bethlehem), was for sextet, with the addition of Detroiter Kenny Burrell on guitar. 

Listen to Bitty Ditty here: http://youtu.be/Y23YPy-8o7c 

Despite all their recordings, steady work on the road, and critical acclaim, the Shaw Agency’s predilection for booking the Quintet on very long road trips spelled disaster for the band. Exhausting car rides (Minneapolis to Dallas, Salt Lake City, Denver, then Detroit, for example) were already booked by Shaw in October, 1960. In July and August, 1961 the group was back at it, driving from New York to Cleveland, then St. Louis, Kansas City, Chicago and Detroit, leading up to Royal Flush, their last New York studio date in September. In October the band returned to St. Louis, then played Kansas City, where the club folded and the group wasn’t paid. Years later Adams cited transportation costs relative to what they were earning as the main reason for ending the four year collaboration. But the Kansas City experience must have functioned as a telling metaphor and as an embodiment of the group’s pent-up frustrations. It was the Quintet’s final gig.

Despite their all-too brief time together, three outstanding recordings were made in the late 1950s and six superb dates were made in a ten-month stretch beginning on November 11, 1960 with the Blue Note double-LP Live at the Half Note. The Half Note date is the only Quintet recording to have never gone out of print in the U.S., some measure of its enduring value. From it, Duke Pearson’s composition “Jeanine” is the Quintet’s only tune that has became a standard in the jazz repertoire. Live at the Half Note reveals the band at the height of its power and remains the best example of what the band sounded like at the time. 

Listen to Jeannine here: http://youtu.be/bovferybdb8 

Just after the Half Note recording, the Quintet, in a burst of activity, recorded four more dates in New York. First was the Bethlehem session, led by Adams, that returned to the favored all-Detroit formula (with Tommy Flanagan, Kenny Burrell, Paul Chambers and Louis Hayes). A January date for Warwick, Out of This World, featured the working group, now with young Herbie Hancock on his very first record session, but with drummer Jimmy Cobb in place of Lex Humphries. In April and early May, the Quintet’s two Blue Note studio dates used other drummers entirely: Philly Joe Jones on The Cat Walk, because they couldn’t locate Humphries, and Teddy Robinson on Chant because he was already touring with the band at the time. One final Quintet date, Royal Flush, was done in September, 1961. It’s just as excellent as the others. It features Byrd, Adams and Hancock, with bassist Butch Warren and drummer Billy Higgins.

Summing up the totality of band’s output, what is it about this group that made it unique? First and foremost, of course, the Quintet featured two great instrumental stylists backed by a terrific, interactive, hard-swinging rhythm section. Their repertoire was fresh and compelling, comprised of a blend of unusual standards, interesting originals, and cleverly adapted tunes, such as an uptempo version of “I’m an Old Cowhand” or Henry Mancini’s “Theme from Mr. Lucky.”

Listen to Im an Old Cowhand here: http://youtu.be/Z6Pa9XdmY4c 

Sonically, trumpet with baritone sax is an exquisite pairing, even more aurally spread than the customary trumpet/tenor sax pairing of its time. A trumpet/baritone front line was still rather unusual in 1958, especially one playing this brand of intense post-Charlie Parker small group jazz. But, more than that, Byrd and Adams meshed so well because their styles were so complementary. Byrd, at root, was a very melodic, soulful, lyrical player who used nuance, space and blues inflections in his solos. Adams did too, though he was more of a rhapsodic player, who delighted in double-time playing and exhibiting other technical flourishes. Byrd, it could be said, was more of a “horizontal” soloist, Adams more “vertical.” What a perfect counterbalance! And when Byrd and Adams stated each tune’s theme, their phrasing—often using impressive dynamics or provocative counterpoint lines—was always so beautifully rendered.

All told, during the four year stretch that reached its quintessence in 1960-61, the Donald Byrd-Pepper Adams Quintet recorded eleven dates—seven studio albums, one sampler, and three live LPs—assuring their place as one of the great jazz groups of its time. The band launched the career of Herbie Hancock and it gave Byrd, Duke Pearson and, to a lesser extent, Adams and Hancock, a forum to write original compositions. Some of the tunes in their book (“Curro’s,” “Bird House” and “Jorgie’s”) immortalized jazz clubs. The Quintet surely helped Adams’ career too. He was heard widely in clubs throughout North America and the Blue Note dates in particular were well distributed in the U.S. and abroad during his lifetime.

