William Paterson University and the Influence of Bob Wilber

© Gary Carner. Copyright Protected. All rights reserved

I woke up today thinking about the William Paterson University lecture I'm giving on Monday, October 19 for David Demsey's class. I've spoken there once before but what can I do that's new and different? William Paterson's students are among the best in the U.S. Its graduates include Alexis Cole and Eric Alexander, to name just two. Thad Jones first established Paterson's program, and subsequent directors include Rufus Reid, James Williams and Mulgrew Miller. That should give you some indication of the program's excellence. Yes, I'd like to do something different for those kids, to try to inspire them to give me some feedback on Pepper so I can learn from them.

At first, it occurred to me that it's still a little strange that so few have heard Pepper's playing. I thought maybe I'd start with the introduction to Charles Mingus' "Moanin'" to remind them that they probably have already heard Pepper, though they might not know it? Pepper's plaintive, iconic intro is undoubtably the most famous, widely heard thing he's ever done. It's been used as theme music on radio and in films such as Bowling for Columbine and Jerry Seinfeld: Comedian.

Since I'm busy writing Pepper's biography, I also thought maybe I could read them part of my Prologue, to share some of my work and use it as a way to introduce Pepper's life and as an organizing principle for the lecture. I could pick a few tunes that I reference, such as Pepper's brilliant performance and arrangement of "That's All" (from Reflectory). I could also play videos of Pepper on "My Centennial," to show him at his time of crisis while edging out of Thad-Mel, and Pepper's triumphant performance on the Grammy Awards telecast.

Then I started listening to some private material from the early '80s, when he played so freely, and, lastly, "Chant" and "Cecile" from Live at the Half Note, just to hear his wonderful sound and that wonderful band. It's been quite a morning of listening! I'm still not sure what I'll pick, but, unlike my usual approach, which is pretty scripted, I think I'll shed the teleprompter and keep the lecture very loose so I can give the students as much space as possible to respond to the music.

                

                                                                           *

Over the last few days I've been thinking a lot about Bob Wilber. I originally thought he came to study at the Eastman School of Music in Rochester, New York in the Fall of 1946 but I was mistaken. It was actually a year earlier, when Pepper was 14 and in Ninth Grade. Wilber was a huge influence on Pepper and his three-man jazz clique of woodshedding musicians--Pepper, Raymond Murphy and John Huggler--who every weekend got together to play along to the latest Commodores and Blue Notes. 

Pepper met Wilber at the Pied Piper (later renamed the Cafe Bohemia) in Greenwich Village sometime in the summer of 1945. Pepper traveled down from Rochester with his mother to hear Max Kaminsky. Wilber told Pepper at the gig that he'd be coming to Eastman to study that coming Fall. It turns out that Wilber visited with Pepper all the time that semester, staying for dinner and listening to records. Wilber would also sit in with Pepper's practicing threesome every weekend that entire Fall until Wilber quit the program to move to New York City to study and live with Sidney Bechet. (See this great photo of Wilber and Bechet in 1947 at Jimmy Ryan's.)

To give you an indication of how good Wilber was at age 17, just a year after he split Eastman he was recording with Bechet in New York. Wilber has always had tremendous facility on the alto, soprano and clarinet. He blew into Rochester for little more than four months but no doubt shaped Pepper. At that time, Adams was a struggling 14-year-old instrumentalist. Wilber, on the other hand, was already a formed player whose playing, even then, exhibited a playfulness and joyousness along with tremendous momendum and drive. His solos always swung hard, built up logically and exhibited a lot of heat. Adams had never been around a wind player of that quality on a consistent basis for many months in a row and it had to have rubbed off on him as a great example of how to play jazz. I believe that Wilber's example spurred Pepper to continue to develop, and it paved the way for him to improve throughout 1946 and 1947 by playing in the working band at Rochester's Elite Club. 

I don't know if Bob Wilber instructed Pepper to work on specific things or not but I wrote this email to Wilber's wife, Pug Horton, to see if I could learn more from them about that time:

Hi Pug: I got your email from Michael Steinman. I'm Pepper Adams' biographer. I'm currently writing Pepper's biography, the second of two books I'm doing on Pepper. My research this summer has me very involved with the early jazz history of Rochester NY (pre-1948). It's becoming quite clear to me, despite Bob's modesty, that Bob was the single most important influence on Pepper before he moved to Detroit. After all, they practiced together every week for four months in the Fall of 1945. Pepper was a struggling clarinetist at 14-15 and Bob was 18 and very advanced. If he can remember anything they played together with John Huggler and Raymond Murphy, besides playing along to records, I'd like to include that in the book. Perhaps Bob suggested things for Pepper to practice? Certain techniques, etudes, scales, breathing advice, whatever? Please ask him for me?

I'm also writing because I interviewed Bob in 1988 at the Sticky Wicket. He told me he had for a while a saxophone quartet rehearsal band in NYC that he was writing charts for that included Pepper, him, someone I can't remember on tenor, and an alto player whose first name began with Rudy but whose last name he couldn't remember. Please ask Bob if it was Rudy Powell and whether any tapes exist of these rehearsals?

