Saturday, May 2, 2015

"Early Years" Is Updated!

© Gary Carner. Copyright Protected. All rights reserved.



This week I spent a lot of time reworking the first section of Pepper's chronology (1930-1958): http://www.pepperadams.com/Chronology/EarlyYears.pdf  This is the second one I've finished and posted in the last month. ("Thaddeus" was posted three weeks ago.) Getting the updated "Early Years" posted at pepperadams.com is important to me because I'm soon going to be writing Chapter 2 of Pepper's biography. That chapter will be about Detroit, the real center of Pepper's experience. I'll be covering the city's history, culture and jazz lineage to create a context for Adams' artistic flowering. Having an updated, fleshed out chronology helps me position things in time when I write.

I'm especially grateful to drummer Rudy Tucich. He's been a trusty guide to me all these years. I met Rudy in the late 1980s when he invited me to appear on his Detroit radio show "52nd Street." Woefully, the show was cancelled after a very long and influential run. Now, at 80 years old, he's still an invaluable source of information about Detroit. Tucich attended Cass Tech, worked with Pepper at Al's Record Mart in Detroit, and ran with a group of fine musicians, including Charles McPherson, that were the next wave of Detroit jazz musicians after Adams, Yusef Lateef, Donald Byrd, Paul Chambers, Tommy Flanagan, Bary Harris, Donald Byrd, Doug Watkins, Elvin Jones and the rest. Rudy knew everyone on the scene and was a witness to so much important Detroit musicial history. 

This past week Tucich helped me with the 1954 and 1955 parts of the chronology by advising me about the early history of the World Stage. That helped me figure out on what days the Blue Bird Inn and Klein's were dark, thus spurring me to figure out the final pieces of the puzzle of Pepper's wherabouts.

From pepperadams.com, here's "Early Years":

EARLY YEARS: 1930-1958
Posted in April, 2015. Please send updates, corrections or comments to info@pepperadams.com.

1930
Oct 8: Highland Park MI: Park Frederick Adams III is born at Highland Park General Hospital. His parents, Park Adams II and Cleo Marie Coyle, reside at 4695 Courville Road, Grosse Pointe Village, Michigan in suburban Detroit. See birth certificate at http://instagram.com/p/rmrBrDJnqf/?modal=true and photo at http://instagram.com/p/tuoEqwJnqT/?modal=true. 

1931
Fall: Grosse Pointe Village MI: As the effects of the Great Depression deepen, Adams’ father loses eight months of back salary and his employer goes bankrupt. Adams’ parents lose their house, then decide to separate temporarily so that Adams Sr. can search the U.S. for work while his wife and son relocate to his wife’s family farm near Columbia City, Indiana. See http://instagram.com/p/sAfZmyJngz/?modal=true and  http://instagram.com/p/sAemgwpnvO/?modal=true. 

1932
 ----   Columbia City IN: Adams lives at grandparents’ or uncle’s farm.

1933
 ----  Columbia City IN: Adams lives at grandparents’ or uncle’s farm and begins to play piano. See 1932.

1934
 ---- Columbia City IN: Adams lives at grandparents’ or uncle’s farm. See 1933. He continues playing the piano and attends a rural one-room schoolhouse. See http://instagram.com/p/r65xgSpnu2/?modal=true. 

Summer: Rome NY: Adams and his mother move to upstate New York to reunite the family after a three year breach. Joining them was Adams’ father and Mina Elizabeth Adams, Pepper’s half-sister from his father’s first marriage. Living nearby was Adams’ paternal grandmother, Frances Cleveland Adams (bJuly 13, 1863). Adams’ father has his first heart attack prior to Mina’s return from Miami, Florida.

cAug: Rome NY: The Adams move to 806 Jerris (or Jervis) Avenue. 
Sept-Dec: Rome NY: Adams’ half-sister, Mina Adams, attends 12th grade at Rome Free Academy, where she meets George G. Gifford, her future husband. See photo at http://instagram.com/p/sAi8I_JnnJ/?modal=true.  

1935
Jan: Rochester NY: The Adams’ move to 627 Park Avenue in time for Mina Adams to enroll at Monroe High School.

June 25: Rochester NY: Mina Adams graduates from Monroe High School.

Summer: Utica NY: The Adamses move two hours east of Rochester, near Rome.

Sept: Utica NY: Pepper Adams begins Kindergarten.

1936
 ----   Utica NY: Pepper Adams listens to Fats Waller’s daily 15-minute afternoon radio show.

Sept: Utica NY: Adams begins 1st Grade.

1937
Summer: Irondequoit NY: The Adams family move to 128 Belcoda Drive. 

Sept: Irondequoit NY: Adams begins 2nd grade. Sight-reading is a part of the curriculum.

Oct 14: Terre Haute IN: Mina Adams, Adams’ half-sister, marries George G. Gifford.

1938
 ----    Irondequoit NY: Adams listens to John Kirby Sextet’s Sunday radio broadcasts.

Sept: Irondequoit NY: Adams begins 3rd Grade.

1939
Summer: Irondequoit NY: Adams’ family moves to 190 Hoover Road.

Sept: Irondequoit NY: Adams begins 4th Grade. Adams sells candy and cigarettes door-to-door after school to help his family pay for bare essentials.

1940
 ----  Irondequoit NY: Adams hears late night Fletcher Henderson Big Band radio broadcasts, originating from Nashville, with trumpet soloist Willie Wells.

early Apr: Rochester NY: Adams and his mother go downtown to attend the Capitol Theater opening of My Little Chickadee starring W.C. Fields and Mae West. The movie opened on 4 April. This is one of the only times in Adams’ life that he attends a movie premiere. See http://instagram.com/p/voR7M_png6/?modal=true and  http://instagram.com/p/r695ndpnlA/?modal=true. 

May 19: Irondequoit NY: Adams’ father (bJanuary 19, 1896) dies from his second heart attack at age 44. He’s buried besides his father, Nathaniel Adams (bApril 15, 1858, d1929), at New Union Cemetery on Happy Valley Road in Verona, New York. See http://instagram.com/p/voBqwFpnkF/?modal=true.

Summer: Rome NY: Frances Cleveland Adams, Pepper Adams’ paternal grandmother (the wife of Nathaniel Adams) dies. She’s buried in Verona beside her husband and son. See http://instagram.com/p/sAXo7oJniW/?modal=true. 

Sept: Irondequoit NY: Adams begins 5th Grade.

1941
Sept: Greece NY: Adams begins 6th Grade at Central School #1 on Hoover Road. It was also known as Hoover Drive Middle School or the Willis N. Britton School. Adams’ mother teaches Second Grade there. Rochester schools loaned musical instruments to any students interested in playing them but instruction wasn’t provided. One could gain entrance into the school band, taught by Prescott Whitney, if they learned how to play on their own. Adams first borrows a trumpet, then a trombone, before settling on a clarinet, and joins the school band. See http://instagram.com/p/sA0pWvpnlB/?modal=true and  http://instagram.com/p/voMykSpnt5/?modal=true. 

1942
 ----  Rochester NY: Adams visits regularly with Everett Gates at Gates’ home, where they have dinner, listen to jazz recordings and discuss music theory. See http://instagram.com/p/t20Ku4pnv3/?modal=true. 

Summer: Seattle: Adams travels by car from Rochester, New York to Seattle with his half-sister Mina, her husband George Gifford and their first child Gary (b c1939). They stay in Seattle at the home of Harold and Marie Gifford (George’s older brother) with their son Skip. Adams spends some of his evenings alone, touring the city or seeking out the local music scene, often returning after midnight. After his mother threatens to have George and Mina arrested if Adams isn’t returned home, Adams is put on a Greyhound Bus back to Rochester.

Sept: Greece NY: Begins 7th Grade at Central School #1. See http://instagram.com/p/voMykSpnt5/?modal=true. 

1943
Jan 8: Brighton NY: St. Louis Cardinals’ World Series baseball star Pepper Martin creates a local media sensation by signing a contract to play and manage the Rochester Red Wings. The Red Wings was one of the Cardinals’ minor league affiliates and with whom Martin had played in 1930 just before joining the Major Leagues. Adams acquires his lifelong nickname "Pepper" soon after Adams’ schoolmates see Martin’s picture on the front page of the Rochester newspapers and recognize a facial similarity between the two of them. See http://instagram.com/p/ttEbrGpnkE/?all_comments_on_ad=undefined. 

Sept 22: Greece NY: Pepper begins 8th Grade at Central School #1 while living at 195 Rye Road with his remarried mom and step-father, Harold Hopkins. Hopkins worked for Langie Coal Company. See http://instagram.com/p/tysNGAJnqI/?modal=true and http://instagram.com/p/voMykSpnt5/?modal=true.

Oct 1: Greece NY: Adams’ brief short story is published in his hometown newspaper, The Greece Press. The article is very likely the first time "Pepper" was ever used for him or by him in print. See http://instagram.com/p/tsWDlcJnqE/?modal=true.

cFall: Rochester NY: Adams takes a bus after school to downtown Rochester to work three hours a day cutting boxes in the mail order room of a jazz specialty record store. Afterwards, he works as an usher in a theater until midnight. With his earnings Adams buys a tenor sax and begins emulating Coleman Hawkins and Don Byas.

1944
 -----  Rochester NY: Adams plays clarinet-piano duets with Meade Lux Lewis at the Golden Rooster. See http://instagram.com/p/r4a9zaJni6/?modal=true and http://instagram.com/p/rzg_QPJnsl/?modal=true. 

Jan 7-9: Rochester NY: Adams hears the Cootie Williams Orchestra (with Bud Powell on piano) at the RKO Temple Theater. See http://instagram.com/p/voQtudJnop/?modal=true. 

Mar 3-5: Rochester NY: Adams skips school to attend Duke Ellington’s entire run at the RKO Temple Theater. The Temple was a movie palace built in 1909 at 35 Clinton Avenue South in downtown Rochester. On the third and final evening of the engagement, Ellington trumpeter Rex Stewart was curious about the enthusiastic, short-haired thirteen-year-old kid he noticed sitting by himself each night in the balcony. Intrigued, Stewart made his way upstairs, introduced himself, then brought Adams backstage to meet Ellington’s illustrious musicians including Harry Carney. Soon thereafter Adams takes tenor sax lessons with Skippy Williams, the tenor saxophonist in Ellington’s band who first replaced Ben Webster. See http://instagram.com/p/voQWRFJnmB/?modal=true and  http://instagram.com/p/ulFqhrJnuk/?modal=true.

Summer: New York: Adams and his mother travel to New York to meet Bob Wilber at a Max Kaminsky gig at the Pied Piper.

Sept: Rochester NY: Adams begins 9th Grade at John Marshall High School while living at 160 Elmguard Street in suburban Greece NY. Greece had no high schools at the time. Students attended either John Marshall or Hilton High School. Adams plays in the John ​Marshall High School band. See http://instagram.com/p/tyuB3PJntF/?modal=true.

1945
mid year: Rochester NY: Adams meets Oscar Pettiford and Coleman Hawkins, and later Denzil Best and Thelonious Monk, when Hawkins’ quartet works a week gig.

Sept: Rochester NY: Adams begins 10th Grade at John Marshall High School. See http://instagram.com/p/tyuB3PJntF/?modal=true.

1946
Jan 1: Rochester NY: Off.
Jan 2-31: Rochester NY: Adams begins a steady, long-term gig at the Elite Dance Hall with a 6-piece group (three horns, three rhythm) led by former Lunceford trumpeter Ben "Smitty" Smith. Ralph Dickinson on tenor sax (later John Huggler) is in the ensemble with Teddy Lancaster on drums.

Feb 1-28: Rochester NY: Gig at the Elite Dance Hall. See 2-31 Jan.

Mar 1-31: Rochester NY: Gig at the Elite Dance Hall. See 1-28 Feb.

Apr 1-30: Rochester NY: Gig at the Elite Dance Hall. See 1-31 Mar.

May 1-31: Rochester NY: Gig at the Elite Dance Hall. See 1-30 Apr.

June 1-30: Rochester NY: Gig at the Elite Dance Hall. See 1-31 May.

July 1-31: Rochester NY: Gig at the Elite Dance Hall. See 1-30 June.

Aug 1-31: Rochester NY: Gig at the Elite Dance Hall. See 1-31 July.

Sept 1-30: Rochester NY: Gig at the Elite Dance Hall. See 1-31 Aug. Adams withdraws from school before beginning 11th Grade at Monroe High School because he was working six nights a week at the Elite. Adams is living at 196 Chestnut Street near the Eastman School of Music. Adams spends time listening to records with Bob Wilber, who was attending the Eastman School of Music. See http://instagram.com/p/r98zAKpnos/?modal=true and http://instagram.com/p/voD4XeJnhR/?modal=true. 