Discography/Filmography
With the exception of Live at the Half Note, all of the Donald Byrd-Pepper Adams Quintet’s Blue Note recordings have been collected in a Mosaic Records box set. 10 to 4 at the Five Spot and Motor City Scene have been reissued on CD. Out of This World has been reissued on CD too, but beware of cannibalized recordings from bootlegs that cut and paste some of the tunes almost beyond recognition. Most of the Quintet sessions were under Byrd’s name because Blue Note’s contract was with him. The dates on other labels fall under Pepper Adams’ leadership or Adams-Byrd. 

No film or videotape footage of the Byrd-Adams Quintet has been uncovered as yet but a terrific clip from the 1958 Cannes Jazz Festival, featuring the Bobby Jaspar-Donald Byrd Quintet is listed below. Each member of that rhythm section (Walter Davis Jr., Doug Watkins and Arthur Taylor) recorded with the Byrd-Adams Quintet on Blue Note.  

Pepper Adams, Motor City Scene, Bethlehem BCP-6056.
____________, 10 to 4 at the 5 Spot, Original Jazz Classics CD: OJCCD-031-2.
Pepper Adams-Donald Byrd, Out of This World, Fresh Sound CD: FSR-335.
Donald Byrd, At the Half Note Cafe (Vol. 1), Blue Note CD: CDP-7-46539-2.
__________, At the Half Note Cafe (Vol. 2), Blue Note CD: CDP-7-46540-2.                                        
Donald Byrd-Pepper Adams, The Complete Blue Note Donald Byrd/Pepper Adams Studio  Sessions, CD: CDBN-7-46540-2. 
Bobby Jaspar-Donald Byrd, INA videotape (France), http://youtu.be/XEwuLs5hCRE.
Thelonious Monk, Thelonious Monk Orchestra at Town Hall, Original Jazz Classics CD: OJCCD-135-2.


Gary Carner is the author of Pepper Adams’ Joy Road, The Miles Davis Companion and Jazz Performers. From 1984 until Adams’ death in 1986, Carner collaborated with Pepper Adams on his memoirs. Carner’s research on Adams’ career, collected at pepperadams.com, spans four decades. Carner blogs about Adams at gc-pepperadamsblog.blogspot.com and has also produced all 42 of Adams’ compositions for Motema Music.

Saturday, November 1, 2014

New Pepper Adams Sessions

© Gary Carner. Copyright Protected. All rights reserved.

Here's nine exciting discoveries that have been unearthed since the 2012 publication of Pepper Adams' Joy Road: An Annotated Discography. All have or will be posted at http://www.pepperadams.com/JoyRoad/DiscoUpdates.pdf.



New Entry:
DONALD BYRD-PEPPER ADAMS
610616
16 June 1961, TV broadcast, Cleveland: Donald Byrd tp; Pepper Adams bs; Herbie Hancock p; Cleveland Eaton b; Teddy Robinson dm.

The Quintet appeared on the program The One O'Clock Club while in town working at Algiers. The show was broadcast by WEWS (Channel 5), hosted by Dorothy Fuldheim. It isn't clear if either the audio or video still exists.


New Entry:
THAD JONES-MEL LEWIS
660321
21 Mar 1966, private recording, Village Vanguard: Thad Jones flh; Snooky Young, Jimmy Nottingham, Bill Berry, Jimmy Owens tp; Bob Brookmeyer vtb; Garnett Brown, Jack Rains tb; Cliff Heather btb; Jerome Richardson as, ss, cl fl; Jerry Dodgion ss, as, fl; Joe Farrell fl, ts, ss; Eddie Daniels ts, ss, cl; Pepper Adams bs, cl; Hank Jones p; Sam Herman g; Richard Davis b; Mel Lewis dm.