Thanks,

Gary Carner

pepperadams.com

Hopefully I'll hear back soon. In the meantime, check out Wilber's autobiography, Music Was Not Enough, and his performance at the 2013 Newport Jazz Festival with the great Bill Charlap Trio. Wilber still sounds great at age 85!:

                                          (Bob Wilber)

Genealogical Breakthroughs and Other Ephemera

© Gary Carner. Copyright Protected. All rights reserved

What did the week bring about regarding Pepper Adams? Two significant developments and another possible one. First, was the receipt of an audience tape from Dave Schiff. It's a performance from June 21, 1974 of Pepper with Roland Hanna and several students at the Wilmington Music School in Wilmington, Delaware. (Another CD, from either 1968 or 1969 with Thad Jones, is forthcoming!) Adams and Hanna perform Thad Jones' "Quiet Lady" and Adams' "Civilization and Its Discontents" in a quartet and quintet format respectively to begin the concert. This is the only known time that Adams and Hanna performed these tunes apart from their recording of them on Adams' masterpiece LP, Ephemera, recorded the year before. "Civ" also has Schiff playing the melody on flute, which I believe was unknowingly a dry run for the Bill Perkins recording of the tune four years later. 

Two other tunes on the audience tape, "Straight, No Chaser" and "Royal Garden Blues," follow more of a jam session format, giving some the Camp's students a chance to show what they learned that week. It's possible that trombonist Wayne Andre was on the faculty and on the recording. I'll need to listen again, but not in my car, so I can finally make sense of some of these things.

I also had a email conversation with Schiff this week regarding his recording of "Civ" and my plans for the CD reissue of Ephemera. It turns out that Schiff recorded "Civ" as a tribute to Pepper, not knowing the title of the tune. His rendition will be added to pepperadams.com soon so you can hear his arrangement. 

As for the reissue, an engineer friend of mine in Los Angeles, Jim Merod, is about to do post-mastering work on the date to try to improve the sound of the piano and to increase the volume of Mel Lewis' drums-- especially his brushwork on "Quiet Lady," that remains virtually inaudible. For his part, Schiff is also considering whether he can produce the reissue on his label. We may decide to do a modest Kickstarter campaign to pay for the first round of CDs. I hope we can rely on you, my faithful readers, to help with this project. Although Ephemera is one of Pepper's greatest recorded achievements, it's never been issued on CD!

Otherwise, I've been working with Jocelyn Ireland, a librarian in Utica, New York, and a genealogist colleague of hers, Keith Gerland, to try to make some sense out of the allegation that Pepper lived in Utica from the Summer of 1935 until the Summer of 1937. I was first given an anonymous tip about it in an unsigned email. (Who was that "masked man?") So far, however, nothing has turned up in the 1935 Utica city directory or any census information. I'm awaiting word as to whether there were 1936 or 1937 directories for Utica and if anything turns up. 

This from Ireland: "You mentioned doing a search for the family in Rome. We don't have any of their directories but I think Ancestry.com may have some digitized. I'll have to check if they have Rome, NY around 1933-34. There is also the possibility the family stayed with Park F. Adams' parents in Oriskany, NY. I believe Oriskany may have been listed in Utica City Directories in the 1930s -- another thing I'll have to check. . . . I will check if there was any Adams in Oriskany, NY and if Rome's directory is on Ancestry.com."

Jocelyn has been great thus far. From what I gather, Pepper Adams and his mother moved to Rome in the Summer of 1934 to reunify with Pepper's father after a three-year separation due to the lack of work during the worst of the Great Depression. They lived in Rome at 806 Jerris or Jervis Avenue from that summer until the Christmas holiday, when they moved to Rochester. They may have lived briefly in Oriskany with family, a small town between Rome and Utica, while searching for a place to live.

Jocelyn also found these links for grave sites, two with obituary information:

Grave and obituary of Pepper's father, Park Frederick Adams:
http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=12500616&ref=acom

Birth:  1898 Rome Oneida County New York, USA Death:  May 19, 1940 Rochester Monroe County New York, USA Utica Daily Press 1940 Park Adams, 44, a native of Rome, died May 19, 1940 of a heart attack in his home in Rochester. He was born in Rome, son of the late Nathaniel and Frances Adams. He married Cleo Coyle in Detroit, Michigan. He had lived in Rochester four years, where he was a manufacturer's representative. He went to Rochester from Detroit. He was a member of the Christian Science Church in Rochester, the Masonic Lodge and Knights of Templar in Detroit. He leaves a daughter, Mrs. George Gifford, Rochester, a son, Park Adams Jr., Rochester, three sisters, Mrs. Fred Weaver and Mrs. Roy Johnson, both of Los Angeles, and Mrs. Rita Head, Oriskany, and a grandchild. The funeral will be conducted in Rochester tomorrow with burial in New Union Cemetery in Verona Mills Family links:  Parents:   Nathaniel Qunicy Adams (1858 - 1929)   Frances Cleveland Adams (1863 - 1940) Burial: New Union Cemetery Verona Oneida County New York, USA

Added by: Bea Lastowicka Cemetery Photo Added by: Tombstone Hunter   Photos may be scaled. Click on image for full size. REPOSE EN PAIX! - quebecoise  Added: Oct. 9, 2006

Grave and obituary of Pepper's paternal grandmother, Frances Cleveland Adams:
http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=12500616&ref=acom

