Showing posts with label Chip McNeill. Show all posts
Showing posts with label Chip McNeill. Show all posts

Monday, February 3, 2020

Big Band Recording Released!















After a seven year delay, the big band recording of ten Pepper Adams compositions has finally been released. What a relief! Hugs to all my Kickstarter contributors who so graciously made this happen, who so patiently awaited for this recording to see the light of day. The various twists and turns that we experienced are detailed in the liner notes, reprinted below.

The tunes are available digitally on CD Baby: https://www.pepperadams.com/Compositions/Session6/index.html
Physical CDs will be produced, but not before the first half of my Pepper Adams biography is published. 




The University of Illinois Concert Jazz Band 
Chip McNeill, Director
featuring the University of Illinois Jazz Faculty:
 Tito Carrillo trumpet and flugelhorn
Jim Pugh trombone
Chip McNeill tenor and soprano saxophone
 Glenn Wilson baritone sax 
 Chip Stephens piano
Larry Gray bass
Joel Spencer drums


In 2012, I traveled throughout North America on a forty-city book- and record-release tour. My travels took me throughout the Midwest and East Coast of the U.S., up and down the West Coast, and across Canada. Mostly, I gave lectures to university jazz students about Pepper Adams, reading excerpts from my book Pepper Adams’ Joy Road. But in certain cities, such as Montreal, Vancouver, Atlanta, Los Angeles and San Francisco, various bands also performed Adams’ music. 
The highlight of the entire tour was “Pepper Adams Week” in New York City, sponsored by Motema, the record label that released my five-CD set of Pepper’s music. The Vanguard Jazz Orchestra performed several Thad Jones’ charts that originally featured baritone solos; Gary Smulyan and George Mraz played at various venues throughout the week (including a three-baritone event in Harlem with Frank Basile and Ronnie Cuber); Alexis Cole had a record release party at Smoke; and on the last night, a twin-bill at Birdland featured Lew Tabackin performing Pepper’s music, plus Bevan Manson conducting his octet arrangements of Pepper’s music for jazz and string quartets. After 28 years of work on Pepper Adams’ life and music, everything came together so beautifully. It was immensely gratifying to see how many musicians turned out at the various events out of respect to Pepper’s legacy.
Although I had already produced Adams’ entire oeuvre of 42 compositions for small-group, and the co-branding of my book and Motema project/tour was still in the exploratory stage, I remained especially intrigued by the idea of showcasing Pepper’s music for big band. To see if commissioning a few big band charts of Pepper’s music was even possible, in 2011 and early 2012 I reached out to the saxophonists Frank Griffith and Osian Roberts. I had known Frank since 1983, when the two of us were students together at City College of New York. Frank has a ton of experience writing big band arrangements, and, ultimately, I hired him to write charts on “Rue Serpente” and “Reflectory” Roberts, for his part, told me how much he adored Pepper’s playing and compositions, that his goal was to write a group of big band charts to Pepper’s music that he could play with a large group in Prague, where he lives. Similarly, he too did charts on Adams’ sumptuous ballads ”In Love with Night” and “Civilization and Its Discontents.”
Certainly, it was great to have these in hand, but my goal, of course, was to have an album’s worth of material. Even better would be to extend Motema’s “Joy Road” Adams series to a sixth volume, and produce a big band date. To that end, Motema initially expressed interest in the project. Then, with Frank Griffith’s recommendation, I hired a colleague of his to write a number of charts, some of which received their premiere in Vancouver with Jill Townsend’s terrific big band at Cory Weed’s The Cellar. Ultimately, a total of 32 arrangements were prepared, including several for tentet.
I had the arrangements, but, obviously, the cost of producing a big band is astronomical. With this in mind, I thought the best approach would be to engage a first-class university jazz program, thinking that possibly some of their faculty could either participate as guest soloists or function as the rhythm section. My first choice was Denny Christianson and his wonderful program at Humber College in Toronto. It was a no-brainer, really, due to Christianson’s work with Adams on Suite Mingus (JustinTime Records, 1986), the fact that he’s a stellar trumpeter and conductor, that he ran Humber’s jazz program and could make things happen, and he built a top-notch recording studio at the school. Further, my hope was to have some of his faculty participate, especially the extraordinary saxophonist Pat LaBarbera, who I produced on Alexis Cole’s vocal date (Joy Road, Volume 5). Unfortunately, as much Denny wanted to do the project, only a year earlier, a parent of a Humber student had gotten embroiled with the school regarding his child’s rights to a recording that Christianson’s student band had made. Because of that legal issue, Humber’s administration decided to henceforth cease allowing their students to participate in any recordings that were intended for commercial release.
No longer able to do the project at Humber, I turned to the University of Illinois, which has long had one of America’s finest jazz programs. The baritone saxophonist Glenn Wilson, a Pepper devotee who at the time was on the faculty, got very excited about using my charts as a means of promoting their program. Moreover, Illinois just like Humber, had their own record label that they used to promote their program. Wilson offered to record the charts at the school’s expense. Although we agreed that Illinois’ Concert Jazz Band is one of the leading college jazz orchestras in the world, I felt we needed to insure that the performance was at a professional level and consistent with the rest of my Pepper Adams CDs for Motema. As co-producers, Glenn and I concluded that the best way to achieve this would be to rehearse the student band all semester, then, at the very end, add the world class Illinois faculty as soloists and as the rhythm section.   
So we moved ahead. I delivered the charts. The Illinois band, under the direction of the saxophonist Chip McNeill, polished them over several semesters. After performing them at various venues, the band recorded them over the 2013 Easter weekend at the university’s Smith Memorial Hall Rehearsal Room in Urbana. 
Then things got complicated. First, a hectic Kickstarter campaign was successful in raising funds for studio time. But Wilson’s files weren’t in the preferred format for the engineer Paul Wickliffe. After some difficulty, Wickliffe was able to reformat them. That fall, I traveled to Wickliffe’s New Jersey studio to produce what I thought was a great recording for commercial release. My approach was to in some cases edit down performances, and to also exclude two tracks, to render a fifty-minute CD of what I felt was the strongest material.
Soon thereafter, I learned that sales of the Motema’s five-volume Pepper Adams series was lackluster, that they could not release another date of Pepper’s music. On February 15, 2014, I updated my 97 Kickstarter donors:

I’ve heard from Motema, and they have rejected putting out the CD, even despite an earlier commitment to at least release it digitally. The backup plan was to get re-engaged with the folks at the University of Illinois. Both Chip McNeill and Glenn WIlson have record labels they record with, and the University also has its own label. As soon as things are resolved I'll let you know. The date still needs to be mastered. In the meantime, enjoy the music I've sent you. As always, thanks so much for supporting my ongoing work on the great Pepper Adams.

Since I no longer had a label committed to releasing the date, it became incumbent upon Chip and Glenn to either find another label or have the university’s label release it. Illinois then moved ahead with the project. They reinstated all the edits, had Wickliffe engineer the two deleted tracks (“Patrice” and “Doctor Deep”), and master the final product. On July 8, 2014, five months later, I explained the situation:

I’m happy to report that the University of Illinois is currently working with engineer Paul Wickliffe to reinstate a few solos and edit two extra tracks. Once this is complete and the tunes are reordered, UI will be shopping the date to other labels, now that Motema has suspended their Pepper Adams series. I'll update you as I learn things. Again, thanks so much for your support and patience. 

Throughout the following months, I stayed in touch with Chip and Glenn. A year later, I was relieved that things were finally in place. Accordingly, on September 8, 2015, I sent my Kickstarter donors this update:

I’m very happy to report that Armored Records will be releasing the Pepper Adams CD that you so kindly contributed to some two years ago. Again, thanks for your generosity and your continued patience while mastering was concluded and a label was finally procured. I haven't been given a release date, but I think it's likely it will be out by this Christmas. Once I receive the stack of CDs, I’ll let everyone know so I can reconfirm shipping addresses before mailing them out to all those who contributed at that price level and above.