a Once Around BMG (NZ) CD: 74321-51939-2
b Don't Ever Leave Me
c Lover Man
d A--That's Freedom   unissued
e All My Yesterdays
f Back Bone
g Big Dipper
h The Little Pixie
i Low Down
j Mornin' Reverend
k Willow Weep for Me


New Entry:
THAD JONES-MEL LEWIS                                                                          
680720
20 July 1968, audience recording or radio broadcast, Pit Inn, Tokyo: Thad Jones flh; Bob Brookmeyer vtb; Jimmy Knepper, Garnett Brown tb; Cliff Heather btb; Jerry Dodgion as, fl; Jerome Richardson as, cl, fl; Seldon Powell ts; Eddie Daniels ts; Pepper Adams bs; Roland Hanna p; Kunimitsu Inaba b; Mel Lewis dm.

a      Lover Man
b      Bachafillen
c      unknown title
d      Don't Git Sassy
e      Back Bone
f       Don't Ever Leave Me
g      St. Louis Blues
-c is a solo piano feature.
According to bassist Richard Davis, in a 2014 email to the author, Davis left the gig early and Inaba took his place. Because the Pit Inn was a small room for a big band, it's conceivable that Thad Jones scaled the band down to twelve pieces and Davis left the club along with the entire trumpet section before the final set.

This is the only known recorded gig from the band's first "tour" of Japan. Elvin Jones' future wife, Keiko, had agreed to put together eleven days worth of gigs. There was a great deal of excitement because this was the band's first overseas trip. An itinerary of events was given in advance to members of the band. On the morning of 11 July the band, along with seven of the musicians' wives, waited at JFK Airport to board a plane but the promised tickets never arrived at the gate. Thad Jones and Mel Lewis were left with no alternative but to charge the tickets on their American Express cards, without which the orchestra might've dissolved. To make matters worse, despite the itinerary, only one gig was arranged for the band in advance. The orchestra was in limbo each day until gigs could be acquired. The photographer K. Abe lent his life savings to pay for airplane tickets to get the group back to New York. After Mel Lewis returned, he paid Abe back by leveraging his residence with a second mortgage.

According to Jerry Dodgion, Jerome Richardson made the trip and the trumpet section on the tour was Snooky Young, Jimmy Nottingham, Danny Moore and Richard Williams. Richard Davis remembered the following: Thad Jones, Mel Lewis, Richard Williams, Garnett Brown, Bob Brookmeyer, Cliff Heather, Eddie Daniels, Pepper Adams and Roland Hanna.


New Entry:
DUKE PEARSON
690427
27 April 1969, Famous Ballroom, Baltimore: Burt Collins, Joe Shepley, Jim Bossy Donald Byrd tp, flh; Julian Priester, Joe Forst, Eddie Bert tb; Kenny Rupp btb; Jerry Dodgion, Al Gibbons as, fl; Frank Foster, Lew Tabackin ts; Pepper Adams bs; Duke Pearson p; Bob Cranshaw b; Mickey Roker dm.

a Hi-Fly Uptown CD: UPCD-2772
b New Girl
c Eldorado
d In the Still of the Night
e Tones for Joan's Bones
f Straight Up and Down
g Ready When You Are C.B
h Night Song

Recorded by the Left Bank Jazz Society. See 671215.


New Entry:
RUBY BRAFF
19 July 1972, audience recording, Half Note, New York: Ruby Braff cornet; Pepper Adams bs; Dill Jones p; George Mraz b; Dottie Dodgion dm.

a unknown blues

This recording was discussed in Michael Steinman's blog "Jazz Lives" (http://jazzlives.wordpress.com/author/jazzlives), published on 5 August 2014:

"I will close with my single Pepper Adams sighting. In 1972, several friends and I followed Ruby Braff to gigs.  Although Ruby was unpredictable and unreasonably given to rage, he was always pleasant to us and allowed us to tape-record him. On July 19 of that year, my friend Stu and I came to the Half Note to record Ruby with the Welsh pianist Dill Jones, bassist George Mraz (then working with Pepper in the Thad Jones – Mel Lewis ensemble, and Dottie Dodgion on drums.  About two-thirds through the evening, where the music had been very sweet, with Ruby’s characteristic leaps through the repertoire of Louis, Duke and Billie, a tall man ascended the stand with a baritone saxophone, was greeted warmly by the players, and the quintet launched into an extended blues in Ab. I remember Dottie Dodgion being particularly enthusiastic about the unnamed musician’s playing, who packed his horn and went off into the warm Greenwich Village night. Who was that unmasked man? The subject of Carner’s book, and yes, the tape exists, although not in my possession."