Oct 1-31: Rochester NY: Gig at the Elite Dance Hall. See 1-30 Sept.

Nov 1-27: Rochester NY: Gig at the Elite Dance Hall. See 1-31 Oct.
Nov 28: Rochester NY: Off.
Nov 29-30: Rochester NY: Gig at the Elite Dance Hall. See 1-27 Nov.

Dec 1-23: Rochester NY: Gig at the Elite Dance Hall. See 29-30 Nov.
Dec 24-25: Rochester NY: Off.
Dec 26-31: Rochester NY: Gig at the Elite Dance Hall. See 1-23 Dec.

1947
Jan 1: Rochester NY: Off.
Jan 2-31: Rochester NY: Gig at the Elite Dance Hall. See 26-31 Dec 1946.

Feb 1-28: Rochester NY: Gig at the Elite Dance Hall. See 2-31 Jan.

Mar 1-31: Rochester NY: Gig at the Elite Dance Hall. See 1-28 Feb.

Apr 1-30: Rochester NY: Gig at the Elite Dance Hall. See 1-31 Mar.

May 1-31: Rochester NY: Gig at the Elite Dance Hall. See 1-30 Apr.

June 1-30: Rochester NY: Gig at the Elite Dance Hall. See 1-31 May.

July: New York: Adams moves with his mother to New York City while their belongings are transported to Detroit. They live at the Edison Hotel for the month before moving to Detroit. She decided to relocate because elementary school teaching jobs paid far more in Detroit than in Rochester. Pepper meets Sidney Bechet, probably through Bob Wilber.

Aug: Detroit: Within three days after arriving in town Adams looks up Oscar Pettiford’s friend, Willie Wells, who was rooming with Fats Navarro. On clarinet Adams plays trios from the Arban trumpet book with Wells and Navarro. A few days later Adams meets Tommy Flanagan (at a jam session) and pianist Willie Anderson.

Sept 1-30: Detroit: Adams works on the assembly line at a Dodge automobile foundry, then at the Briggs Manufacturing plant assembling auto bodies. He records his first session with Oliver Shearer: a private recording at United Sound, with Willie Wells, Adams (on clarinet), Tommy Flanagan, et al. See https://www.flickr.com/photos/radiospike/2391588106/. 

Oct: Detroit: Possibly still working at Briggs Manufacturing. See Sept.

cNov 15-26: Detroit: Adams takes a six-week job as a Christmas extra in the Classical Music Record Department of Grinnell’s, Detroit’s largest music store (on Woodward Avenue). See http://instagram.com/p/undtLMJnv4/?modal=true. 
Nov 27: Detroit: Off.
Nov 28-30: Detroit: Adams works at Grinnell’s. See c15-26 Nov.

Dec 1-24: Detroit: Adams works at Grinnell’s. See 28-30 Nov. Adams buys with his Grinnell’s employee discount a used Bundy baritone saxophone that had come in on trade and soon after adopts it as his main instrument.
Dec 25: Detroit: Off.
late Dec: Detroit: Charlie Parker 5 plays El Sino. Adams may have attended this gig.

1948
Jan 1: Detroit: Off.
Jan 2-31: Detroit: As a baritone player Adams starts getting hired consistently for gigs. Adams works at the Plymouth Body Plant for a few months.

Feb 1-29: Detroit: Work at the Plymouth Body Plant. See Jan.

Mar 1-31: Detroit: Possible work at the Plymouth Body Plant. See Feb.

Summer: Detroit: Adams rehearses for a few months with Lucky Thompson’s 9-10 piece band. Tommy Flanagan, Kenny Burrell and Alvin Jackson are in the group. Because of its under-aged members, they only work a few gigs, including one on Michigan Avenue.
late Summer: Detroit: Wardell Gray returns with a new Berg Larsen tenor mouthpiece. Adams for several months had been experimenting with different mouthpieces but Gray’s tenor mouthpiece was the perfect solution. Adams mail-orders a comparable mouthpiece to fit his baritone sax for delivery in Windsor, Ontario because, at that time, it was not available for purchase in the U.S.

Aug 28: Detroit: The Junior Beboppers (Claire Roquemore tp; Bob Pierson, Charlie Gabriel ts; Pepper Adams bs; Clarence Beasley p; Bob Smith dm) perform with the rhythm section of Lionel Hampton’s big band (including Fats Navarro, Milt Buckner and Charles Mingus) at the Paradise Theater after Hampton’s band finishes their set. Navarro was so impressed with Rocquemore that he joined the group to trade solos with him.

Sept 1-30: Detroit: Adams begins studies as an English Literature major at Wayne University (later renamed Wayne State) after passing an entrance exam. He takes Freshman English in his first term. Adams pays tuition by continuing to work local jazz gigs. The Junior Beboppers (see 28 Aug), sponsored by Lionel Hampton, work a few shows in town with the Hampton band over a six week period.

Oct 1-31: Detroit: Adams continues his studies at Wayne University. The Junior Beboppers (see 28 Aug and 1-30 Sept), sponsored by Lionel Hampton, work a few shows in town with the Hampton band through mid-October. Later in the month Adams trades in his Bundy for a new Selmer "Balanced Action" B-flat baritone saxophone, the instrument he would play until 1978. He buys it at Ivan C. Kay’s. Adams brought Harry Carney to the store with him to check out the instrument. The Duke Ellington Orchestra was in town, playing the Paradise Theater, from 15-30 October. 

Nov 1-30: Detroit: Adams continues his studies at Wayne University.

Dec 1-10: Detroit: Adams continues his studies at Wayne University.
Dec 24-25: Detroit: Off.

1949
Jan 1: Detroit: Off. 
cmid Jan: Detroit: Adams continues his studies at Wayne University.

Feb 1-28: Detroit: Adams continues his studies at Wayne University. Adams sits in often with Charles Johnson’s trio (with Willie Wells and an unknown pianist).

Mar 1-31: Detroit: Adams continues his studies at Wayne University. Adams sits in often with Charles Johnson’s trio. See 1-28 Feb.

Apr 1-30: Detroit: Adams continues his studies at Wayne University. Adams sits in often with Charles Johnson’s trio. See 1-31 Mar.

May 1-10: Detroit: Adams continues his studies at Wayne University. Adams sits in often with Charles Johnson’s trio. See 1-30 Apr.

Sept: Detroit: Adams continues his studies at Wayne University.

Oct 1-31: Detroit: Adams continues his studies at Wayne University. Charlie Parker plays the Blue Bird with Phil Hill’s trio plus baritone saxophonist Tate Houston. Pepper might have attended this.

Nov: Detroit: Adams continues his studies at Wayne University.

early Dec: Detroit: Adams continues his studies at Wayne University.
Dec 24-25: Detroit: Off.

1950
Jan 1: Detroit: Off.
c mid Jan: Detroit: Adams continues studies at Wayne University.

Feb 1-28: Detroit: Adams continues his studies at Wayne University. Gig with Little John and his Merrymen at the Club Valley opposite Wardell Gray. Little John’s septet includes Little John Wilson (tp); Cleveland Willie Smith (as); Frank Foster; Pepper Adams; Barry Harris; Ali Mohammed Jackson (b); and various drummers including Lawrence “Jacktown” Jackson and Frant Gant.

Mar 1-31: Detroit: Adams continues his studies at Wayne University. Adams rehearses with Charles Johnson’s big band at Sunnie Wilson’s Show Bar. Personnel: Cleveland Willie Smith (as), Frank Foster, Pepper Adams, Barry Harris, Kenny Burrell, Paul Chambers and Billy Frazier (dm). They play only two or three gigs, probably because some of the musicians are underage.

Apr 1-31: Detroit: Adams continues his studies at Wayne University. Wardell Gray plays various local venues, such as Club Valley and the Bowl-o-Drome. Pepper might have attended these.

May: Detroit: Adams continues his studies at Wayne University.

Summer: Detroit: Charles Johnson date for Prize, with Yusef Lateef, Willie Anderson, et al.

Sept: Detroit: Adams continues his studies at Wayne University.

Oct 1-31: Detroit: Adams continues his studies at Wayne University.

Nov 1-31: Detroit: Adams continues his studies at Wayne University.

Dec: Detroit: Adams continues his studies at Wayne University.
Dec 24-25: Detroit: Off.

1951
Jan 1: Detroit: Off.

cMay: Detroit: Gig with Frank Rosolino and Kenny Burrell at the Bowl-o-Drome.

July 12: Detroit: Adams enlists in the U.S. Army. He was hoping to fail the induction physical and be found unfit for service. Flat feet or poor eyesight may have been his “maladies.”
July 13-14: Detroit: Off.
cJuly 15: Travel to Waynesville MO.
cJuly 16-31: Waynesville MO: Basic Training at Ft. Leonard Wood.

Aug 1-31: Waynesville MO: Basic Training at Ft. Leonard Wood. See c15-31 July.

Sept 1-15: Waynesville MO: Basic Training at Ft. Leonard Wood. See 1-31 Aug.
cSept 16-30: Waynesville MO: Work on base (Ft. Leonard Wood) with the 6th Armored Division’s Special Service Section. The band stays busy with rehearsals, parades and the full Armored Division playing "Retreat" every day at sundown (flag lowering). Bill Evans and Tommy Flanagan are both at the post in other units.

Oct 1-31: Waynesville MO: Work on base with the 6th Armored Division’s Special Service Section. See c16-30 Sept.

Nov 1-30: Waynesville MO: Work on base with the 6th Armored Division’s Special Service Section. See c16-30 Sept and 1-31 Oct.

Dec 1-31: Waynesville MO: Work on base with the 6th Armored Division’s Special Service Section. See c16-30 Sept and 1-30 Nov.

1952
Jan 1-31: Waynesville MO: Work on base with the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 1-31 Dec 1951.

Feb 1-29: Waynesville MO: Work on base with the 6th Armored Division’s Special Service  Section. See c16-30 Sept 1951 and 1-31 Jan 1952.

Mar 1-31: Waynesville MO: Work on base with the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 16-29 Feb.

Apr 1-30: Waynesville MO: Work on base with the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 1-31 Mar. Sometime in the Spring, Adams receives an emergency furlough at Ft. Leonard Wood as a ruse, engineered by Charlie Parker (posing as Adams’ mother's doctor), so that Adams could play a gig with Parker in Kansas City. When Adams learns that Parker didn’t show up at his gig, Adams sees a movie, stays overnight at the Y, then returns to the base the following day.

May 1-31: Waynesville MO: Work with the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 1-30 Apr.

June 1-30: Waynesville MO: Work with the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 1-31 May.

July 1-11: Waynesville MO: Work with in the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 1-30 June.
cJuly 12: Travel. Adams, after completing his first full year in the Army, drives home to Detroit on leave. 
cJuly 13-26: Detroit: Adams on leave from the U.S. Army. In Ann Arbor MI he does a Hugh Jackson private recording with Bu Bu Turner, et al. In Pontiac MI Adams goes to Thad Jones’ parents’ house for a jam session soon after meeting Thad for the first time. See http://instagram.com/p/r61ap3pnpZ/?modal=true.
cJuly 27: Travel. Adams returns to Ft. Leonard Wood.
July 28-31: Waynesville MO: Work with the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 1-11 July.

Aug 1-31: Waynesville MO: Adams works in the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 1-11 July.  

Sept 1-27: Waynesville MO: Adams works in the 6th Armored Division’s Special Service Section. See c16-30 Sept 1951 and 1-31 Aug.
cSept 26: Travel to Detroit. 
cSept 27-29: Detroit: Adams’ final leave from the U.S. Army before going to Korea. Adams visits with Thad Jones.
cSept 30: Travel to San Francisco.

cOct 1-2: San Francisco: Awaiting orders to ship off for Korea.
cOct 3-21: San Francisco: Adams is shipped off to Korea by way of Ft. Lott in Seattle with the 10th Special Services Company on the USS Walker. He’s likely part of a small combo unit that entertained aboard the ship twice a day. Those in the band were given better sleeping quarters and a small space to practice. See http://instagram.com/p/vrOk7CJnv3/?modal=true. 
cOct 22-31: Asaka, Japan: Adams is stationed at Camp Drake awaiting re-assignment in Korea. He plays pickup shows, including some at the Ernie Pyle Theater and the Rocker Four Club, both in Tokyo. See http://instagram.com/p/sAM2unJnvj/?modal=true. 

cNov 1-14: Asaka, Japan: Adams is stationed at Camp Drake awaiting re-assignment in Korea. He plays pickup shows, including some at the Ernie Pyle Theater and the Rocker Four Club, both in Tokyo. Possible gig at the Rocker Club with Al Gould. See http://instagram.com/p/sAM2unJnvj/?modal=true. 
Nov 15: Korea: Adams travels by boat to Korea.
Nov 16: Seoul: Adams reports to the 10th Special Services headquarters, then is taken by Jeep to join the 2nd Platoon for his first performance in the Eighth Army’s 10th Special Services band. See http://instagram.com/p/sAZ9EdpnmL/?modal=true. 
Nov-17-30: Korea: Unknown performances with the 10th Special Services.