For the next two years, many emails went back and forth between Chip, Glenn and me about the status of the recording. Finally, in the Fall of 2017, I emailed this out:

I hope this finds everyone well. It’s been almost three years since all of you so kindly contributed to this important CD and tour project. Your funds made so much possible: mastering the big band CD, supporting the one-month North American tour of concerts and lectures, paying for these great arrangements. Some of the footage from the tour will be posted on YouTube soon. It was a fantastic experience for all involved. I hope all of you have enjoyed the rewards that were sent out in December, 2014. 
As I wrote previously, some time ago Motema discontinued the Pepper Adams series. As you may recall, the original fall-back plan was to post the CD at CD Baby, then send you a physical copy. A better strategy was then devised to instead find another label and release the physical CD. If that wasn’t possible, then the University of Illinois’ own label would be used. 
After about a year, the folks at Illinois got a deal to release the date on Armored. That was a great plan, and we were all excited and relieved. But there have been delays with that too, mostly costs for packaging that Illinois has been struggling to budget. If you don't know, the state budget of Illinois is in very tough shape. Along with Pennsylvania, the Illinois state university system is weathering severe cuts, more than anywhere else in the U.S. This has slowed the ultimate release even further.
Although I’ve proposed it several times, and it would take only a few weeks to make the date available digitally at CD Baby, it would be an act of bad faith on my part to release it that way and harm Illinois’ market share. We do remain hopeful that the CD can be released this summer, once Illinois sees if any money remains after the semester is concluded. CD Baby always remains a fall-back plan, if Illinois can not get it out, though the likelihood of that is slim. It could still take another year for them, all things considered, to scrape up the packaging costs.
We thank all of you for your continued patience with this. The folks at Illinois were blindsided, and still have to maintain their excellent jazz program. In the meantime, the arrangements you paid for are being played around the world, and Pepper’s music is being heard, thanks again to you! Yet another concert of this great music is scheduled in two weeks at Utah State, with Jason Marshall as soloist. And one of the arrangements, “Doctor Deep,” has been released by Humber College on their label. Humber’s concert was one of the high points of the tour you supported.

Woefully, the recording sat on the shelf for nearly two more years. Finally, it became clear that neither Chip and Glenn’s contacts nor Illinois’ record label was a viable alternative. At long last, in early 2019 the decision was made to have me take over the project and release the recording. Because I was so involved working on my Pepper Adams biography, however, I wasn’t able to address the project until now. 
In retrospect, despite all the unforeseen circumstances that caused the seven-year delay, I can honestly say that everyone always preceded with the best of intentions. More importantly, after listening anew with fresh ears, I’m really quite pleased with how the recording turned out. I hadn’t heard it for quite some time, but I think you’ll agree that the charts, solos, and ensemble playing are crisp, spirited, evocative, often downright superb. How can you go wrong with Pepper’s music, and some of Chicago’s finest musicians playing it?

Gary Carner
January, 2020
Braselton, Georgia


Recorded on March 30-31, 2013 at the Smith Memorial Hall Rehearsal Room, University of Illinois, Urbana IL

The University of Illinois Concert Jazz Band: Zubin Edalji, Bobby Lane, Justin Dyer, Kevin Bourassa, Dan Wendelken tp; Euan Edmonds, Ben Ford, Austin Seybert tb; Reginald Chapman btb; unknown frh*; Clark Gibson, Tom Meyer as; Mark Hartsuch, Jeff Erickson ts; Jon Griffith bs; Chip Stephens or Marcelo Kuyumjian** p; Sam Hasting g; Larry Gray or Sam Peters** b; Joel Spencer or Matt Endres*** dm; GUEST SOLOISTS: Tito Carrillo tp, flh; Jim Pugh tb; Chip McNeill ss, ts; Glenn Wilson bs.

*Two French horn players were added on at least one track.
**Peters and Kuyumjian likely play on only one or a few cuts in place of Gray and Stephens respectively.
***Endres instead of Spencer on “Patrice.”

Producers: Gary Carner and Glenn Wilson
Executive Producers: Nat and Cindy Charatan
Recording Engineer: Glenn Wilson
Mixing and Mastering Engineer: Paul Wickliffe
Post-Production Assistance: Daniel Olson
Special thanks to Matt Endres, Glenn Wilson, Chip McNeill, Jeff Erickson and Zubin Edalji.

We gratefully acknowledge all those who contributed to the Kickstarter campaign that made this recording possible. We’re especially grateful to Frank and Carol Bubel, Steven Cerra, Nat and Cindy Charatan, Pat Collins, Flavius Cucu, Claire Daly, Richard Davis, Kurt Eherenman, Joie Gifford, Jon Gudmundson, Nils Erik Hagstrom, Andrew Homzy, Ernie Jackson, Ken Kellett, Andrew Layton, Joe Lex, Larry Miller, Colin Mills, Dan Morgenstern, Gilberto Munoz, Jonathan Nathan, Peter Jason Riley, Ellen Rowe, Ben Sidran and Ed Xiques.