New Entry:
THAD JONES-MEL LEWIS
17 Sept 1973, audience recording, Blighty's, Farnworth, England: Thad Jones cornet; Jon Faddis, Steve Furtado, Jim Bossy, Cecil Bridgewater tp; Jimmy Knepper, Billy Campbell, Steve Turre tb; Cliff Heather btb; Jerry Dodgion ss, as, fl; Ed Xiques ss, as, fl, cl; Billy Harper ts, ss, cl; Rob Bridgewater ts, cl; Pepper Adams bs; Roland Hanna p; George Mraz b; Mel Lewis dm; Dee Dee Bridgewater voc.*

a Us
b 61st and Richard
c Suite for Pops:
Meetin' Place
Only for Now
The Farewell
d The Second Race
e Fingers
f Bye Bye Blackbird*
g How Insensitive*


New Entry:
SADAO WATANABE
740311
c. 11 March 1974, FM-Tokyo radio broadcast, Tokyo: Sadao Watanabe as; Pepper Adams bs; Roland Hanna p; Eizo Honda b; Fumio Watanabe dm.

a Wistful Moment
b When Lights Are Low
c Ride On
d Ephemera
e Oleo


New Entry:
THAD JONES-MEL LEWIS
751215
15 December 1975, audience recording, Village Vanguard, New York: Thad Jones flh; Al Porcino, Waymon Reed, Sinclair Acey, Cecil Bridgewater tp; Billy Campbell, Janice Robinson, John Mosca tb; Earl McIntyre btb; Jerry Dodgion, Ed Xiques ss, as, fl; Frank Foster, Gregory Herbert ts, cl; Pepper Adams bs; Onaje Allan Gumbs p; George Mraz or Steve Gilmore b; Mel Lewis dm.

a Big Dipper
b Kids Are Pretty People
c Bachafillen
d Samba con Getchu
e Giant Steps
f Thank You
g A Child Is Born


New Entry:
PER HUSBY
790325
25 Mar 1979, audience recording, Kristiansund, Norway: Pepper Adams bs; Per Husby p; Bjorn Alterhaug, Espen Rud dm.

a     Just Friends       
b     Quiet Lady       
c     Eiderdown (1)
d     Embraceable You    
e     Three and One        
f 'Tis           

(1) Rhythm section only.
Sponsored by the Kristiansund Jazz Society.

Out of This World

Gary Carner. Copyright Protected. All rights reserved.


Thanks to new research, the recording date of Out of This World has been further refined. In Pepper Adams' Joy Road (page 111) I wrote that this date was recorded during the period 1-8 January or after they returned from Chicago on c. 24-31. Newly discovered documents rule out the 1-8 January time frame. See below.



Correction
PEPPER ADAMS-DONALD BYRD - OUT OF THIS WORLD
610125
between 25 Jan- 5 Feb 1961, New York: Donald Byrd tp; Pepper Adams bs; Herbie Hancock p; Teddy Charles vib*; Laymon Jackson b; Jimmy Cobb dm.

Sometime between 25 January and 5 February 1961 the Donald Byrd-Pepper Adams Quintet record their date for Warwick. This was Pepper Adams' eighth date as either leader or co-leader. New research reveals that, with the exception of a 13-20 December gig at Curro's in Milwaukee (see 601213), the Quintet worked in Chicago steadily for nearly two months (from 22 November 1960 until 22 January 1961). Assuming a long travel day back to New York on 23 January and the opening of their week run at the Five Spot on the 24th, the band likely recorded no earlier than 25 Jnauary. As yet, no known information exists on band gigs for the period 1-5 February, prior to the group embarking on their two month tour of the Midwest and Eastern Canada.