Birth:	1863 Mohawk Herkimer County New York, USA
Death:	Jan. 26, 1940 Los Angeles Los Angeles County California, USA
Rome Sentinel January 27, 1940 Mrs. Frances Cleveland Adams, widow of Nathaniel Quicny Adams, a former resident of Rome and Oriskany, died Friday at a hospital in Los Angeles, California. She had gone to California a year ago last November to make her home with her daughters. She was born in Mohawk, a daughter of Abel B. and Abbie J. Cleveland. About 62 years ago she was married to Mr. Adams who died about 10 years ago. Her married life was spent in New London, Churchville and Rome before coming to Oriskany 25 years ago. For a number of years, the Adams operated the Temperance Hotel, S. James St., Rome. Mrs. Adams was a member of First Methodist Church, Rome, and later of Waterbury Memorial Presbyterian Church, Oriskany. She was a member of Queen Esther Rebekah Lodge, Rome. She was also a member of the Maccabees and served through the offices, the organization later becoming the Women's Benefit Association. She was also a member of Oriskany Chapter 524, OES and had served as chaplain and in other offices. Survivors are three daughters, Mrs. Fred R. Weaver and Mrs. Roy H. Johnston, both of West Los Angeles, California, and Mrs. Rita Head or Oriskany, a sister, Mrs. Emma Callahan, Rome, seven grandchildren, including Francis Head, Rome and Mrs. Lee Kite, Lowell, and five great-grandchildren.

Grave of Pepper's mother, Cleo Coyle Adams:
http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=27629332&ref=acom

Birth:  1899 Death:  1971 Burial: South Park Cemetery Columbia City Whitley County Indiana, USA Plot: 2-26-1 Created by: Jim Cox Record added: Jun 17, 2008 Find A Grave Memorial# 27629332

Added by: Just Dave Cemetery Photo Added by: vcrusaderfan   Photos may be scaled. Click on image for full size.

Obviously, I now have a whole new world of research to pursue regarding Pepper's ancestors. I'll let you know of my progress. I did do a search regarding the Coyles. So far, it seems that Pepper's mother is the only child of Charles (1869-1916) and Minnie B Coyle (1872-1941). I'm trying to determine if/how Eloise Coyle was related. She lived in Columbia City, Indiana (in Whitley County) in 1935 (just after Adams and his mother left for New York), and was married, as of the 1940 U.S. Census, to Carl Banning (born c. 1920). Her age makes her a possible first-cousin.

Growing Up in Rochester, 1935-1947

© Gary Carner. Copyright Protected. All rights reserved.

For the last few weeks I've been reading Blake McKelvey's history of Rochester. McKelvey, one of America's greatest urban historians, wrote, among many books about Rochester, his definitive four-volume study: Rochester: The Water-Power City, 1812-1854; Rochester: The Flower City, 1855-1890; Rochester: The Quest for Quality, 1890-1925; and Rochester: An Emerging Metropolis, 1925-1961. Fortunately for me, late in his life, McKelvey abridged his roughly 1600 page study into one 300-page volume, Rochester on the Genesee. I read this book up to his account of 1929, then turned to the original fourth volume, that I read from 1929 until mid-1947, when Adams left Rochester for Detroit. What I was after was a basic understanding of Rochester's origins as a city, but I wanted the specificity that the original study would give me about Pepper Adams' time in Rochester and how the Great Depression was navigated by its citizens beginning slightly before Pepper arrived.

I've learned much about the derivation and makeup of Rochester, but McKelvey's accounts of what went on during Pepper's boyhood is really fascinating. Even as a young grade-school student (ages eleven to fourteen), Adams wouldn't have been immune to all the things going on in Rochester on behalf of the war effort. Here's some of my notes about his Rochester experience, in no apparent order:

With Defense Department orders coming into Rochester factories in the late 1930s as a response to war in Europe, the last traces of the Great Depression ended. By late 1940, as the United States clung to its neutrality while Hitler invaded countries in Europe, Rochesterians were involved in numerous war relief drives, and the sale of defense bonds and scrap drives. According to McKelvey, "the first scrap metal drive collected over twenty tons of aluminum. A paper-salvage campaign quickly eliminated all danger of a shortage in that field. Awakening to the value of scrap metal, the City Council halted its plan to cover old trolley tracks with asphalt and undertook the more laborious task of salvaging them for scrap."

As a ten-year-old boy, Pepper Adams would have heard, observed, read or participated in all sorts of activity taking place around him in response to the war. Many citizens listened to President Franklin Roosevelt's "fireside chats" throughout the 1930s and Adams likely heard some of these with his parents as they continued throughout the war. 

Virtually every organization in Rochester was eager to help with the war effort. The Boy Scouts and Automobile Club helped itemize cars that could assist in an evacuation of the city, the Society of Engineers surveyed buildings suitable as bomb shelters, the League of Women Voters distributed information about various defense provisions and devised an example of a "blackout room," county staff drew up contingency plans for the evacuation of 20,000 Rochesterians, and school children were asked to fill out a questionnaire indicating if they needed special assistance in the event of an evacuation. A series of practice exercises took place in Rochester to test blackouts.

As per McKelvey: "The technical facilities of many Rochester firms attracted a flood of defense contracts exceeding $75 million in total value by the end of August, 1941. . . . Defense contracts brought a surge in employment." 