Monday, November 4, 2019

The Hard Copy-Ebook Dilemma















{SEE BELOW}
























This month has been an exciting one. Much to my surprise, I found thirteen
unmarked tapes that I had to review. Some fascinating material came out
of them, especially regarding Pepper and Elvin Jones’ early days together
in New York City. I even found a tape of Tommy Flanagan’s trio live at the
Village Vanguard!

Most of my efforts continue to be readying the first part of the biography for
publication. I’m in the process of making my final edits, then passing it on
to three readers for their final comments. That will push the publication date
into January but make for a stronger book.

I’ve put some time, too, into writing Chapter 7. It covers Adams’ recordings
from 1963-1977. I expect a first draft to be in place by the end of the year.
That’s well ahead of schedule. For my work on this chapter, I’ve been
listening to all my versions of Pepper’s Thad/Mel solos features. Although
there are sixteen of them, six in particular form the core of Pepper’s solos
with the band: “Once Around,” “Three and One,” “Us,” “Thank You,” “Little
Rascal on a Rock” and “My Centennial.”

Tony Faulkner sent me an exciting video of the University of Illinois Concert
Jazz Band. Three Pepper tunes are played: “Patrice” (at 9:00), “Mary's Blues”
(at 1:14:40) and “Etude Diabolique” (at 1:32:45). “Patrice” features Glenn
Wilson bs. “Mary's Blues” features Ron Bridgewater ts and Carlos Vega
ts. “Etude Diabolique” features all three plus Chip McNeill ts.

Two Pepper concerts, both jam sessions done at the Highlights of Jazz series
In New York, are available to check out. The first was led by David Amram
towards the bottom of the page. On -a, Adams solos begin at 9:55, 35:52;
48:24., and 1:05:12. A “Tribute to Al Cohn” took place on December 15, 1977.
Pepper’s solo on “In a Mellow Tone” begins at 44:32. His ballad feature on
“My Ideal” begins at 1;00:37: https://digitalcommons.unf.edu/kleinsinger/41/ 
I’ll let you find them.

I’ve gotten commitments from three European writers to review the biography.
Because everyone prefers a hard copy edition but the Pepper book will be
released only as an ebook, it was necessary to explain to them my rationale
for that decision. The following will be posted soon at pepperadams.com: 



A Word About Hard Copy
Books vs. Ebooks





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

jazz figures are either academic or small independent presses. To keep the cover price 
affordable, their modus operandi is to include mostly text and not exceed around 250 
pages. Music examples and musicological analysis, in particular, are anathema. It 
increases the book’s cost and scares off a substantial part of their readership. 

We strongly feel, however, that Pepper Adams is worthy of a major study well beyond 
what these publishers will accept. For one thing, a 250 page limit for this work’s 
biographical and cultural study (Part One) would necessitate significant excisions, 
even, as was suggested, if the entire first part was decoupled from the musicological 
section (Part Two) and published as a freestanding volume. Secondly, the musical 
analysis of Adams’ artistry is the science that proves his many accomplishments. Best 
conjoined with the biographical study, it buttresses some of the assessments in Part One 
just as surely as the biography contextualizes the analysis of Part Two. Simply put, they 
need each other.


Although the authors are fully aware that many readers prefer hard copy books, the way 
that the current publishing landscape restricts jazz scholarship is the reason why an ebook 
for a work of this kind is the only sensible alternative. By cutting out the middleman, we 
don’t have to reconsider the book’s length or scope. Photographs, music examples, 
and audio samples, too, aren’t a constraint. 

We’re especially excited that our interactive, multidimensional study allows the reader to 
listen to the recordings that are discussed in the book, and view an array of photographs 
and other related material. To that aim, all the links that are enabled within the text are tied
to corresponding documentation that’s found at other websites. Furthermore, we’ve 
Designed an inclusionary approach to Part Two so that musicians and non-musicians alike
can appreciate Adams’ eminence. Divided into two sections, the first part will contain 
general observations about his style that can be understood by non-musicians. The other, 
quite technical and intended for musicians, will include musical jargon and notation.