Saturday, October 25, 2014

Rex Stewart and Young Pepper Adams

© Gary Carner. Copyright Protected. All rights reserved.


On March 3-5, 1944 thirteen year old Park Adams skipped school three nights in a row to attend Duke Ellington's entire run at the Temple Theatre in Rochester, New York. Adams was already playing piano, saxophone, clarinet and enjoying jazz programs on the radio. Starting in 1936, six-year-old Adams listened to Fats Waller's daily 15-minute afternoon radio show. In 1938 Adams tuned in to John Kirby's program featuring his sextet. And in 1940 he caught Fletcher Henderson's late night broadcasts originating from Nashville. 

Though Adams' parents didn't play musical instruments, they owned a piano and a broad selection of 78 rpm records. Because of that, Adams was exposed very early to both jazz and classical music. By seventeen he was familiar enough with the history of the classical repertoire to get hired in the Classical Music Record Department of Grinnell's in downtown Detroit. 

Adams was especially drawn to the symphonic music of his era and at a young age developed a taste for dissonant harmonies. Although Adams was still playing in the New Orleans style, his taste in music was already very well developed in 1944. One can imagine how excited Adams must have been to hear the Duke Ellington Orchestra in a concert settting. 

The Temple is a movie palace built in 1909 at 35 Clinton Avenue South in downtown Rochester. On the third and final evening of the Temple engagement, Ellington trumpeter Rex Stewart was curious about the enthusiastic, short-haired white kid with horn-rimmed glasses he noticed sitting by himself each night in the balcony. Intrigued, Stewart made his way upstairs, introduced himself, then brought a no doubt exasperated Adams backstage to meet Ellington's illustrious musicians, including Johnny Hodges and Harry Carney. While there Adams overheard Frederick Delius recordings being played by Ellington that commentators have reported Duke was listening to at that time.

                               (Photo by Valerie Wilmer c. 1966)

It's hard to overstate how valuable this encounter was for Adams, or the role Rex Stewart assumed as a lifelong father figure and influential elder. Should we assume Stewart sought out young Park Adams because he was sitting by himself or presumably an anomaly in a mostly black audience? While maybe part of the equation, I believe Stewart was honoring this provocative teenager, who at the time must have been from Stewart's perspective a very special young man for going out of his way to scrape together enough money to attend the Ellington orchestra each night. Stewart was also continuing the important tradition of an elder musician supporting a young aspiring one, something that (to its detriment, I think) has mostly died off in jazz.

Consider for a moment the context. Just a few years earlier, Adams' father had died at the age of 44. Adams, an only child, was already a survivor of the Great Depression like so many who were born after 1929. His father's death, when Adams was nine, only intensified the ordeal.

The Depression had destroyed Adams' parents' way of life. It robbed them of their Detroit home and separated them for nearly four years while his father traveled throughout the U.S., looking for any work he could find. Worn down by the strain of scratching out a living, his father suffered his first heart attack in 1934 in Rome, New York, partly from the excitement of his family finally being reunified. In theory, it was intended to be a time of great joy. Instead, Adams' father lived out the remainder of his life a frail and unfulfilled man. 

At the Temple Theatre, Rex Stewart's profound act of kindness--his mentoring of Pepper and adopting the role of a father figure--must have filled a void in Pepper's life. It was certainly the most transcendent event of his boyhood. Very soon after meeting Stewart, Adams took a few tenor sax lessons with Skippy Williams, the tenor saxophonist in Ellington's band that Stewart introduced Pepper to backstage. Williams was the saxophonist who first replaced Ben Webster, prior to Al Sears. (I interviewed Williams, by the way, and hope to share that with you in a later post.)

That night at the Temple put in motion Adams' lifelong love affair with Ellington and Strayhorn. (Listen to Pepper's original ballads, such as "I Carry Your Heart," and you'll hear Pepper's profound debt:
http://www.pepperadams.com/Compositions/compList/ICarryYourHeart/index.html#anchor) 


Pepper's close friend Gunnar Windahl told me the following about Pepper:

"Every day, I think, he listened to Duke Ellington. Duke Ellington meant a lot to Pepper. I remember we were in Gothenburg. After a gig there we came into my room. I had a half a bottle of whisky and we sat talking. With my blue eyes, and as an overreacting person before such a star as Pepper Adams, I managed, 'Who is the best musician in the world, Pepper? Who do you consider the most interesting and underrated?' He said the most interesting and underrated musician in this business is Rex Stewart.' I was a bit taken aback. Then Pepper said that he seen Rex just before he died and that Rex was very disappointed that he wasn’t more recognized. I think Pepper identified with Rex’s destiny."