Dec 1-2: Korea: Unknown performances with the 10th Special Services.
Dec 3-26: Korea: Performances for the 40th Infantry Division.
Dec 27-30: Korea: Performances for the 25th Infantry Division and the 40th Infantry Division.
Dec 31: Korea: Performances for the 25th Infantry Division.

1953
Jan 1-23: Korea: Performances for the 25th Infantry Division. See 31 Dec.
Jan 23: Korea: Performances for the 25th Infantry Division and I CORPS ARTY.
Jan 24-31: Korea: Performances for the I CORPS ARTY.

Feb 1: Korea: Performances for the I CORPS ARTY. See 23-31 Jan.
Feb 1-6: Korea: Performances for the 1169th Engineering Construction Group.
Feb 7: Korea: Performances for the 1169th Engineering Construction Group and the 1st Commonwealth Division.
Feb 8-16: Korea: Performances for the 1st Commonwealth Division.
Feb 17: Korea: Performances for the 1st Commonwealth Division and the IX Corps ARTY.
Feb 18: Kumwah Valley, Korea: Performances for the IX Corps ARTY. On the 18th one of the trucks had to be replaced.
Feb 19-26: Kumwah Valley, Korea: Performances for the IX Corps ARTY.
Feb 27: Korea: Performances for the IX Corps ARTY and the 5th F.A.G.
Feb 28: Korea: Performances for the 5th F.A.G.

Mar 1-3: Korea: Performances for the 5th F.A.G. See 27-28 Feb. See http://instagram.com/p/sAd60lpnt6/?modal=true.
Mar 4-8: Chunchon, Korea: Performances for the 351st TRK TRANS LP.
Mar 9: Chunchon, Korea: Performances for the 351st TRK TRANS LP. Later, in Sokcho-Ri, Korea, performances for the 8206th ASU or ATU.
Mar 10-13: Sokcho-Ri, Korea: Performances for the 8206th ASU or ATU.
Mar 14: Sokcho-Ri, Korea: Performances for the 8206th ASU or ATU and performances for the X CORPS HQ.
Mar 15: Korea: Performances for the X CORPS HQ. See http://instagram.com/p/r9-zjGJnr_/?modal=true.
Mar 16: Korea: Performances for the X CORPS HQ and the 45th Division Forward LP.
Mar 17: Sokcho Ri, Korea: Performances for the 45th Division Forward LP.
Mar 18-19: Korea: Performances for the 45th Division Forward LP.
Mar 20: Korea: Performances for the 45th Division Forward LP and the 160th Infantry REG 40th Division.
Mar 21-22: Korea: Performances for the 160th Infantry REG 40th Division.
Mar 23: Korea: Performances for the 160th Infantry REG 40th Division and an unknown gig in Seoul.
Mar 24-31: Seoul: Unknown performances, including the Seoul City Command Theater and possibly a command performance for the President of Korea. See http://instagram.com/p/sAdKJ5pnsf/?modal=true. 

Apr 1-4: Korea: Unknown performances with the 10th Services Company. See http://instagram.com/p/vrR-uYpnqU/?modal=true. 
Apr 5: near Kunsan, Korea: Tommy Flanagan trio plus Jerry Lehmeier (alto sax), recorded on Easter, possibly at Base K-8 by Pepper Adams, who was in the audience.
Apr 6-11: Korea: Unknown performances with the 10th Services Company.
Apr 12: near Kunsan, Korea: Tommy Flanagan trio plus Jerry Lehmeier (alto sax), recorded at Base K-8, possibly by Pepper Adams, who was in the audience.
Apr 13-30: Tague, Kimpo Airfield and Taejon: Various performances for the Marines, Navy, Air Force, Army and Seabees.

May 1-16: Tague, Kimpo Airfield and Taejon: Various 10th Special Services performances for the Marines, Navy, Air Force, Army and Seabees.
May 17-31: Pacific Ocean: Embarking from Pusan, Korea, Adams is aboard the Marine Phoenix troopship on his return home. On cMay 23 he performs on alto sax for returning troops in a quintet with Doc Holladay. See http://instagram.com/p/sAlhLvpnrg/?modal=true. 

June 1: Pacific Ocean: Adams is aboard the Marine Phoenix on his return from Korea. See 17-31 May.
cJune 2: Seattle: Adams arrives at Ft. Lott.
June 2-4: Travel home to Detroit.
June 5: Ft. Custer MI: Adams, with the rank of Corporal, files his paperwork, receives his U.S. Army Reserve ID Card and is relieved from active duty, possibly one year early for an enlistee. He’s officially transferred to the U.S. Army Reserve the following day. Adams “serves” in this capacity for six years but there’s no evidence that he’s ever called again to duty. See ID card at http://instagram.com/p/r7tA7cpnlZ/?modal=true and  http://instagram.com/p/r7uDnIJnm8/?modal=true.  

Aug: Detroit: Charlie Parker, opposite Illinois Jacquet and Arnett Cobb, plays the Graystone Ballroom. Pepper might have attended this gig.

Fall: Detroit: Possible gigs with Errol Buddle.

Nov 26: Detroit: Off.

Dec 24-25: Detroit: Off.

1954
Jan 1: Detroit: Off.
cJan 27-31: Detroit: Bassist “Beans” Richardson assumes leadership of the house band at the Blue Bird Inn, formerly led by tenor saxophonist Billy Mitchell. Adams replaces Mitchell and joins Thad Jones in the front line. The rhythm section includes Tommy Flanagan and Elvin Jones. See http://instagram.com/p/t1D-2opnow/?modal=true.

Feb 1: Detroit: Gig at the Blue Bird. See c27-31 Jan.
Feb 2: Detroit: Off?
Feb 3-8: Detroit: Gig at the Blue Bird. See 1 Feb.
Feb 9: Detroit: Off?
Feb 10-15: Detroit: Gig at the Blue Bird. See 3-8 Feb.
Feb 16: Detroit: Off?
Feb 17-22: Detroit: Gig at the Blue Bird. See 10-15 Feb.
Feb 23: Detroit: Off?
Feb 24-28: Detroit: Gig at the Blue Bird. See 17-22 Feb.

Mar: Detroit: Sonny Stitt is guest soloist for at least one week at the Blue Bird. See http://instagram.com/p/t1D-2opnow/?modal=true.
Mar 1: Detroit: Gig at the Blue Bird. See 24-28 Feb.
Mar 2: Detroit: Off?
Mar 3-8: Detroit: Gig at the Blue Bird. See 1 Mar. On 6 March, Kenny Burrell formally established the New Music Society with a mandate to promote concerts in town and ongoing Tuesday night jam sessions at the World Stage Theater. Sunday jam sessions were also started at first, but suspended after 3-4 weeks.
Mar 9: Highland Park MI: Off or possible jam session at the World Stage. 
Mar 10-13: Detroit: Gig at the Blue Bird. See 3-8 Mar.
Mar 14: Highland Park MI: Possible jam session at the World Stage. Later in Detroit, gig at the Blue Bird. See 10-13 Mar.
Mar 15: Detroit: Gig at the Blue Bird. See 14 Mar.
Mar 16: Highland Park MI: Off or possible jam session at the World Stage.
Mar 17-20: Detroit: Gig at the Blue Bird. See 15 Mar.
Mar 21: Highland Park MI: Possible jam session at the World Stage. Later in Detroit, gig at the Blue Bird. See 17-20 Mar.
Mar 22: Detroit: Gig at the Blue Bird. See 21 Mar.
Mar 23: Highland Park MI: Off or possible jam session at the World Stage.
Mar 24-27: Detroit: Gig at the Blue Bird. See 22 Mar.
Mar 28: Highland Park MI: Possible jam session at the World Stage. Later in Detroit, gig at the Blue Bird. See 24-27 Mar.
Mar 29: Detroit: Gig at the Blue Bird. See 28 Mar.
Mar 30: Highland Park MI: Off or possible jam session at the World Stage.
Mar 31: Detroit: Gig at the Blue Bird. See 29 Mar.

Apr: Thad Jones-Pepper Adams piano-less quartet, with Major Holley and Walter Smith (dm), record demos at United Sound. See https://www.flickr.com/photos/radiospike/2391588106/. 
Apr 1-3: Detroit: Gig at the Blue Bird. See 31 Mar.
Apr 4: Highland Park MI: Possible jam session at the World Stage. Later in Detroit, gig at the Blue Bird. See 1-3 Apr.
Apr 5: Detroit: Gig at the Blue Bird. See 4 Apr.
Apr 6: Highland Park MI: Off or possible jam session at the World Stage.
Apr 7-12: Detroit: Gig at the Blue Bird. See 5 Apr. On c7 April Charlie Parker plays the Crystal Show Bar with Will Davis and Major Holley. Pepper might have attended this gig.
Apr 13: Highland Park MI: Off or possible jam session at the World Stage.
Apr 14-19: Detroit: Gig at the Blue Bird. See 7-12 Apr.
Apr 20: Highland Park MI: Off or possible jam session at the World Stage.
Apr 21-26: Detroit: Gig at the Blue Bird. See 14-19 Apr.
Apr 27: Highland Park MI: Off or possible jam session at the World Stage.
Apr 28-30: Detroit: Gig at the Blue Bird. See 21-26 Apr.

May: Barry Harris replaces Tommy Flanagan in the Blue Bird rhythm section. 
May 1-3: Detroit: Gig at the Blue Bird. See 28-30 Apr.
May 4: Highland Park MI: Off or possible jam session at the World Stage.
May 5-10: Detroit: Gig at the Blue Bird. See 1-3 May.
May 11: Highland Park MI: Off or possible jam session at the World Stage.
May 12-17: Detroit: Gig at the Blue Bird. See 5-10 May. On the 12th Thad Jones joins Count Basie and Adams may have Adams become the music director at the Blue Bird. See http://instagram.com/p/t1D-2opnow/?modal=true.
May 18: Highland Park MI: Off or possible jam session at the World Stage.
May 19-24: Detroit: Gig at the Blue Bird. See 12-17 May.
May 25: Highland Park MI: Off or possible jam session at the World Stage.
May 26-31: Detroit: Gig at the Blue Bird. See 19-24 May.

cJune: Detroit: Elvin Jones, with the working Blue Bird band (Pepper Adams, Barry Harris and James “Beans” Richardson), makes demo recording at United Sound. See https://www.flickr.com/photos/radiospike/2391588106/.
June 1: Highland Park MI: Off or possible jam session at the World Stage.
June 2-7: Detroit: Gig at the Blue Bird. See 26-31 May.
June 8: Highland Park MI: Off or possible jam session at the World Stage.
June 9-14: Detroit: Gig at the Blue Bird. See 2-7 June.
June 15: Highland Park MI: Off or possible jam session at the World Stage.
June 16-21: Detroit: Gig at the Blue Bird. See 9-14 June.
June 22: Highland Park MI: Off or possible jam session at the World Stage.
June 23-28: Detroit: Gig at the Blue Bird. See 16-21 June.
June 29: Highland Park MI: Off or possible jam session at the World Stage.
June 30: Detroit: Gig at the Blue Bird. See 23-28 June.

July 1-5: Detroit: Gig at the Blue Bird. See 30 June. 
July 6: Highland Park MI: Off or possible jam session at the World Stage.
July 7-12: Detroit: Gig at the Blue Bird. See 1-5 June.
July 13: Highland Park MI: Off or possible jam session at the World Stage.
July 14-19: Detroit: Gig at the Blue Bird. See 7-12 June.
July 20: Highland Park MI: Off or possible jam session at the World Stage.
July 21-26: Detroit: Gig at the Blue Bird. See 14-19 June. In late July, Wardell Gray is guest soloist for at least a week. See http://instagram.com/p/t1D-2opnow/?modal=true.
July 27: Highland Park MI: Off or possible jam session at the World Stage.
July 28-31: Detroit: Gig at the Blue Bird. See 21-26 June.