After the invasion of Pearl Harbor, many Rochesterians joined the military and, according to McKelvey,  "local officials hastily stationed emergency police at several vital points--notably the airport, the reservoirs, and the New York Central Bridge across the Genesee River. Defense industries increased their guards; 400 legionnaires voluntarily manned a series of air-raid posts; both the city and county defense councils engaged full-time staffs and prepared to operate on a war basis. When a hastily announced blackout demonstrated some of the inadequacies of the earlier civilian defense provisions, jittery residents readily backed measures for improvement; some called for an effective roundup of all enemy aliens. . . . With the outbreak of war, the President designated all Japanese, German and Italian nationals as enemy aliens and required them to turn in to the police all cameras, shortwave radio sets, and firearms. . . . The city and county war councils sprang quickly into action." 2600 volunteered for air-raid duty, 500 as auxiliary firemen, 1000 as aircraft-spotters, 1000 as auxiliary police and 400 for a civilian air patrol. The Red Cross were tasked with training nurses for possible emergencies. Volunteers prepared thousands of first aid kits and a blood bank was established. 

Unlike the war-bond drives in World War I that were intermittent, Adams would have recognized the incessant war bond drives of his era. As a citizen, he would have participated in the scrap-metal drives too, though it's not known to what extent school children participated. In 1941, Rochester collected of 20 tons of aluminum; in 1942 the city exceeded 1000 tons. Rubber salvage netted 300 tons. Rochester barbers collected in two months 240,000 used razor blades. Some 200 tons of tin cans were collected. Besides metal and other common scrap, housewives were also asked to salvage fats from its garbage.

According to McKelvey, "It was in the great scrap-metal drive of October [1942] that the community as a whole outdid itself. A skillful newspaper campaign, featuring the achievements of other communities, prepared the way. The Junior Chamber enrolled several hundred volunteer scrap sorters who turned out on five holidays to help speed the metal to hungry foundries. Because of the great number and generous size of the curbstone scrap piles, the scheduled collections, on October 24, was prolonged over a period of several weeks." 

Rationing was another effect of the war. Sales of tires and sugar were limited, as were the sale of meat, shoes, new cars, typewriters, bicycles and other scarce items. Ration books were distributed, and hundreds of teachers and volunteers scrutinized more than a half a million applicants for coffee, gasoline, building materials and other items. Because of gas rationing, bus traffic became more common as a form of transportation.

Thanksgiving and Christmas/New Year's celebrations were observed quietly at home, McKelvey writes, due to the continuing war effort and out of respect to returning servicemen.

Nine blackout tests took place in 1943.

The summer of 1944 attracted high-school students and teachers to help with harvest as labor for the war effort was siphoning off all able-bodied men, women and even POWs.

Even despite 7000 of its employees working for the war effort, Eastman Kodak expanded its operation during the war. By December, 1944 it employed 29,000 workers.

Red Cross and Community Chest drives were also successful in raising funds and collecting used clothing for war relief.

A victory-garden program enrolled 30,000 volunteer gardeners in 1943 and 1944 to alleviate any food shortages.

The Rochester park system, one of America's best, was maintained at full capacity during the war, even with a budget austerity in place, as seen in other city programs.

A severe snow storm, the worst in 40 years, took place on December 11-12, 1944.

Another winter storm paralyzed the city on Nov 29, 1945.

Rochester was very proactive and ahead of the curve regarding its unemployment situation after the Crash of 1929. In February 1931, Kodak and thirteen other large Rochester companies established unemployment insurance for its workers. Relief work for the unemployed was established in 1931 and again in 1932, with matching funds from the state. 250 acres were given to 2000 families as "self-help gardens" to grow food. The program was sustained the following year and for years to come. A large bond was supported by local banks for relief work and city services after Franklin D. Roosevelt's inauguration in 1933. All of this was established before Roosevelt's New Deal reforms were rolled out in the U.S.

                (Acclaimed historian Blake McKelvey.)

8-Tracks Galore!

© Gary Carner. Copyright Protected. All rights reserved.

How about a break from Rochester, New York? Although my work continues, and it remains continually fascinating to me, I thought I'd take a diversion and revisit an old thread from a few months ago. Do you remember my discussion of Pepper Adams' 8-track collection? I wrote about it in conjunction with the Rex Stewart material that Pepper recorded to amuse himself. Pepper's 8-track collection provides all sorts of clues into what he liked, what was in his collection, and what he liked to listen to while cruising around from gig to gig in around 1965-1975.

Here a guided tour to his collection, that I eagerly scooped up with his Wollensak 8-track player (see https://instagram.com/p/rm4zHfpnj3/) when his widow, Claudette, allowed me to take anything I wanted as she was disposing of Pepper's belongings in late 1986.

COMMERCIALLY RELEASED 8-TRACKS:

It's hard to determine what ones Pepper actually purchased and what ones he might have obtained along the way. If there's any one he would have bought, however, it's Flanagan's 1975 solo recital on Pablo of all Ellington/Strayhorn compositions!

1. Duke Ellington, Greatest Hits (with Solitude, Caravan, Mood Indigo, The  Hawk Talks, Sophisticated Lady, The Mooch, VIP Boogie and Accentuate.