Three separate ebook installments will be released upon completion. “The Life of Pepper 
Adams” (Part One, 1930-1955) will be published first: Chapters 1-3 in 2020, Chapters 
4-10 a year later. “The Music of Pepper Adams” (Part Two, 1956-1986) will be published 
by 2029, in time for Adams’ centennial in 2030. Please join us for the worldwide 
celebration.

Sunday, February 19, 2017

What Happened to The Big Band and Tentet CDs?












After last week's stimulating experience interviewing Detroit pianist Charles Boles, this week was pretty sleepy by comparison. I did exchange emails with Chip McNeill at the University of Illinois regarding the long awaited CD of big band performances of Pepper Adams tunes. Unfortunately, the Illinois state budget is still on shaky ground and McNeil's esteemed jazz program has suffered because of it. For the past few years, Illinois has slashed public college educational spending. Limited resources has kept McNeill from having the revenue to, among other things, release the date on Armored Records. He told me that if he has any money left over at the end of this semester, he'll finally be able to release the CD.

This is the recording that features arrangements by the superb British drummer and arranger Tony Faulkner. In order for Faulkner to get paid, travel from England to North America for a month tour of concerts and lectures with me, and pay for the mastering of the original concert done at the University of Illinois, Tony and I oversaw a stressful but ultimately successful 30-day Kickstarter campaign in the summer of 2013. Somehow we exceeded our goal of $7000. https://www.kickstarter.com/projects/333143376/the-compositions-of-pepper-adams-big-band-cd-and-t  On behalf of Tony Faulkner, I want to thank all of you for your funding of the project. We remain eternally grateful.

One large contributor was baritone saxophonist Jon Gudmundson, who leads the jazz program at Utah State University. It was Jon's three-part goal to perform some of these charts, feature a guest soloist at the concert, and invite me to speak about Pepper. That dream is finally coming to fruition in a few weeks. His big band is performing these tough Faulkner charts on Wednesday night, April 5, in Logan, Utah, with baritone saxophonist Jason Marshall as soloist. I'll be doing some kind of pre-concert talk, plus lecturing at a jazz class the day before. While in Utah, I'm also doing lectures at Westminster College, Salt Lake Community College, and possibly a few other schools.

The big band recording that Tony and I worked on was to be Volume 6 of my multi-volume CD series of Pepper's music. My record label, Motema, cut me loose after Volume 5 due to lackluster sales. At that point, not having a label, Chip and Glenn Wilson took back the project, deciding to search for a label or self-produce it through the university. After announcing its release on Armored http://www.armoredrecords.com, I thought the issue was concluded. Two winters ago the date was scheduled for release. Then I heard something about the owner's wife having a baby. Now it's Illinois' budget problem. We're nearly four years after the date has been recorded. Because of it being in limbo for far longer than any of us thought possible, the patience of some of my donors has no doubt been tried. Chip McNeill does not want me to release an edited version on CD Baby that we produced for Motema. In respect to his wishes, I continue to wait. Almost all of the donors will be receiving a surprise CD in the mail. I wish I knew when!

In the mail this week arrived a sampler CD, All Blues, from Denny Christianson, director of Humber College's great jazz program: http://humbermusic.ca/ Sometime after Tony Faulkner and I lectured at Humber in Toronto in the Fall of 2013, Christianson directed his Humber Studio Jazz Ensemble to record a collection of tunes, one of which was Pepper Adams' composition Doctor Deep. Finally, there's a well-produced studio version of one of Tony charts! Despite so many great concerts of his Adams charts done in 2012 and 2013, and even with the prospect of doing two recordings of Faulkner's arrangements, this Humber recording is the first and only commercial release of anything he wrote. The main reason why Tony worked so hard was to create a book of material that could be performed by big band and tentet, some of which would be recorded. The Illinois date has languished, obviously, and a live tentet recording led by drummer Tim Horner didn't turn out as expected and won't be released.

Speaking of drummers, I just received this email out of the blue from drummer Tony Inzalaco. It was a response to an email I sent to him last November:

Hi Gary;  I am replying to your email concerning working with Pepper Adams, etc. Sorry it has taken me so long to respond but I rarely check the email that you contacted me on. I would be happy to speak with you about Pepper but not by email. So if you are interested I would prefer speaking via telephone. You can either send me your number or request my number. Park was one of the great gentlemen of Jazz and his body of work is a testament of his artistic level of excellence.   