Aug 1-2: Detroit: Gig at the Blue Bird. See 28-31 July. 
Aug 3: Highland Park MI: Off or possible jam session at the World Stage.
Aug 4-9: Detroit: Gig at the Blue Bird. See 1-2 Aug. 
Aug 10: Highland Park MI: Off or possible jam session at the World Stage.
Aug 11-16: Detroit: Gig at the Blue Bird. See 4-9 Aug. In mid August, Miles Davis is guest soloist for two weeks. See http://instagram.com/p/t1D-2opnow/?modal=true.
Aug 17: Highland Park MI: Off or possible jam session at the World Stage.
Aug 18-23: Detroit: Gig at the Blue Bird. In mid August, Miles Davis is guest soloist for two weeks. See 11-16 Aug. See http://instagram.com/p/t1D-2opnow/?modal=true.
Aug 24: Highland Park MI: Off or possible jam session at the World Stage.
Aug 25-30: Detroit: Gig at the Blue Bird. See 18-23 Aug. 
Aug 31: Highland Park MI: Off or possible jam session at the World Stage.

cSept: New York: Taking approximately a week off, Adams drives to New York to meet with Bob Weinstock at Prestige Records and Alfred Lion at Blue Note Records. He attempts to secure a record deal by playing the demo recording made in Detroit a few months earlier. (See cJune.) During the visit Adams sits in at Birdland with Miles Davis, playing Sonny Rollins’ tenor saxophone. 
Sept: Detroit: Charlie Parker plays two weeks at the Crystal Show Bar backed by Gene Nero’s group. Pepper might have attended this gig.
Sept 1-6 Detroit: Possible gig at the Blue Bird. See 25-30 Aug. 
Sept 7: Highland Park MI: Off or possible jam session at the World Stage.
Sept 8-13 Detroit: Possible gig at the Blue Bird. See 1-6 Sept. 
Sept 14: Highland Park MI: Off or possible jam session at the World Stage.
Sept 15-20 Detroit: Possible gig at the Blue Bird. See 8-13 Sept. 
Sept 21: Highland Park MI: Off or possible jam session at the World Stage.
Sept 22-27 Detroit: Possible gig at the Blue Bird. See 15-20 Sept. 
Sept 28-30: Highland Park MI: Off or possible jam session at the World Stage.

Oct 1-4: Detroit: Gig at the Blue Bird. See 22-27 Sept. 
Oct 5: Highland Park MI: Off or possible jam session at the World Stage.
Oct 6-11: Detroit: Gig at the Blue Bird. See 1-4 Oct. 
Oct 12: Highland Park MI: Off or possible jam session at the World Stage.
Oct 13-18: Detroit: Gig at the Blue Bird. See 6-11 Oct.
Oct 19: Highland Park MI: Off or possible jam session at the World Stage.
Oct 20-25: Detroit: Gig at the Blue Bird. See 13-18 Oct.
Oct 26: Highland Park MI: Off or possible jam session at the World Stage.
Oct 27-31: Detroit: Gig at the Blue Bird. See 20-25 Oct.

Nov 1: Detroit: Gig at the Blue Bird. See 27-31 Oct.
Nov 2: Highland Park MI: Off or possible jam session at the World Stage.
Nov 3-8: Detroit: Gig at the Blue Bird. See 1 Nov. 
Nov 9: Highland Park MI: Off or possible jam session at the World Stage.
Nov 10-15: Detroit: Gig at the Blue Bird. See 3-8 Nov.
Nov 16: Highland Park MI: Off or possible jam session at the World Stage.
Nov 17-22: Detroit: Gig at the Blue Bird. See 10-15 Nov.
Nov 23: Highland Park MI: Off or possible jam session at the World Stage.
Nov 24: Detroit: Gig at the Blue Bird. See 17-22 Nov.
Nov 25: Detroit: Off.
Nov 26-30: Detroit: Gig at the Blue Bird. See 24 Nov.

Dec 1-6: Detroit: Gig at the Blue Bird. See 26-30 Nov.
Dec 7: Highland Park MI: Off or possible jam session at the World Stage.
Dec 8-13: Detroit: Gig at the Blue Bird. See 1-6 Dec. 
Dec 14: Highland Park MI: Off or possible jam session at the World Stage.
Dec 15-20: Detroit: Gig at the Blue Bird. See 8-13Dec.
Dec 21: Highland Park MI: Off or possible jam session at the World Stage.
Dec 22-23: Detroit: Gig at the Blue Bird. See 15-20 Dec.
Dec 24-25: Detroit: Off.
cDec 26-27: Detroit: Adams leaves the Blue Bird to join Kenny Burrell’s group at Klein’s Show Bar, typically with Tommy Flanagan and Elvin Jones. Bassist might have been Ernie Farrow.
Dec 28: Detroit: Off?
Dec 29-31: Detroit: Gig at Klein’s. See c26-27 Dec.

1955
Jan 1: Detroit: Off.
Jan 2-3: Detroit: Gig at Klein’s. See 29-31 Dec 1954. Also, Adams begins a day job at Al’s Record Mart (1536 Broadway).
Jan 4: Detroit: Off?
Jan 5-10: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 2-3 Jan.
Jan 11: Detroit: Off?
Jan 12-17: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 5-10 Jan.
Jan 18: Detroit: Off?
Jan 19-24: Detroit: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 12-17 Jan.
Jan 25: Detroit: Off?
Jan 26-31: Detroit: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 19-24 Jan.

Feb 1: Detroit: Off?
Feb 2-7: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 26-31 Jan. On the 4th, Charlie Parker opens a two week stint at the Madison Ballroom with Candy Johnson’s quartet. Pepper might have attended this gig.
Feb 8: Detroit: Off?
Feb 9-14: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 2-7 Feb. On the 14th, Charlie Parker opens a one week engagement at the Rouge Lounge. Pepper might have attended this. 
cFeb 15: Highland Park MI: Adams, Tommy Flanagan (occasionally Hugh Lawson), Ernie Farrow and Hindal Butts start their nearly year-long run at the World Stage’s Tuesday jam session. At that time, Oliver Shearer and Yusef Lateef take charge of the World Stage  programming after Kenny Burrell leaves to join Jazz at the Philharmonic. In addition to Tuesday jam sessions from 9pm-12, they re-establish Sunday afternoon concerts, though now on alternating Sundays.
Feb 16-21: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 9-14 Feb.
Feb 22: Highland Park MI: Jam session at the World Stage. See c15 Feb.
Feb 23-28: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 16-21 Feb.

Mar 1: Highland Park MI: Jam session at the World Stage. See 22 Feb.
Mar 2-7: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 23-28 Feb.
Mar 8: Highland Park MI: Jam session at the World Stage. See 1 Mar.
Mar 9-14: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 2-7 Mar. On the 12th Charlie Parker dies in New York at age 34.
Mar 15: Highland Park MI: Jam session at the World Stage. See 8 Mar.
Mar 16-21: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 9-14 Mar.
Mar 22: Highland Park MI: Jam session at the World Stage. See 15 Mar.
Mar 23-27: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 16-21 Mar.
Mar 28: Detroit: New Music Society date for Free Arts, recorded at the Detroit Institute of Arts. Earlier, Adams possibly works at Al’s Record Mart and, later, possibly drops in at Klein’s.
Mar 29: Highland Park MI: Jam session at the World Stage. See 22 Mar.
Mar 30-31: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 23-27 Mar.

Apr: Detroit: Wardell Gray plays Klein’s as guest soloist.
Apr 1-4: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 30-31 Mar. Adams lives in or near Arden Park, across Meyer Road.
Apr 5: Highland Park MI: Jam session at the World Stage. See 29 Mar.
Apr 6-11: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 1-4 Apr. 
Apr 12: Highland Park MI: Jam session at the World Stage. See 5 Apr.
Apr 13-18: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 6-11 Apr. 
Apr 19: Highland Park MI: Jam session at the World Stage. See 12 Apr.
Apr 20-25: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 13-18 Apr. 
Apr 26: Highland Park MI: Jam session at the World Stage. See 19 Apr.
Apr 27-31: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 20-25 Apr. 

cMay: Detroit: Pepper Adams date at the World Stage, recorded by Transition, with Yusef Lateef, Tommy Flanagan or Barry Harris, possibly Elvin Jones, et al. Pepper Adams date in Dave Usher’s basement, possibly for Dee Gee, with Curtis Fuller, Tommy Flanagan or Barry Harris, Ernie Farrow and Hindal Butts. 
May 1-2: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 27-31 April. 
May 3: Highland Park MI: Jam session at the World Stage. See 26 Apr.
May 4-9: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 1-2 May. 
May 10: Highland Park MI: Jam session at the World Stage. See 3 May.
May 11-16: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 4-9 May. 
May 17: Highland Park MI: Jam session at the World Stage. See 10 May.
May 18-23: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 11-16 May. 
May 24: Highland Park MI: Jam session at the World Stage. See 197 May. 
May 25-30: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 18-23 May. On the 25th Wardell Gray dies at age 34 in Las Vegas.
May 31: Highland Park MI: Jam session at the World Stage. See 24 May.

June 1-6: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 25-30 May. On c1 June, Adams, invited by Wardell Gray’s family, serves as a pallbearer at Wardell Gray’s funeral.
June 7: Highland Park MI: Jam session at the World Stage. See 31 May.
June 8-13: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 1-6 June. 
June 14: Highland Park MI: Jam session at the World Stage. See 7 June.
June 15-20: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 8-13 June. 
June 21: Highland Park MI: Jam session at the World Stage. See 14 June.
June 22-27: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 15-20 June. 
June 28: Highland Park MI: Jam session at the World Stage. See 21 June.
June 29-30: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 22-27 June. 

July: Detroit: Upon Kenny Burrell’s departure to join Oscar Peterson, Adams becomes musical director at Klein’s. The steady group is Adams and Curtis Fuller, with Tommy Flanagan or Hugh Lawson, Ernie Farrow and Hindal Butts. 
July 1-4: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 29-30 June. 
July 5: Highland Park MI: Jam session at the World Stage. See 28 June.
July 6-11: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 1-4 July. 
July 12: Highland Park MI: Jam session at the World Stage. See 5 July.
July 13-18: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 6-11 July. 
July 19: Highland Park MI: Jam session at the World Stage. See 12 July.
July 20-25: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 13-18 July. 
July 26: Highland Park MI: Jam session at the World Stage. See 19 July.
July 27-31: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 20-25 July.

Aug 1: Highland Park MI: Jam session at the World Stage. See 26 July.
Aug 2-8: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 27-31 July. 
Aug 9: Highland Park MI: Jam session at the World Stage. See 1 Aug.
Aug 10-15: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 2-8 Aug. 
Aug 16: Highland Park MI: Jam session at the World Stage. See 9 Aug.
Aug 17-22: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 10-15 Aug. 
Aug 23: Highland Park MI: Jam session at the World Stage. See 16 Aug.
Aug 24-29: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 17-22 Aug. 
Aug 30: Highland Park MI: Jam session at the World Stage. See 23 Aug.
Aug 31: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 24-29 Aug.

Sept 1-5: Detroit: Possible gig at Klein’s and day job at Al’s Record Mart. See 31 Aug. 
Sept 6: Highland Park MI: Possible jam session at the World Stage. See 30 Aug.
Sept 7-12: Detroit: Possible gig at Klein’s and day job at Al’s Record Mart. See 1-5 Sept. 
Sept 13: Highland Park MI: Possible jam session at the World Stage. See 7 Sept.
cSept 14-17: Toronto: Adams gig with Charles Mingus, Teddy Charles, Doug Watkins and Elvin Jones. Adams drives from Detroit with Carol Thompson.
Sept 18: Travel?
Sept 19: Detroit: Possible gig at Klein’s and day job at Al’s Record Mart. See 7-12 Sept.
Sept 20: Highland Park MI: Possible jam session at the World Stage. See 13 Sept.
Sept 21-26: Detroit: Possible gig at Klein’s and day job at Al’s Record Mart. See 19 Sept.
Sept 27: Highland Park MI: Possible jam session at the World Stage. See 20 Sept.
Sept 28-30: Detroit: Possible gig at Klein’s and day job at Al’s Record Mart. See 21-26 Sept.