2. Donald Byrd, Street Lady.

3. Coleman Hawkins, Sirius.

4. Miles Davis, Filles de Kilimanjaro.

5. Yusef Lateef, Suite 16.

6. The  Trumpet Kings Meet Joe Turner.

7. Chick Corea, Light As a Feather.

8. Miles Davis, Sketches of Spain.

9. Jean Sibelius, Symphony No. 6 and 7.

10. The Definitive Jazz Scene, Vol. 1 (Impulse)

11. Tommy Flanagan, Tokyo Recital.

REX STEWART:

There's one overview of early Rex Stewart material that Pepper put together and would have originally enjoyed when he was growing up in Rochester (1935-1947). All of the material is pre-1945 work, mostly with Ellington. I discussed this in an earlier post: http://gc-pepperadamsblog.blogspot.com/2015/05/from-wollensak-with-love.html

CHARLIE PARKER:

Here's six tapes Adams prepared, four from air checks.

1. Scrapple from the Apple, Groovin' High, Anthropology, Now's the Time, Bird of Paradise, Ornithology, Koko, Cheryl, Dizzy Atmosphere, This Time the Dream's on Me, 'Round About Midnight, Move, Out of Nowhere, Cool Blues, 52nd Street Theme, Scrapple from the Apple, Moose the Mooche.

2. Blue 'n Boogie, Anthropology, 'Round About Midnight, Night in Tunisia, Shaw 'Nuff, Hot House, Groovin' High, Slow Boat to China, Be-Bop, Ooh-Bop-She-Bam, Scrapple from the Apple, Be-Bop, Hot House, Cheryl, Salt Peanuts, How High the Moon, Big Foot, Salt Peanuts, Out of Nowhere, Parker's Mood.

3. Dial recordings: Drifting on a Reed, Out of Nowhere, Moose the Mooche, Bongo Bop, Cheers, Bird of Paradise, Dexterity, Bongo Beep, Dark Shadows, Scrapple from the Apple, Relaxin' at Camarillo, Klactoveesedstene, Don't Blame Me, Dewey Square, Ornithology, Out of Nowhere, Bird Feathers, Quasimodo, Hallelujah, Bird of Paradise, Dexterity, Bongo Bop, Klactoveesedstene, My Old Flame, Bird's Nest.

4. At the Cafe Society Downtown: Just Friends, April in Paris, Bewitched, Summertime, I Cover the Waterfront, Gone with the Wind, Easy to Love.

At the William Henry Apartments: Half Nelson, Cherokee, Scrapple from the Apple, Star Eyes, Bernie's Tune, Donna Lee, Out of Nowhere, Half Nelson, Fine and Dandy, Little Willie Leaps, All the Things You Are

In Malmo: Lover Man, Cool Blues, Anthropology 

With Milt Buckner: Groovin' High.

5. Bird at the Pershing Ballroom (Chicago, 1950): Indiana, I Can't Get Started, Anthropology, Out of Nowhere, Get Happy, Hot House, Embraceable You, Body and Soul, Cool Blues, Stardust, All the Things You Are, Billie's Bounce, Pennies from Heaven.

6. Dial recordings: various well know titles, including Dewey Square, The Break, Embraceable You, Cool Blues, How Deep Is the Ocean, Crazeology, Relaxin' at Camarillo, etc.

THAD JONES

Here's the contents of two 8-tracks that Pepper prepared. The first five cuts of #2 are from The Magnificent Thad Jones, Volume II.

1. Compulsory, All of Us, Zec, Alone Together, Cross Purpose, Scratch, Forever Summer, Let's, Blue Room, Tiptoe, Zec, Played Twice, Brother Peabody, Black Light.

2. April in Paris, Billie-Doo, If I Love Again, If Someone Had Told Me, Thedia, Lady Luck, You Don't Know What Love Is, Osie's Oasis, I Mean You, Balanced Scales = Justice, Ill Wind, Quince, I'll Remember April.

TOMMY FLANAGAN:

Six tapes of solo, duo and trio recordings.

1. with Reggie Workman and Joe Chambers: Pent-Up House, Condado Beach, Let's Call This, So Sorry Please, Ballad, Milestones, Softly As in a Morning Sunrise, Night in Tunisia, Some Day My Prince Will Come, Autumn Leaves, It's All Right with Me, Angle Eyes, Straight Mo Chaser;
with George Mraz and Elvin Jones: Cup Bearers.

2. solo and trio: Parisian Thoroughfare, In Your Own Sweet Way, Like a Butterfly, Here's That Rainy Day, Alone Too Long, Maybe September, Strollin', Glad to Be Unhappy, No More, That Old Devil Called Love, Barbados, Some Other Spring, Easy Living, Woody 'n' You, Star-Crossed Lovers, Jump for Joy, Blue Bossa, Peace, Friday the 13th

3. Flanagan solos, as a sideman, with: 

Eddie Davis: Straight Ahead

Pee Wee Russell Memorial

At Ease with Coleman Hawkins

Introducing Kenny Burrell

Coleman Hawkins-Clark Terry

NY Jazz Sextet

Howard McGhee: Dusty Blue.

4. with Ron Carter and Roy Haynes: 52nd Street Theme, Smooth as the Wind; Passion Flower; Muffin; Ruby, My Dear: Verdandi; Bess, You Is My Woman Now; Hustle Bustle; Lament; Bean and the Boys; In Walked Bud; Ultima Thule; The Very Thought of You, Dignified Appearance.
with Keeter Betts and J. Smith: Something Borrowed, Something Blue; West Coast Blues; Groovin' High; Bird Song; Good Bait.
with J.J Johnson: Blue Trombone.