Pepper's life mirrored Rex Stewart's. Rex had success in the mid-1930s and '40s as one of Ellington's great soloists, then languished. Adams, according to bassist Percy Heath, was a sensation in New York when he first arrived in early 1956, created a similar stir in California in early 1957, had an influential quintet with Donald Byrd from 1958-1961, then languished. I don't mean "languished" as a pejorative term related to their musical growth or achievements but simply as a term for how much they struggled financially and how little attention they received from record companies and the international press. 

Pepper, for obvious reasons, identified with struggling artists, whether it be Rex Stewart, the painter Lyonel Feininger or the composer Arthur Honegger. For Adams they were all very special because, like himself, they were unique, accomplished, had struggled financially throughout their careers and were overlooked.

Other than his very close bond with Stewart, what is it about Stewart's playing in particular that Pepper Adams admired? His off-the-wall humor, for one thing, with oblique phrases coming seemingly (as Pepper put) "out of left field." You can grasp Stewart's almost wacky sense of humor in his most well-known Ellington feature Boy Meets Horn: 


Stewart was technically brilliant and harmonically adventurous. Listen and watch these three clips:

1. Duke Ellington's 1938 Braggin' in Brass: http://youtu.be/M_bFnaiyAZM 

2. Nick Travis and Rex Stewart perform "There'll Never Be Another You" (1958) from the TV show Art Ford's Jazz Party: http://youtu.be/mzsJUbKwIN8 

3. Also, from the legendary 1957 CBS TV show "The Sound of Jazz" Rex takes his solo on "Wild Man Blues" just after the 8-minute mark. It's replete with numerous musical paraphrases. Perhaps that's another Rex Stewart influence on Pepper? Rex's irrepressible joy is obvious throughout, especially when he openly laughs after his first four-bar statement: http://youtu.be/vo7qiXkTu4s

Also, check out Stewart's book Jazz Masters of the 30s.  It's a collection of his writings that were collected posthumously. Like Pepper, Rex Stewart was very literate:


Pepper Adams was always very guarded with his emotions. According to his widow, Claudette, Pepper used music to get his emotions out and was not one to readily share the intimacies of his feelings with anyone. But Rex Stewart's death in 1967 was too much for him to contain. According to Montreal radio host Len Dobbin, Pepper broke down and wept when Dobbin told him that Stewart had died.

Friday, October 17, 2014

Pepper the Amusing Paraphraser

Gary Carner. Copyright Protected. All rights reserved.


Here's a priceless anecdote from Earl McIntyre via Nate Cabana. Nate wrote me 
about Pepper Adams' Joy Road and pepperadams.com:


"My first job in the city was at a community music school called the
Brooklyn/Queens Conservatory of Music. The head of the jazz division there
is Earl McIntyre, former tuba/bass trombone in the Thad/Mel band. Earl was
a tremendous influence on me and is a wonderful musician who has been on
the scene since the late 60's/early 70's. Whenever I had the chance I would press 

him for information and stories about his experiences. . . . I never got a chance to 
have an in-depth discussion with him in regards to his experiences with Pepper 
Adams, but the one anecdote that he did share with me I have always cherished.  
It went something like this:

'Pepper Adams was a real funny cat.  When the Thad/Mel band would tour the
college circuit they would often visit the Big 10 schools. Usually he would get 

a feature on a tune like "Once Around." Well, every time the band visited a school 
with an intense athletic rivalry, Pepper would make it a point to quote the rival 
school's fight song! So, say they were playing at Indiana University, he would quote 
Purdue's fight song, or if they were at Ohio State University he would find a way to 
work Michigan's alma matter into one of his solos.'"