Oct 1-3: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 28-30 Sept. 
Oct 4: Highland Park MI: Jam session at the World Stage. See 27 Sept.
Oct 5-10: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 1-3 Oct. 
Oct 11: Highland Park MI: Jam session at the World Stage. See 4 Oct.
Oct 12-17: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 5-10 Oct. 
Oct 18: Highland Park MI: Jam session at the World Stage. See 11 Oct.
Oct 19-24: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 12-17 Oct. 
Oct 25: Highland Park MI: Jam session at the World Stage. See 16 Oct.
Oct 26-31: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 19-24 Oct. On the 31st Pepper and Janet Muir go on their first date.

Nov 1: Highland Park MI: Possible jam session at the World Stage. See 25 Oct.
Nov 2-7: Detroit: Possible gig at Klein’s and day job at Al’s Record Mart. See 26-31 Oct.
Nov 8: Highland Park MI: Possible jam session at the World Stage. See 1 Nov.
Nov 9: Detroit: Possible gig at Klein’s and day job at Al’s Record Mart. See 2-7 Nov.
Nov 10: Travel?
Nov 11: Cambridge MA: Dave Coleman date for Transition, with violinist Dick Wetmore, et al.
Nov 12: Travel?
Nov 13-14: Detroit: Possible gig at Klein’s and day job at Al’s Record Mart. See 9 Nov.
Nov 15: Highland Park MI: Possible jam session at the World Stage. See 8 Nov.
Nov 16-21: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 13-14 Nov.
Nov 22: Highland Park MI: Jam session at the World Stage. See 15 Nov.
Nov 23: Detroit: Klein’s and day job at Al’s Record Mart. See 16-21 Nov.
Nov 24: Detroit: Off.
Nov 25-30: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 23 Nov.
Dec 1-5: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 25-30 Nov. 
Dec 6: Highland Park MI: Jam session at the World Stage. See 22 Nov.
Dec 7-12: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 1-5 Dec. 
Dec 13: Highland Park MI: Jam session at the World Stage. See 6 Dec.
Dec 14-19: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 7-12 Dec. 
Dec 20: Highland Park MI: Jam session at the World Stage. See 13 Dec.
Dec 21-23: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 14-19 Dec. 
Dec 24-25: Detroit: Off.
Dec 26: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 21-23 Dec.
Dec 27: Highland Park MI: Jam session at the World Stage. See 20 Dec.
Dec 28-31: Detroit: Gig at Klein’s and day job at Al’s Record Mart. See 26 Dec. Gig at a private party on 31 Dec.

1956
Jan 1: Detroit: Gig at a private party. See 31 Dec 1955.
cJan 2-7: Detroit: Adams prepares to move to New York.
cJan 8: Travel. Adams drives to New York with Janet Muir.
cJan 8-31: Adams and Janet Muir take an apartment at 410 West End Avenue. Adams works at Glen Falls Insurance Company on Wall Street while awaiting the transfer of his union card. Adams sits in with Oscar Pettiford and Kenny Clarke at Café Bohemia.

cFeb-Mar: New York: Adams attends Ken Karpe’s Friday night invitation-only jam sessions with Oscar Pettiford on East 23rd St.
Feb-Mar: Adams and Janet Muir live together at 410 West End Avenue.

Apr: Adams and Janet Muir live together at 410 West End Avenue.
Apr 20: Cambridge MA: Curtis Fuller date for Transition, with John Coltrane, Roland Alexander, Paul Chambers and Philly Joe Jones. See http://instagram.com/p/r7zLUcpngW/?modal=true. Then, Cambridge MA gig after the recording session, with Fuller, Coltrane, Chambers and Jones.
Apr 21: Travel?
Apr 30: Hackensack NJ: Kenny Clarke date for Savoy, with Tommy Flanagan, Kenny Burrell and Paul Chambers. See http://instagram.com/p/sFPlpTJnso/?modal=true. 

May 9: Hackensack NJ: Kenny Clarke date for Savoy, with Tommy Flanagan, Kenny Burrell and Paul Chambers. See http://instagram.com/p/sFPlpTJnso/?modal=true. 
May 25: Boston: Upon Oscar Pettiford’s recommendation, Adams joins the Stan Kenton Orchestra, leaving by bus from New York for a gig at the State Ballroom. With some minor exceptions, Kenton’s personnel (with Lee Katzman, Richie Kamuca, Mel Lewis, et al.) is constant through November.
May 26: Taunton MA: Kenton at Roseland Ballroom.
May 27: South River NJ: Kenton at Liberty Ballroom.
May 28: Off.
May 29: Kent OH: Kenton at Kent University.
May 30: Youngstown OH: Kenton at Idora Park.
May 31: Pittsburgh: Kenton at Westview Park.

June 1: Buckeye Lake OH: Kenton at Crystal Beach Ballroom.
June 2: Monticello IN: Kenton at Indiana Beach Ballroom.
June 3: Milwaukee: Kenton at Million Dollar Ballroom.
June 4: Off.
June 5: Des Moines IA: Kenton at Val Air Ballroom.
June 6: Off.
June 7-9: St. Louis: Kenton at Riviera Ballroom.
June 10: Collinsville IL: Kenton at Collinsville Park Pavilion.
June 11: Belleville IL: Kenton at Belleville Township High School.
June 12: Off.
June 13-23: Chicago: Kenton at the Blue Note.
June 24: North Shore, Suburban Chicago: Afternoon barbecue and jam session with Chet Baker and Bobby Timmons. Then, Kenton gig at the Blue Note. See 13-23 June.
June 25: Cedar Lake IN: Kenton at Midway Ballroom.
June 26: Madison WI: Kenton at Edgewater Hotel.
June 27: Lake Geneva WI: Kenton at Riviera Ballroom.
June 28: Janesville IA: Kenton at Riviera Ballroom.
June 29: Marinette WI: Kenton at the Silver Dome.
June 30: Coloma MI: Kenton at the Crystal Palace.

July 1: Chicago: Kenton at Trianon Ballroom.
July 2: Off.
July 3: Kansas City: Kenton at Pla Mor Ballroom.
July 4: Omaha: Kenton at Peony Park.
July 5: Clear Lake IA: Kenton at Surf Ballroom.
July 6-7: St. Paul: Kenton at Prom Ballroom.
July 8: Austin MN: Kenton at Terp Ballroom.
July 9: Off.
July 10: La Crosse WI: Kenton at Avalon Ballroom.
July 11: Elgin IL: Kenton at Blue Moon Ballroom.
July 12: Russells Point OH: Kenton at Sandy Beach Park at Indian Lake.
July 13: Leesburg IN: Kenton at Tippecanoe Gardens.
July 14: Lansing MI: Kenton at the Dells at Lake Lansing.
July 15: Celina OH: Kenton at Edgewater Park.
July 16: Off.
July 17: Indianapolis: Kenton at Westlake Terrace.
July 18: Chippewa Lake OH: Kenton at Chippewa Lake.
July 19: Brooklyn MI: Kenton at Wamplers Lake.
July 20: Fruitport MI: Kenton at Fruitport Pavilion.
July 21: Flint MI: Kenton at IMA Auditorium.
July 22: Vermilion OH: Kenton at Crystal Beach Ballroom.
July 23: Detroit: Kenton at Motor City Arena.
July 24: Windsor, Ontario: Kenton at Crystal Beach.
July 25: Burlington, Ontario: Kenton at Brant Inn.
July 26: Cheswick PA: Kenton at Ches Arena.
July 27-31: Atlantic City NJ: Kenton at the Steel Pier.

Aug 1-2: Atlantic City NJ: Kenton at the Steel Pier. See 27-31 July.
Aug 3: Off.
Aug 4: Hershey PA: Kenton at Hershey Park.
Aug 5: Canton OH: Kenton at Moonlight Gardens at Meyers Lake.
Aug 6-7: Off.
Aug 8-14: Chicago: Kenton at Blue Note.
Aug 15: Spirit City IA: Kenton at the Roof Garden.
Aug 16-17: Huron SD: Kenton at the Huron Theatre.
Aug 18-20: Off/Travel?
Aug 21-26: Denver: Kenton at El Patio Ballroom in Lakeside Park. Adams visits with Doc Holladay.
Aug 27-31: Off/Travel?

Sept 1-2: Balboa Beach CA: Kenton at Rendezvous Ballroom.
Sept 7: Los Angeles: Kenton concert, produced by Gene Norman.
Sept 8-23: Hollywood CA: Kenton at Zardi’s.

Oct: Detroit: During a gap in Kenton’s itinerary, Adams travels from California to Detroit to pick up his car and drive it back to the West Coast.
Oct 30: Pasadena CA: Kenton at Civic Auditorium.

Nov 1: Sausalito CA: Adams begins his stay, for most of the month, at a hotel run by a retired French sea captain with a view of inner San Francisco Bay.
Nov 2-18: San Francisco: Kenton at Macumba Club. Ralph J. Gleason writes in the San Francisco Chronicle the first notice about Adams to appear in a major publication. Mel Lewis afternoon rehearsal on the 14th at the Macumba Club for his recording date on 19-20 Nov.
Nov 19: Berkeley: Kenton at University of California. Then, Mel Lewis date in Oakland for San Francisco, with Richie Kamuca, John Marabuto, et al.
Nov 20: San Francisco: Kenton at University of San Francisco. Then, Mel Lewis date in Oakland for San Francisco, with Richie Kamuca, John Marabuto, et al.
Nov 21: San Francisco: Kenton at San Francisco State College.
Nov 22: Palo Alto: Kenton at Stanford University.
Nov 23: Oakland: Kenton at Sweet’s Ballroom.
Nov 24: San Francisco: Adams, Lee Katzman and Mel Lewis quit Kenton and move to Los Angeles to form a quintet.
Nov 25: Los Angeles: Adams composes Mary’s Blues. See http://instagram.com/p/r2vHCWJnhk/?modal=true, http://instagram.com/p/r2vzl-pni4/?modal=true and http://instagram.com/p/r2tANnJntX/?modal=true. 
Nov 26-30: Los Angeles: Adams, Lee Katzman and Mel Lewis rehearse.

Dec: Pasadena: Gig at Zucca’s Cottage with Lee Katzman, Ernest Crawford (p), Red Kelly (b) and Mel Lewis. Los Angeles: Possible gigs with Maynard Ferguson’s Big Band. Mel Lewis, Richie Kamuca and other members of Kenton’s band are in the 13-piece group. Los Angeles: Unknown studio dates with Conrad Gozzo.
cDec. 4: San Fernando CA: Adams moves to 14354 Germain Street to stay for a time with Lee Katzman and his family.
Dec 10: Los Angeles: Lennie Niehaus date for Contemporary, with Frank Rosolino, Bill Perkins, Red Mitchell, Mel Lewis, et al.
Dec 12: Hollywood CA: Stan Kenton date for Capitol.
Dec 24-25: Los Angeles: Off.

1957
cJan: Hollywood CA: Adams sits in on Pete Jolly gig at Sherry’s, with Ralph Pena and Larry Bunker.
Jan: Los Angeles and Hollywood: Various jam sessions, including those at Carl Perkins’ house, with Leroy Vinnegar. Los Angeles: Unknown studio dates with Conrad Gozzo.
Jan 1: Los Angeles: Off.
Jan 5-6: Los Angeles: Possible gig with Maynard Ferguson’s Big Band.
cJan 15: Los Angeles: Possible gig on Sunset Strip with Dave Pell’s Octet prior to 17 Jan date.
Jan 17: Los Angeles and Hollywood: Dave Pell date for RCA (with Jack Sheldon, Mel Lewis, et al.) and Kenton Orchestra date for Capitol.
Jan 23: Los Angeles: Dave Pell date for RCA, with Jack Sheldon, Mel Lewis, et al.
Jan 30: Los Angeles: Shorty Rogers big band date for RCA, with Harry Edison, Frank Rosolino, Herb Geller, Red Mitchell, Stan Levey, et al.

Feb: Los Angeles: Unknown studio dates with Conrad Gozzo.
Feb 1: Los Angeles: Shorty Rogers big band date for RCA. See 30 Jan.
Feb 4: Los Angeles: Shorty Rogers big band date for RCA. See 1 Feb.
cmid Feb: Los Angeles: Gigs with Maynard Ferguson’s Big Band: Ferguson, Joe Burnett, Ed Leddy, Tom Slaney tp; Bob Burgess, Frank Strong tb; Joe Maini, Jimmy Ford as, ts; Willie Maiden ts; Adams bs; John Bannister p; Moe Edwards b; Larry Bunker dm.
Feb 22: Hollywood CA: Stan Kenton date for Capitol, with Richie Kamuca, Red Mitchell, Mel Lewis, et al.