5. with Joe Benjamin and "Doc": America, Lonely Town; Tonight, It's Love; Lucky to Be Me; Glitter, Be Gay; Make Our Garden Grow.
with Hank Jones, Kenny Burrell, Paul Chambers, Arthur Taylor: Yesterdays, You'd Be So Nice to Come Home To, Chasin' the Bird, Dear Old Stockholm, The Theme, Confessin'.
duet with Hank Jones: Our Delight, Autumn Leaves, Robbins' Nest.

6. Super Session (with Red Mitchell and Elvin Jones): Django, Minor Perhaps, Too Late Now, I Love You, Rachel's Rondo, Things Ain't What They Used to Be.
Plays Howard Arlen (with George Mraz and Connie Kay): Between the Devil and the Deep Blue Sea, Over the Rainbow, Sleepin' Bee, Ill Wind, Out of This World, One for My Baby, Get Happy, My Shining Hour, Last Night When We Were Young.

Any one know who the drummer "Doc" is in #5 above? Next week, or whenever I resume this inventory, I'll get deeper into Pepper's collection. Have a great week!

                         (Tommy Flanagan)

Letter to Noal

© Gary Carner. Copyright Protected. All rights reserved.

Here's a post in the form of a letter. I sent it to Rochester drummer and author Noal Cohen, who has helped me with my research of early Rochester jazz. Cohen currently lives in New Jersey, but worked with Chuck Mangione and Ron Carter in Rochester when he lived there in the late 1950s. He's the esteemed coauthor of Rat Race Blues, the biography of Gigi Gryce.

Hi Noal: I'm making great progress on the early days. I'll be doing one last interview tomorrow night with 88-year-old Fred Remington, Dave Remington's first cousin. He was a Tatum-style pianist who became a psychiatrist. He knew all the cats in the 1940s, including Herbie Brock. I'm hopeful he can put a useful spin on that time and answer some of my remaining questions. 

With my various interviews, I now have a composite of those times, including how bop was slowly incorporated into Rochester's music. I'll be writing it up in a blog post. That post will also include some other research I've done about Rochester jazz in the early 1950s--not germane to my Pepper biography, of course--but it will include a mention of a clique of musicians, Jon Hendricks among them, and so forth.

It doesn't sound like the Frederick Douglass Voice covered the jazz scene. In my interview with saxophonist Ralph Dickinson, who read the paper then, he said that his six-month gig at the Elite wasn't mentioned in the Voice. Considering that, it seems doubtful it ever was mentioned during the time Pepper played in the band. Because of that, I've decided not to visit the Rochester Museum and peruse back issues. I have descriptions of the Elite from two different sources and that will suffice. The building and general area was torn down to build the Inner Loop [highway], so I'm not even visiting it to take photographs. I also get the sense that Howard Coles' radio shows were gospel oriented and inspirational in nature, plus I guess he relied on his sources and his newspaper work to also speak about affairs of the day? 

The radio shows that would interest me are Raymond Murphy programs on WRNY in 1946 and '47, if any exist, because Pepper had some input into their preparation and listened to them while in high school. I've been told that a large collection of old radio programs are housed at St. John Fisher College. I'm researching that to see if they possibly exist, but it's a long shot indeed. 

I've also been in touch with a blues harpist, Tom Hanney, who is on the faculty of RIT and is doing original research on the blues scene in Rochester. It looks like it doesn't go back that far, but, very significantly, Son House lived in obscurity in Rochester from the early 1940s until he was rediscovered by Alan Wilson of Canned Heat in the mid-1960s. I've asked Tom to try to determine whether House got any press or even occasionally surfaced to do a gig here and there when Pepper lived in Rochester. At this point, it seems doubtful but we'll see.

The series from the D&C [newspaper], "Whatever Happened to . . . ," gives me all sorts of color about what Rochester was like in the first half of the century. I'll be relying on that to give my chapter some more depth. There's a monograph written by Curt Gerling called Smugtown that was published in the 1940s in the American Journal of Sociology that I'd like to see. It measures the moral index of Rochester (disguised by the euphemism "Gorge City.")

An important urban history of Rochester was written in four volumes by Blake McKelvey, originally by Harvard U. Press. That's also something I'd like to check out. Volume 4 seems like the one I want. 

Lastly, I'll be getting a thumb drive of info from Doug Duke researcher Sheron Dixon Wahl with all sorts of data on it. Clearly, Duke was one of the pioneers of the jazz organ and important in that way. He played for many years at Squeezer's.

I'll write my last historical blog post about Rochester, then send you the link. I'd be pleased if you could add it with my other ones to your site. It will in some ways be the core of my RIT talk on October 21.

All the best,

Gary Carner

pepperadams.com

                                     (Drummer Noal Cohen)

The Frederick Douglass Voice and Other Ephemera

© Gary Carner. Copyright Protected. All rights reserved.

The family is away for a few weeks, giving me a great opportunity to get lots of Pepper work done. The first thing to do is to prepare for a follow-up interview with Dave Schiff, about whom I wrote a few weeks ago. Also, I’m going to listen again to my Rochester interviews to prepare for an interview with Paul Remington’s father, Frederick. Frederick is Rochester trombonist Dave Remington’s first cousin and a fine Tatum-influenced pianist in his own right. Frederick Remington was on the scene in the mid-1940s when Adams was in Rochester. He knew a lot of the important musicians, including pianist Herbie Brock. Additionally, he trained as a psychiatrist. As a musician and a student of behavior, he might have insights regarding the personalities of that time. 