Sincerely,  
Tony Inzalaco

Here's my original email:

Hi Tony: In my interview with Pepper Adams, he mentioned playing with you in Atlantic City. He said it was a sextet led by Maynard Ferguson. I've been able to approximate the dates as cApr 20-24, 1965 and cApr 27-May 2, 1965. Might you remember who else was in that band, the venue, or anything else about it? Did you work with Pepper on any other occasions?

I'm scheduled to interview Tony this afternoon

                      (Tony Inzalaco)

In a few weeks, pepperadams.com's webmaster, Dan Olson, and I will be adding audio content of some of these big band performances of Faulkner's charts from 2013, including some great things on YouTube that haven't been seen because they're not properly indexed. By then, I should know if I'm going abroad in late September to give a presentation about Pepper Adams and Detroit in Darmstadt, Germany. My research over the last few months has been working toward having something of substance to present in Germany. If it comes to pass, I've been invited to Prague to stay with tenor saxophonist Osian Roberts. He'll no doubt do a gig of Pepper tunes when I'm there, hopefully with a big band, since he too arranged a few big band charts of Pepper's music. I'm hoping to lecture about Pepper at a few schools, including possibly the Prague Conservatory, if all works out.              
                            (Tony Faulkner)

Saturday, September 12, 2015

New Pepper!



© Gary Carner. Copyright Protected. All rights reserved.



PEPPER ADAMS BIG BAND UPDATE:
I'm very happy to report that Armored Records will be releasing the Pepper Adams CD that some of you so kindly contributed to some two years ago. Again, thanks for your generosity and your continued patience while mastering was concluded and a label was finally procured. I haven't been given a release date, but I think it's likely it will be out by this Christmas. Once I receive the stack of CDs, I'll let everyone know so I can reconfirm shipping addresses before mailing them out to all those who contributed at that price level and above.

This will be added to the date's liner notes:

We gratefully acknowledge those who contributed to the Kickstarter campaign that helped make this recording possible. Special thanks go to Ben Sidran, Richard Davis, Ed Xiques, Ellen Rowe, Dan Morgenstern,  Kurt Eherenman, Nils Erik Hagstrom, Colin Mills, Gilberto Munoz, Andrew Layton, Pat Collins, Joe Lex, Peter Jason Riley, Andrew Homzy, Steven Cerra, Ken Kellett, Claire Daly, Flavius Cucu, Jon Gudmundson, Jonathan Nathan, Frank and Carol Bubel, Joie Gifford, Larry Miller and Ernie Jackson. Very special thanks go to Nat and Cindy Charatan, who functioned as Executive Producer.

The following tunes will be on the new recording:

University of Illinois (all Tony Faulkner charts)
Ephemera
Bossallegro
Claudette's Way
Doctor Deep
Jirge
Mary's Blues
Lovers of Their Time
Julian
Etude Diabolique

Also, in a few weeks we'll have another 16 videos of Pepper tunes uploaded to YouTube from four concerts that Tony Faulkner videotaped (at the Blue Wisp, in Montreal, at the Puffin Foundation in Teaneck NJ, and at Trumpets in Montclair NJ) as follows:

Puffin (all Faulkner tentet charts):
Ad Astra
Dobbin'
Valse Celtique
In Love with Night
Freddie Froo

Montreal (Faulkner tentet charts):
Conjuration
Dobbin'
Urban Dreams
Ad Astra
Freddie Froo
Philson
Diabolique II (chart by Bill Mahar)

Trumpets (Faulkner charts for big band):
Dobbin'
Philson
Freddie Froo
Park Frederick III

Blue Wisp (big band, charts by Larry Dickson)
Bossa Nouveau
Twelfth and Pingree 

Aside from these, Glenn Wilson's new CD release has two Pepper tunes.

Apart from all the good news, this past September 10 marked the 29th anniversary of Pepper's death. It's always a solemn day for me, commemorated by burning a candle in his honor.





                             (Chip McNeill)



                                                     (Glenn Wilson)



                                      (Glenn Wilson's new release)