Mar: Los Angeles: Gigs with Maynard Ferguson’s Big Band, possibly at Peacock Lane. See cmid Feb personnel. Unknown studio dates with Conrad Gozzo.
Mar 1: Los Angeles: Quincy Jones date for ABC, with Carl Perkins, Leroy Vinnegar, Shelly Manne, et al.
Mar 4: Hollywood CA: Stan Kenton date for Capitol, with Red Mitchell and Mel Lewis.
Mar 11: Los Angeles: Bob Keene date for Andex, with Red Norvo, et al.
Mar 12: Los Angeles: Lennie Niehaus date for Contemporary, with Frank Rosolino, Richie Kamuca, Stan Levey, et al.
Mar 19: Pasadena: Mel Lewis-Pepper Adams Quintet gig at Zucca’s, with Lee Katzman, et al.
Mar 20: Los Angeles: Dave Pell date for RCA, with Jack Sheldon, Mel Lewis, et al. See 23 Jan.
Mar 21: Los Angeles: Bob Keene date for Andex, with Red Norvo, Red Mitchell, Shelly Manne, et al. Later in Los Angeles, Herbie Harper date at Jazz City for Bethlehem, with Claude Williamson, Curtis Counce, Mel Lewis, et al.
cMar 22: Los Angeles: Adams leaves by car for New York with three members of Ferguson’s band. All three were junkies and it was a very difficult trip for Adams. One was likely Joe Maini. Another might have been Larry Bunker.
cMar 28: Omaha: Maynard Ferguson Big Band gig.
cMar 30: St. Louis: Maynard Ferguson Big Band gig at auditorium adjoining another auditorium at which Elvis Presley was performing.

cApr 1: Minneapolis: Maynard Ferguson Big Band gig.
cApr 4-14: New York: Maynard Ferguson Big Band at Birdland. Live broadcasts by the Mutual Radio Network on 6 and 13 April.
cApr 15: New York: Adams joins Chet Baker’s group.
Apr 20: Hackensack NJ: Date for Prestige with John Coltrane, Cecil Payne, Doug Watkins, et al.

cMay 14: Travel?
cMay 15-31: Chicago: Chet Baker gig at the Preview Lounge.

June 1-15: Chicago: Chet Baker gig at Preview Lounge. See c15-31 May.
June 16: Chicago: Off?
June 17-23: Milwaukee: Chet Baker gig at the Brass Rail, with Elmo Hope, Doug Watkins and Philly Joe Jones.
June 24: Milwaukee: Off?
June 25-30: Minneapolis: Chet Baker gig with Phil Urso, Elmo Hope, Doug Watkins and Philly Joe Jones.

July 1: Travel?
July 2-11: Hollywood CA: Gig with Chet Baker at Peacock Lane with Doug Watkins. Don Friedman works the second week with Larance Marable.
July 12: Los Angeles: First date as leader, for Mode, with Stu Williamson, Carl Perkins, Leroy Vinnegar and Mel Lewis. Later, gig with Chet Baker gig in Hollywood at Peacock Lane. See 2-11 July.
July 13-14: Hollywood CA: Gig with Chet Baker at Peacock Lane. See 12 July.
July 15: Los Angeles: Shorty Rogers big band date for RCA, with Frank Rosolino, Richie Kamuca, Stan Levey, et al.
July 16-21: San Francisco: Chet Baker gig at The Blackhawk, with Philly Joe Jones, et al.
July 22-31: San Francisco: Chet Baker gig at Blackhawk with Bob de Graaf (ts), Don Friedman, Doug Watkins and Philly Joe Jones.

Aug 1-4: San Francisco: Chet Baker gig at Blackhawk. See 22-31 July. 
Aug 11: Los Angeles: Shorty Rogers big band date for RCA, with Frank Rosolino, Richie Kamuca, Stan Levey, et al.
Aug 13: Hollywood CA: Bud Shank date for Pacific Jazz, featuring Chet Baker, with Charlie Mariano, Richie Kamuca, Claude Williamson and Mel Lewis. See http://instagram.com/p/rhyBTZJngv/?modal=true. 
Aug 14: Hollywood CA: Bud Shank date for Pacific Jazz, featuring Chet Baker, with Charlie Mariano, Richie Kamuca, Claude Williamson and Mel Lewis. See http://instagram.com/p/rhyBTZJngv/?modal=true. 
Aug 22: Down Beat’s Jazz Critic’s Poll awards Adams their New Star Award.
Aug 23: Hollywood CA: Second date as leader, for World Pacific, with Lee Katzman, Jimmy Rowles, Doug Watkins and Mel Lewis. See http://instagram.com/p/sFM0gEpnoJ/?modal=true.
cAug 24: Travel to Detroit?

cSept 1: Detroit: Soupy Sales TV Show appearance with Curtis Fuller, Tommy Flanagan, probably Ernie Farrow and Frank Gant.
cSept 2-5: Detroit: Gigs with Alvin Jackson.
cSept 9: Ann Arbor MI: Gig with Alvin Jackson.
cSept 10: Ann Arbor MI: Hugh Jackson (dm) private date, with Frank Keys (tp), Bernard McKinney, Barry Harris and Beans Richardson.
Sept 11: Travel?
Sept 15: New York: Shafi Hadi date for Debut, with Wynton Kelly, Henry Grimes, et al.
Sept 17: New York: A.K. Salim date for Savoy, with Kenny Dorham, Johnny Griffin, Wynton Kelly, Paul Chambers, Max Roach, et al.
Sept 29: Hackensack NJ: Lee Morgan date for Blue Note, with Bobby Timmons, Paul Chambers and Philly Joe Jones. See http://instagram.com/p/sFOWqopnqe/?modal=true 

Oct: Atlantic City NJ: Week-long quartet gig (with Kenny Burrell) opposite Lee Morgan Quartet. This was the same week that the "Rat Pack" performed at Club 500 with Carmen McCrae and the Ike Isaacs Trio.
Oct 20: Hackensack NJ: Hank Mobley date for Blue Note, with Art Farmer, Sonny Clark, Paul Chambers and Philly Joe Jones.

Nov: New York: Gigs with the Maynard Ferguson Big Band.
Nov 12: Hackensack NJ: Sonny Red date for Savoy, with Wynton Kelly, Doug Watkins and Elvin Jones.
Nov 19: Hackensack NJ: Third Adams date as leader, for Savoy, with Bernard McKinney, Hank Jones, George Duvivier and Elvin Jones.

cDec: New York: Adams works during the holidays at Macy’s department store and at the main branch of the New York Post Office.
Dec 6: Hackensack NJ: Doug Watkins date for Prestige, with Bill Evans, Doug Watkins, Louis Hayes, et al.
Dec 24-25: New York: Off.
cDec 28: New York: Adams takes an apartment with Elvin Jones at 314 East 6 Street, #10.
Dec 30: New York: Toots Thielemans date for Riverside, with Kenny Drew, Wilbur Ware and Arthur Taylor.

1958
Jan 1: New York: Off.
Jan 3: Hackensack NJ: Gene Ammons date for Savoy, with John Coltrane on alto, et al.


                              (c. Rudy Tucich. Tucich is in the rear with eyeglasses. Barry Harris
                                     is to Tucich's right. Charles  McPherson is at the far right.)

Saturday, April 25, 2015

Biography Updates and Those Dusty 10-Inchers



© Gary Carner. Copyright Protected. All rights reserved.


Now that the Prologue to Pepper's biography is finally put to bed, I've turned to Chapter 1. This week I had a breakthrough of sorts and things started to flow. My first draft is just a few pages so far, but with notes that will lead to more.

The Prologue is my argument for why a reader should read the book. It's intended for those not familiar with Pepper Adams or those who need a kick in the pants to pony up a few bucks to buy it.

As happy as I am about Chapter 1, I'm especially pleased to report that Pepper's closest friend and Best Man, Ronald Ley, has agreed to write the Foreword. Ley (quoted in my Prologue; see the blog post of 11 March 2015) is a retired psychology professor from SUNY-Albany. He's a very fine writer and has been instrumental in proofing my drafts. No one knew Pepper better than Ron Ley. I expect the Foreword to be an important contribution in its own right.

The distinguished musicologist Andrew Homzy had already agreed to write the Foreword but Ley is 85 years old. It's an opportunity too important to pass up. Alternatively, I've asked Andrew to consider writing an Epilogue. Why an epilogue, you might wonder? I especially like the idea because the reader will be taken from my 100-page bio to John Vana's 100-page discussion of Pepper's saxophone playing. An epilogue would unify both parts, bringing the reader back full circle to the Prologue and bio, with a chance to make some strong concluding comments. 

Homzy would be able to make some important historical observations about Pepper and respond, as an accomplished musician, to some of the things that John Vana will be making. Homzy's reach is broad. He's familiar with the entire history of jazz and many other genres of music too. I hope he can write it.

Book updates aside, I thought I'd amuse myself this week by beginning a list of Pepper's 78s and 10-inch LP collections. Every time I do a seemingly pedantic task like this, I learn something suprisingly new about Pepper. 

For those of you interested in what 10-inchers Pepper kept in his collection, here's the list of his classical recordings first. (I'll address the jazz stuff next week.) I've included all of them, except for two that weren't germane. I'm interested to hear what you think of these. From what I can tell, some of them were copywritten (= released?) around 1949-51, when Pepper was 18-21 years old, prior to his induction in the Army. I suspect they were kept at his mother's home and he took them, with her piano, furniture and other belongings in 1972 after her death, when he moved into his house at 8715 Avenue B in the Canarsie section of Brooklyn.

Adam, Giselle
Bartok, Allegro Barbaro
Bartok, Bagatelle No. 2
Bartok, Burlesque No. 2
Bartok, Contrasts
Bartok, Portrait, Op. 5, No. 1
Bartok, Music for String Instruments, Percussion and Celesta
Bartok, Rhapsody No. 1
Bartok, Roumanian Dance
Bartok, Suite
Berg, Lyric Suite
Berg, Wozzeck
Bliss, Miracle in the Gorbals
Bliss, String Quartet No. 2
Bowles, Concerto for Two Pianos, Winds and Percussion
Bowles, Sonata for Two Pianos
Copeland, Four Dance Episodes from Rodeo
Copeland, El Salon Mexico
Debussy, Prelude to the Afternoon of a Fawn
DeFalla, Suite Popular Espangole
Dukas, The Sorcerer's Apprentice
Harris, Symphony No. 3
Hindemith, Mathis der Maler
Hindemith, String Quartet #4
Hindemith, Sonata
Hindemith, Symphonic Dances
Hindemith, Theme and Four Variations
Honnegger, Concertino for Piano and Orchestra
Ibert, Ports of Call
Milhaud, Carnaval a la Nouvelle-Orleans
Milhaud, Concerto No. 1 for Piano and Orchestra
Milhaud, La Creation du Monde
Milhaud, The Nothing Doing Bar
Milhaud, Les Songs
Milhaud, Suite Francaise
Milhaud, Symphony #1
Piston, Symphony #2
Prokofiev, Concerto No. 2
Ravel, Le Tombeau de Couperin
Sessions, The Black Maskers
Sessions, Symphony No. 2
Schoenberg, Song of the Wood Dove
Schuman, American Festival Overture
Stravinsky, Cinq Pieces Facilies
Stravinsky, The Firebird Suite
Stravinsky, Mass
Stravinsky, Piano Concerto
Stravinsky, Sonato for Two Pianos
Thomson, Five Portraits
Thomson, Louisiana Story
Villa Lobos, Bachianas Brasileiras No. 2
Villa Lobos, Choros No. 10
Williams, Concerto for Two Pianos and Orchestra




                                                        (Arthur Honneger, 1952)

Saturday, April 18, 2015

Walkin' About: Strolling Through Pepper's Chronology

© Gary Carner. Copyright Protected. All rights reserved.


I hope you enjoyed reading the Prologue to my forthcoming Pepper Adams biography that I posted last week. I've re-read it a few times since then and I'm pleased with it. It took me several months and numerous revisions to get it to this point, and this after first writing an entirely different draft more than a year ago. Two of my distinguished readers, John Gennari and Ron Ley, have given me the "thumbs up" on the new version. That gives me the assurance that I can finally move on to Chapter 1. To that end I've been pulling together my notes about Rex Stewart and listening again and again to Pepper's 8-track material featuring Rex with the Ellington band.

How many of you have listened to Rex Stewart? I'm quite familiar with contemporaneous Ellington trumpeter and growl master Cootie Williams. Somehow I never really knew much about Stewart until now. Rex is terrific! He had an impressive plasticity with his time and could play with tremendous drama, power and technique. But mostly it's the playfulness and joyousness and incredible creativity that makes him so compelling. Like Cootie, Rex's half-valve inflexions and smears add a "badness" and soulfulness to his solos. They serve as such a beautiful counterpoint to his exuberance and sometimes wild sense of humor. I'm starting to understand why Pepper loved his playing. Rex, above all else, was a stylist.