Along with Brock and Remington, the third leg of the 1940s-Rochester-musician stool is Doug Duke. I’m receiving from researcher Sheron Wahl a set of interviews that she did about Duke, most significantly with Paul Preo and Dick Mulhaney. Both knew Duke in 1945. Here’s what Wahl told me about Preo:

At some point along the way I met Paul Preo, a Kodak engineer who lived in Rochester NY and who discovered Doug Duke at Squeezer’s back in 1945. Paul loved tinkering with the latest recording devices available. He began recording Doug while he still worked at Joe Squeezer’s and continued to record him until shortly before Doug’s death. Discovering Paul Preo along with his hundreds of recordings and memories was like discovering a gold mine. Paul and I worked together gathering materials to develop the Doug Duke page.  

Trying to learn more about that time in Rochester, and to contextualize everything that went on, I’ve been working to locate a run of the Frederick Douglass Voice, the most important Rochester black newspaper of the 20th Century. Thanks to University of Rochester research librarian Melissa Mead, who’s been extraordinarily helpful, I reached archivists at the Rochester Museum and Science Center. The Museum houses what seems to be a complete set of the newspaper. Generally referred to as The Voice, because it changed names several times, here’s an overview of its incredible 63-year pedigree:

The Voice: October, 1933- November, 1942

The Rochester Voice: June, 1943- December, 1947

The Voice of New York: January, 1948- November, 1949

The Frederick Douglass Voice: January, 1950- July, 1960

The New Negro Voice: December, 1960- January, 1961

The Rochester Voice: October, 1961- March, 1967

The Frederick Douglass Voice: July, 1967- May, 1996

One of the Museum’s librarians sent me a “Finding Aid” to their Coles Collection. From the Coles website is this description of Howard Wilson Coles: “The legacy that Coles has left through this collection is unparalleled, not only in this community but also in the nation. It sheds light on the remarkable career of a trailblazer in human rights activism, journalism, history and culture, and at the same time offers a sweeping look at 20th century America.”
See Coles Collection and

http://www3.rmsc.org/museum/exhibits/coles/Howard%20Coles%20info-1.htm

Because jazz researchers don’t know about this Collection, as my tribute to Howard Coles and the astounding (and probably little known) work he did, here’s an excerpt from the Finding Aid’s “Historical/Biographical Note” about him (with footnotes deleted and lightly edited):

“Howard Wilson Coles was born on November 12, 1903 in Belcoda, New York. His family came to the Rochester area from Culpepper, Virginia in the 1880s. Howard was the grandson of the Reverend Clayton A. Coles, former “body servant” of Confederate General Thomas (Stonewall) Jackson and later founder of the Second Baptist Church of Mumford in the 1890s. Howard was one of two sons born to Charles and Grace Coles. Howard spent his childhood in Mumford, New York, [not far from Rochester,] and attended Scottsville High School. By his own admission he was not interested in an education and left at the age of fifteen ’to work and earn money to buy his own things.’ (He later regretted his decision and earned a diploma in June, 1947 from East Evening High School in Rochester, New York.) After traveling throughout the Northeast in the 1920s, working as a hotel bellboy and a waiter, Coles returned to Rochester in the early 1930s and settled there for the remainder of his life.

Coles borrowed $2,800 from his life insurance policy in the early 1930s and with the help of Elsie Scott Kilpatrick established The Voice newspaper. Coles published and distributed the newspaper throughout Western New York from 1933 through 1996 and, at its apex, circulation reached approximately 10,000 copies. Throughout the newspaper’s life he worked as a real estate agent, insurance sales agent and court attendant to earn enough money to support the publication of the newspaper. The Voice helped chronicle the lives of African-Americans throughout the Twentieth Century and has been recognized as the longest continuously published African-American newspaper in Rochester history.

In 1938, Coles became Rochester’s first African-American radio personality at local radio station WSAY. Over the next forty years, Howard developed several radio shows such as “The Vignettes,” “The Gospel Hour,” “The Bronze Trombones,” and “The King Coles Show.” These shows provided entertainment and served as a sounding board for relevant issues in the African-American community.

The unhealthy living conditions in Rochester under which some African-American families were forced to survive during the late 1930s may have started Coles on his lifelong activist role. The New York State Legislature credited Coles in 1938 with conducting the first documented housing survey of Rochester’s low-income families. Information he presented to the New York State Temporary Commission of the Condition of the Urban Colored Population was later published in the 1939 report. City Manager Baker appointed Coles to the City Wide Housing Committee of the City of Rochester to help alleviate the poor conditions documented in the survey. 

In 1939, Coles published the City Directory of Negro Business and Progress, which documented the socioeconomic progress of Rochester’s African-American community since 1926. He also authored The Cradle of Freedom, a history of Rochester’s African-American community, which was published by Oxford Press in 1941. Coles compiled “The Negro Family in Rochester,” documenting the African-American community’s progress during a century of living in Rochester, and “Nomads of the South,” illustrating the journey of various migrant groups to upstate New York. Neither work was published in book form but there is evidence that both ran as serials in The Voice newspaper. . . . 

Coles married publicist, dramatist, and journalist Alma Kelso in 1940. The two worked diligently on The Voice and collaborated on several other projects until they divorced in the late 1940s. . . . 