I'm also reminded of what Kenny Berger wrote in this blog a few months ago about Rex's influence on Thad Jones. Pepper, for his part, was a huge Rex Stewart fan for at least ten years before he met Thad in the early '50s. One can only imagine how their mutual affection for Rex Stewart, among other things (such as Pepper's close friendship with Elvin, Thad's younger brother), must have brought them quickly together as soulmates. Pepper and Thad's relationship was complicated. It will be explored in the biography.

Besides signing off on the Prologue and getting deeper into Rex Stewart, I've also been updating "Thaddeus." That's the part of Pepper's chronology that begins with the early 1965 formation of the Thad Jones-Pepper Adams Quintet and ends with Adams leaving Thad/Mel in late August, 1977. The new version has been posted. Please check it out: http://www.pepperadams.com/Chronology/Thaddeus.pdf

Although the Chronology can be easily overlooked as a less sexy part of pepperadams.com, it's really the bedrock of the site and of all my research. I can't begin to tell you how many times I've consulted the Chronology when I'm assessing aspects of Pepper's life. Because new data is always being discovered--ads for gigs, broadcasts, audience tapes, memorabilia--you can expect that I'll be continually updating it over time. The new version of "Thaddeus" has been enlarged about 10% with new discoveries and deletions. At around 50 pages, it accounts for at least a third of Pepper's entire five-part Chronology. Fortunately, now that "Thaddeus" is updated, I can turn to more manageable sections and get them out soon. 

One thing that I'd like to add to the Chronology, if it's possible to build it directly into the site, is some kind of search function. When the database was on my old Macintosh laptop, it was really quick and easy to do searches of musicians, dates or whatever was needed. If I wanted to check all the times Pepper recorded for a certain label, for example, or check how many times he recorded with a certain musician, or even see all the times he visited a certain location, the computer did it effortlessly. Now, with an iPad, I have to convert my original PDF files to iBooks and search it there. It's doable but not as good as if I could do it directly at pepperadams.com. 

Can you do Chronology searches on your computer? Please let me know. I'll be sure to discuss this with my trusty webmaster. If there's other things you think can improve the utility of the Chronology or other parts of the site, please volunteer that too.

Regarding the update of "Thaddeus," a few things attracted my attention. One was learning that Duke Pearson returned to New York from Atlanta in late November, 1972 to reconstitute his big band. From what I can tell, he kept his steady Half Note gig until the Summer of 1973.

Another thing that struck me was that Pepper participated in a number of benefits. Whether it was to assist the family of writer Ed Sherman, perform at the Dave Lambert Memorial Concert, participate at a benefit to restore the Apollo Theater, etc, Pepper was involved with the community.

Many sporting events are listed in "Thaddeus," thanks to Pepper's penchant for saving all sorts of memorabilia. When possible, links to my Instagram site show the original ticket stub or program. Pepper especially liked football and hockey but enjoyed spectator sports of all types.

I was reminded about the one-month gig Pepper did in New York with Ella Fitzgerald in 1967. Ironically, that was at a time when Tommy Flanagan was not her music director. Tee Carson was her pianist. 

I also forgot that my reader, Ron Ley, was Pepper's Best Man. Imagine that! Ley's comments will be some of the most compelling in the biography. As you can tell from his quote in the Prologue, he was very close with Pepper and witnessed him at pivotal moments.

Pepper's early role in jazz education also jumped out at me. With Thad Jones, Tom McIntosh and others (such as Herbie Hancock and Donald Byrd), starting in the late 1960s Pepper was involved with the Wilmington Band Camp. Pepper also participated at the National Stage Band Camp.

The amount of "hit-and-runs," with those long, early-morning bus rides back to New York, was pretty startling. Adams' many gigs directly after long airplane flights, too, was a pretty frequent occurrence. The touring jazz life is grueling. Add to the lack of sleep cigarettes, alcohol, late nights and financial twists and turns and you get some sense of why so many jazz musicians, such as Pepper Adams, died far too young.

Another thing I was reminded of was the finite amount of time Pepper spent in the New York studios. He only got involved doing session work in about 1967. His participation, though limited by not doubling on bass clarinet, lasted until about 1976. He mostly did overdubs, especially on CTI dates in the early 1970s. But he was on some unusual projects, such as those by The Cowsills, Sonny Bono, The Nice and others. Of course, he also appears on many of the great early Aretha Franklin tracks for Atlantic. These were done as overdubs. He had no idea at the time for whom the music was crafted.

The number of gigs Pepper had in Baltimore for the Left Bank Jazz Society surprised me. There must be at least ten, maybe more? Also, the amount of work Pepper did with David Amram over the years is substantial. 

If anyone knows of the 2 June 1974 WBAI interview that Pepper did in New York with Larry Davis, I'd really like to hear it. That and a Phil Schaap telephone interview done on Mingus' birthday for WKCR (New York) are two radio interviews I'm eager to hear.

The length of "Thaddeus" is surprising. But, then again, Pepper's date books and memorabilia (including many band itineraries) helped me chronicle that part of his career more than any other. The sheer number of gigs and presumed gigs--at colleges, in California, or those many "possible" nights at the Vanguard--is staggering. Because so many remain unsubstantiated, much work remains to prove they actually happened. Please email me any discoveries.


                                  
                                                        (Thaddeus Joseph Jones)





Saturday, April 11, 2015

Prologue Anew

I started a new full-time job this week but somehow fit in some editing work on the Prologue to my Pepper Adams biography. I took a few weeks off from it and I think it helped me to look at it anew. John Gennari, the very fine cultural historian who is functioning as one of my readers, suggested that I add two things. One is some kind of contextualization about the late 1970s and early 1980s and what was going on in jazz as Pepper's life changed so dramatically. The other was a mention of Pepper's place in ithe baritone saxophone lineage, particularly in light of the fact that, historically speaking, it's not a typical jazz solo instrument. That alone has implications, Gennari pointed out. Pepper's choice of the baritone sax would signal certain aspects of Pepper's personality that should be hinted at in the Prologue.

Here's the updated Prologue that I'll be sending to Gennari. If you notice anything that needs amending, please comment below. It's not likely perfect but at least good enough so I can at last move on to Chapter One.



Prologue


In the Summer of 1977 Pepper Adams was at a crossroads. For twelve years he had anchored the reed section of the Thad Jones/Mel Lewis Orchestra, one of jazz’s greatest big bands, but at age 46 desperately needed to reinvent himself. Adams never wanted to be in the group in the first place. After too many years of accepting section work with big bands, he was eager to break free and work exclusively with small ensembles so he could stretch as a soloist. But Thad Jones—one of his dearest friends, whom he admired more than anyone—needed him in his newly formed orchestra, leaned on him, reminded him of all the things his mother did for him back in Pontiac, Michigan in the early 1950s and convinced him to stay. That was in 1966. Now, after hundreds of Monday nights at the Village Vanguard and countless tours of the U.S., Europe and Japan, Adams was more restive than ever. 

Pepper had voiced his frustration at least a year prior to the ’77 summer tour. He told Thad and Mel that he was unhappy with his lack of solos, citing the baseball expression, “Play me or trade me!” as some indication of his discontentment. Pepper’s clever use of the phrase, so characteristic of his understated sense of humor, has since become part of the band’s mythology. When it was uttered, they laughed and ignored it. This time around Adams wasn’t joking.

Pepper’s situation came to a head in Stockholm at the midpoint of the band’s two-month European tour. Before their August 1 evening performance at Tivoli Gardens, Adams met privately with Jones and Lewis. He told them that he wanted a pay raise and star billing as a featured soloist. Adams, though, was unaware that it was band policy to never give inordinate solo space, nor pay any musician, more than anyone else. Even if he had known, Pepper still would’ve felt entitled to it because of his twelve-year participation in the band and his longstanding relationship with both Thad and Mel dating back to the early 1950s. As things turned out, neither his tenure or rapport mattered. Much to Pepper’s surprise, Thad and Mel declined his request, steadfastly adhering to band protocol. An aggrieved Pepper Adams, left with no alternative, said he’d be leaving the band at the end of the month when the tour concluded. The news of Pepper’s imminent departure saddened everyone in the band, but none more than Thad Jones and Mel Lewis. That night at Tivoli, Adams again had no solos to play. Adams had sublimated his feelings by getting so drunk before the gig that he could barely comport himself onstage.

Adams’ close friend Ron Ley traveled with the orchestra part of the way through Scandinavia that summer and witnessed Pepper’s transition out of the band. A day or so after Adams submitted his resignation, Ley and Thad Jones had a moment alone. Jones reminded Ley that Pepper was jazz’s greatest living baritone saxophonist. Later on, said Ley, “Mel shared Thad’s opinion of Pepper’s playing and added that his opinion was shared by all fellow musicians of the period. It may have been that Thad and Mel made a point of telling me this because they knew that Pepper and I were close, and wanted to express their feelings so that I wouldn’t be left with an impression that they were indifferent to Pepper’s feelings of disappointment.”

After the tour concluded, Adams returned to New York and began forging his identity as an itinerant soloist. He already possessed an international reputation based on more than twenty years of commercial recordings with many of the greatest musicians, including Phil Woods, John Coltrane, Charles Mingus, Elvin Jones, Paul Chambers, Chet Baker, Quincy Jones, Herbie Hancock, Benny Goodman, Coleman Hawkins, Dizzy Gillespie, Thelonious Monk and so many others. In no time Pepper found himself in demand throughout Europe and North America. Then, in 1978 and 1980 he recorded two of his greatest albums, Reflectory and The Master, featuring his original compositions. Both were nominated for Grammy Awards as the best instrumental albums of the year by a jazz soloist. Building a book of originals he could perform had finally pushed him to put his mind to composition. Between 1977 and 1983 Adams wrote nearly half his oeuvre of 42 tunes. 

At last, success was coming his way from all directions. His 1979 project with singer Helen Merrill, Chasin’ the Bird/Gershwin, was nominated for a Grammy Award (his third in three years) as the best jazz recording of the year by a vocalist. He received yet another Grammy nomination for his 1983 album Live at Fat Tuesday’s and, clad in a tuxedo, Adams appeared on the 1982 nationally broadcast Grammy Awards telecast, performing (appropriately enough) the jazz standard “My Shining Hour.”

Besides being a personal triumph for Adams, his high-profile television performance was less overtly some indication of cultural and political forces that were sweeping the globe. Just a few years earlier, radical Islam had toppled the Shah of Iran and, in the West, Margaret Thatcher and Ronald Reagan were elected to dismantle “progressive” social programs. In the jazz world, as in politics, a return to conservative values would become a fact of life. In the early 1980s large American record companies, led by Columbia, concocted a media campaign (lasting a decade and penetrating even the mainstream press) that a new movement was afoot. Central to their argument was trumpeter Wynton Marsalis. Columbia first signed Marsalis as a double-threat jazz and classical recording artist. Then, while showering Marsalis with publicity, it anointed him as the leader of a new wave of fledgling African-American jazz musicians chosen in his image. These neoclassicist “Young Lions,” it was said, abhorred rock rhythms and electronic instruments. Instead, they yearned for the “nobility” of late 1950’s jazz, the post-Charlie Parker style of music that Pepper Adams never abandoned.

The altered landscape, that suddenly favored hard-swinging acoustic jazz more than at any time since the early ’60s, helped Pepper Adams. He was working steadily, winning all the readers and critics polls as the world’s premier baritone saxophonist, and had the ongoing support of a record company. A younger generation of musicians was seeking him out for their gigs and, due to numerous radio and television appearances, the public was becoming familiar with this soft-spoken gentle man who let his big horn and bigger sound speak for him.

Then, like a sand castle at high tide, it all washed away. With so much forward momentum propelling him, in December, 1983 Adams had a bizarre car accident that forced him to cancel seven months of work, including a week at Lush Life, his first prominent New York City club date in years. His marriage, already on shaky ground, ended during his convalescence, then lung cancer was discovered half a year later, leaving him with only eighteen months to live. 

Adams’ career can be measured by a long, slowly ascending arc of success that increased exponentially once he left the Thad Jones/Mel Lewis Orchestra. Without a doubt, his first six years as a traveling soloist were triumphant—a time when he burnished his legacy as a virtuoso performer and composer—making his dramatic three-year fall that much more lamentable. Nonetheless, Adams had a rich, very influential forty-year run. Consider for a moment the most notable jazz musicians of Adams’ generation. How many bonafide stylists are there among them who are instantaneously identifiable on their instrument and have had a profound effect on the art form? John Coltrane, Miles Davis and Wes Montgomery spring to mind. Clifford Brown? Cannonball Adderley and Phineas Newborn perhaps? Equally noteworthy in his own way is Pepper Adams, the father of modern baritone sax playing. Just like Coltrane, Wes Montgomery and other stylists on their instruments, Pepper’s unique sound and innovative melodic and harmonic concept, just as surely as his dazzling technical mastery, have shaped all baritone saxophonists to follow. This book is an attempt to contextualize Pepper Adams’ accomplishments and reveal the man who revolutionized the baritone saxophone.

*

On September 28, 1986, our first wedding anniversary, my wife and I attended Pepper Adams’ memorial service at St. Peter’s Church. Adams had waged a courageous battle against an aggressive form of lung cancer that was first diagnosed in early March, 1985 while touring in northern Sweden. St. Peter’s, with its modern ash-paneled interior and large multi-tiered sanctuary, is tucked under the enormous 915-foot-tall Citicorp Center at East 54th Street and Lexington Avenue. On that somber but bright Sunday afternoon, St. Peter’s chapel was packed with musicians, friends and admirers. Reverend John Garcia Gensel presided over the service and many jazz greats—George Mraz, Elvin Jones, Frank Foster, Louis Hayes, Roland Hanna, Barry Harris, Sheila Jordan, Tommy Flanagan, Gerry Mulligan and others—performed and paid their final respects. 

For over a year Adams’ plight had galvanized the jazz community, who heard varying stories about his wife leaving him, his declining health and his dire financial situation. Between September, 1985 and March, 1986 two benefits were organized to raise funds for Pepper’s medical care. One at the 880 Club in Hartford, Connecticut was organized by alto saxophonist Jackie McLean and Adams was able to attend. The other took place at the Universal Jazz Coalition on Lafayette Street in New York and featured performances by Milt Jackson, Louis Hayes, Frank Foster, Kenny Burrell, Jerry Dodgion, Dizzy Gillespie, Tommy Flanagan and the entire Mel Lewis Jazz Orchestra. Pepper, gaunt and bald from chemotherapy treatments, was out of town for that one, working a weekend gig in Memphis. He sent a letter of gratitude that was read to the audience by singer Lodi Carr.

Pepper Adams was a friend of mine, but, sadly, I knew him only during the last two tumultuous years of his life. During that time, only partly recovered from a horrible leg accident that had kept him immobilized 22 hours a day for six months, Adams was separated from his wife and had been diagnosed with the cancer that would in short order kill him. Although it was an utterly miserable time for him, it was a fascinating and complex ride for me. I was a 28-year-old grad student; a passionate jazz fan and record collector who was trying to interest a jazz musician just enough to work with me on his memoir. As fate would have it, because of his leg injury Pepper had some time on his hands. He was so gracious, so prepared, so articulate and engaging.

Then, seven months later his cancer was diagnosed. I visited him at St. Luke’s Hospital when he started his medical treatments. I saw him perform whenever he had a gig around New York. On one occasion, between sets at the Blue Note, I saw him bark at a pianist whom he misperceived was harassing him for a gig. Another time, in New Jersey, I heard the pain pour out of him during a magnificent ballad performance that brought me to tears. I spent time with Pepper at his home in Canarsie, eating pizza, watching football games and dubbing copies of his tapes. Although I was trying to gather as much information as I could in the little time that was left, I always had to reign in my curiosity and not push too hard. Things had changed drastically since the summer and I had to make the shift with him. Mostly, I had to respect that he was fighting for his life and that the cancer treatments made him feel awful. It was simply inappropriate to think that every time we got together Pepper would feel like analyzing aspects of his life.

In January, 1986, Pepper worked a four-night stint in bitterly cold Minneapolis. I urged a friend of mine to attend as some show of support. During intermission Dan Olson said hello for me, bought Pepper a beer and the two had a chance to talk at the bar. Dan told me that my gesture meant a lot to Pepper, that he was obviously quite fond of me. My final experience with Pepper was equally poignant. A month before his death, bedridden at home and under the care of a hospice nurse, I called to see if there was anything I could do for him. His nurse asked me to hold on. I waited anxiously for at least five minutes while Pepper somehow found the energy to drag himself to the telephone. In a sentence or two he acknowledged that time was short, thanked me for calling, said a final goodbye and hung up the phone. That would’ve been in August, 1986, right around the time that Dizzy Gillespie called him to say that Thad Jones had died in Copenhagen.

About a year later, once I began interviewing Adams’ colleagues, I spent a very memorable afternoon in Cambridge, Massachusetts with Tommy Flanagan. I was meeting him for the first time and was completely starstruck. Flanagan was one of the last people to see Pepper alive. He wanted me to know that transcripts of my interviews were stacked high on Pepper’s nightstand just before he died. At one point, while sitting next to Pepper on the edge of his bed, Flanagan explained, Pepper awoke and tried feebly to push my manuscript towards him. As you can imagine, I was completely stunned by this story. At first I was touched that my work comforted Pepper at the end of his life. Then I began to take my role a lot more seriously, knowing how important it was to Pepper that his work carry on after him. Of course my resolve to do this book and all the other work that’s preceded it was strengthened. But, truth be told, I’ve wanted to tell Pepper’s story since June 28, 1984, the memorable day I conducted the first of several lengthy interviews with him. His recollections of his childhood and early career (see pepperadams.com) were stunning in their depth and historical sweep. I knew right away that I had something very special.

Flanagan’s interview was one of more than 100 I conducted, mostly in the late 1980s before my daughter was born. Those I interviewed portrayed Adams as a complex figure: a hero, a genius, an intellectual, a model of grace, a virtuoso musician and stylist, yet someone also very hard to calibrate. Their remembrances revealed a brilliant artist full of interesting ambiguities and contradictions; an unworldly looking sophisticate, a white musician often mistaken for a black one, a engaging raconteur in public who was emotionally guarded in private, and a full-throated exuberant saxophonist who was mild-mannered and soft-spoken.

Many spoke of Adams’ unprecedented agility on his instrument, how he “played it like an alto.” Before Adams, the baritone sax was a cumbersome low-pitched fringe instrument rarely played outside of big bands. Because of his innovations, a baritone saxophonist with a rhythm section or as part of a small jazz ensemble is now commonplace and no longer viewed as a novelty. 

Pepper Adams was fond of saying that the range of the instrument was similar to his speaking voice. But much more about him can be divined from his adoption of the baritone sax. For one thing, Adams prized individuality above all else and scorned cliche. Becoming a baritone saxophonist in the late 1940s gave him an opportunity to create something completely unique on a little heard instrument. Like Duke Ellington, who he greatly admired, Adams could similarly stand apart from everyone else. 

Paradoxically, despite enhancing the idiom and securing his place in jazz history, Adams’ fealty to his instrument also hurt him. The public’s bias against low-pitched instruments forever stood in the way of him fronting a band or recording far more albums as a leader. Furthermore, stubbornly refusing to double on bass clarinet disqualified him from studio work that would’ve helped him immeasurably, especially during the early 1960s when work was sporadic. Throughout his career, Adams was exclusively a baritone saxophonist for hire. He never taught saxophone on the side or experimented here and there with other instruments. Always the fierce individualist, Adams lack of pragmatism was a constant and it interfered with other aspects of his life.

Part biography and part musical study, this book is the culmination of more than forty years of research on Pepper Adams. When I began working with him in 1984 I knew he was a fine saxophonist but I had little idea of the extent of his contribution or how much his colleagues admired him. I consider myself incredibly lucky to have known Pepper Adams. After so many years of researching his life and living with his music, in 2012 I produced a five-volume box set of Adams’ complete compositions that was co-branded with my book Pepper Adams’ Joy Road: An Annotated Discography. Now, with this companion work, I at long last fulfill my promise to him and myself. 

I’m especially pleased that John Vana agreed to co-author the book. John’s an alto player on the faculty at Western Illinois University. We first met when he invited me to speak at WIU in late 2013. John’s an ardent Pepper Adams fan. Soon after my visit he agreed to write a major piece on Pepper’s early style (to 1960) for a possible Adams anthology. Not long after that, John started asking me to send him, bit by bit, every Pepper Adams LP, cassette and videotape in my collection. Clearly, listening only to Adams’ early work wasn’t enough for him. He wanted to consider Pepper’s entire oeuvre. Eventually, it occurred to me that John’s piece would likely cover much of the same terrain I’d be exploring in the second half of this book. Considering the demands of my day job, wouldn’t it be better for me to write the biography and have John (with my input, additions and editorial oversight) write the second section? John thought it was a really good idea. The anthology might not even happen, I pointed out, so what better place for his study? For those either already hip to Adams’ life and recordings or encountering him for the first time, it’s our sincere hope that we convey his extraordinary contribution to the history of Twentieth Century music and inspire readers everywhere to listen anew to his glorious work.

Gary Carner
Braselton GA



Notes
Ron Ley, email to the author, 2013.



                                                                 (John Gennari)

Saturday, April 4, 2015

On the Trail

Last week I wrote about the long-lost 1955 live recording done by many of the greatest Detroit musicians. I got a text about it from saxophonist Adam Schroeder, saying he wanted to search Los Angeles for the tapes if I could just give him some more information. Adam, a very positive guy (and a very fine player in his own right) said, "I know they're here. I can feel it." After a smile and a chuckle, I called producer Rudy Tucich. All I was able to learn from him is that the tapes were mailed out in April, 1955, just a few weeks after the concert. Maybe Schroeder can do the impossible? Until something turns up, however, I'm requalifying the session in my Pepper discography as "Broadcasts and Recordings That No Longer Survive." A new version will appear soon at "Joy Road (Discography) Updates."

As you can see, I'm not only trying to discover brand new discographical things. I'm also trying to solve longstanding riddles. One example was last week's post. Still another is embedded within an Author's Note on Page 4 of my Joy Road:

"Private recordings made during the period 1953-1956 at the Blue Bird Inn, Klein's Show Bar and probably the World Stage and West End Hotel comprise part of the collections of saxophonist Joe Brazil, impressario Willie Bolar and jazz fan Terry Weiss. These collections contain recordings of Pepper Adams in performance with Wardell Gray, Sonny Stitt, Miles Davis, Thad Jones, Billy Mitchell and many of the foremost Detroit musicians of Adams' generation, such as Tommy Flanagan, Kenny Burrell, Barry Harris, Frank Foster, Elvin Jones, Yusef Lateef, Curtis Fuller, Doug Watkins and Paul Chambers. Additionally, because Detroit in the 1950s was one of the major jazz centers in the United States and, thus, an important destination for traveling musicians, these three collections also contain recordings that capture in performance many significant soloists of that time who were touring as singles or with ensembles."

As with the Detroit Institute of Arts recording of 1955, I've long wondered about these collectors; my "Big Three," vaguely reminiscent of Detroit's Big Three Automakers. I once interviewed Willie Bolar but he refused to discuss the contents of his collection. I also got pretty close to Joe Brazil, interviewing a musician friend of his in Seattle, Pete Leinonen, who said he would try to speak to Brazil for me. Terry Weiss, for her part, remains a complete mystery. I'm not even sure how I learned about her. When it was time to finish the Pepper discography, all I could do was publish the above excerpt with the hope that someone else would make another attempt. Fortunately, there's been some progress.

Some time ago, Mark Stryker, who covers jazz for the Detroit Free Press and who's nearly done writing a book about Detroit jazz musicians--not Pepper though, because he feels it would be redundant considering my work--let me know that a researcher in Washington State has been working with the estate of Joe Brazil to finally assess what's in Brazil's collection. Hallelujah! I hope to speak directly with him soon to see what he's discovered regarding Pepper. 

What about Bolar and Weiss? I had a conversation with Stryker today about them. I mentioned to Mark that he's probably the last person who could possibly make something happen with Bolar, considering Bolar's age and Stryker's position at the newspaper and his connections with the Detroit jazz community. My fear, as it is with Donald Byrd and anyone in jazz that has important papers and recordings, is that they'll die and their estate, not knowing its value, throws everything away. If Stryker's able to get anywhere with Bolar I'll let you know.

Stryker never heard of Terry Weiss but he's promised to ask around about her. I was told many years ago that Weiss lugged around a reel-to-reel at the Bluebird, Klein's and possibly even the West End Hotel and World Stage.




                                             (Mark Stryker)