On December 10, 1996, Coles died of complications from pneumonia. Mayor William A. Johnson, Jr. and several other ministers eulogized him at the historic Mt. Olivet Baptist Church, located in Rochester, New York. Coles has been called a “trailblazer” and the heir to his hero, Frederick Douglass.”


I’ve yet to determine the extent of Coles’ coverage of Rochester’s black entertainment scene but I’m intrigued by its possibilities and encouraged by the fact that Coles had several radio shows. It looks like I’ll be spending some time at the Museum when I’m in Rochester!

                          (Howard Wilson Coles in the studio of radio station WSAY)

The Early Rochester Jazz Scene

© Gary Carner. Copyright Protected. All rights reserved.

Why hasn't anyone written about Rochester's early jazz history? During the last few weeks I've been corresponding with reference librarians at the Eastman School of Music and the University of Rochester. Nothing has been written about pre-1950s Rochester jazz, at least that they can locate. Lewis Porter suggested I contact Eastman because the most likely place for any work on early Rochester jazz would have been done by an Eastman student. As it turns out, if a paper or thesis on the topic was ever done at Eastman, it hasn't been saved by the library. For that matter, nothing in the way of pertinent clippings or articles at any library has turned up. Why?

As far as I can put it together, it's a multifactorial issue, although, admittedly, I'm still early in the gathering process. I do know that Eastman professor Everett Gates only established the very first jazz workshop at Eastman in the summer of 1959, one year after returning to Eastman after ten years (1948-58) of teaching at Oklahoma City University. He established his Eastman jazz arranging workshop in the midst of a fair amount of indifference (or should I say "hostility?") against jazz. Since that pioneering two-week class (at which Pepper Adams was the guest soloist), Eastman's jazz program has grown into one of the finest jazz programs in the world, graduating countless outstanding musicians, such as Ron Carter, Bob Sheppard and John Fedchock.

As a Rochester institution, The Eastman School goes back to 1921, when it was established by George Eastman, the founder of Eastman Kodak. According to Wikipedia, "After a one-year interim under Acting Director Raymond Wilson, the young American composer and conductor Howard Hanson was appointed director of the school in 1924. Dr. Hanson is credited for transforming the Eastman School into one of the most prestigious music conservatories in the world." Hanson retired in 1964, after running the school for forty years. He still ran Eastman when Gates arrived. As I see it, Eastman set the tone for music performed in Rochester and Hanson set the tone for Eastman. Clearly, jazz wasn't part of the agenda under his watch. Eastman's summer session, however, was less restrictive. As Everett Gates told me, jazz, to some degree, was at first snuck in during the summer, when Hanson was out of town.

Apart from institutional indifference towards jazz, in 1935-47, when Pepper Adams lived in Rochester, the makeup of Rochester's black population was another mitigating factor in jazz not being embraced. As Rochester resident and University of Rochester sociology professor Raymond Murphy explained to me, African-Americans in Rochester comprised only 1% of the city's population. As a very small subculture of around 3,400 people, Murphy said, they were mostly well-educated, middle-class citizens that historically regarded jazz quite poorly. That's not to say that black clubs didn't exist or thrive in Rochester. It's just that blacks in Rochester who supported the music were, in Murphy's view, very few in number.

How did Eastman's curriculum and the prevailing sentiments of Rochester's black community in the 1940s affect coverage in the press about jazz? Was it an anomaly as compared to other cities of its size at that time? Perhaps this is a question for cultural historian John Gennari, who has written extensively about the history of jazz criticism in America. To what degree did local Rochester black newspapers cover jazz? At this point, I don't know, though it doesn't appear to be extensive. Interestingly, from 1847-72 Rochester was home to Frederick Douglass. A newspaper named in his honor, The Frederick Douglass Voice, was established in 1934. How did that publication treat Rochester's music, if at all, and were there others, perhaps regionally? 

I've seen announcements for dance bands and entertainment of all sorts in the 1940's Rochester mainstream press. Several examples are posted here: instagram.com/pepperadamsblog. But until some advocate for the music emerges in the Rochester press of that day, or until I see reporting that's respectful of the art form, it's hard to explain the absence of concert reviews, appreciations and biographical portraits of famous touring musicians such as Louis Armstrong, Duke Ellington and Count Basie as anything other than a barometer of America's pervasive and shameful disregard of African-American culture.

It's understandable that Rochester jazz would not necessarily be one of the more obvious places to research, especially as compared to the enormous amount of activity that took place in New Orleans, New York, Los Angeles, Chicago, Kansas City and other large cities. That's not to say that some diehard fan, journalist or disk jockey couldn't have written something about Rochester or broadcasted a retrospective. So far, however, nothing has shown up, and that still strikes me as odd. 

In 1940, Rochester was America's 32nd largest city. Befitting a city of its size, Rochester had a local entertainment community. Rochester did lose many of its players over the years to touring ensembles, to the draw of big cities such as New York and Chicago, or, during Pepper's time growing up there, to World War II. Pepper told me that, during much of his time in Rochester in the 1940s, many of the established Rochester musicians had left to fight in World War II. Acccording to Wikipedia, "Some 29,000 Rochester-area men were drafted into military service." The exodus of male Rochesterians created an opportunty for young players such as Adams to perform with much older musicians who remained. At the Elite Dance Hall, where Adams played in 1946 and half of 1947, that's precisely how it went. The band included former Jimmie Lunceford trumpet player, Ben "Smitty" Smith, and a cigar chomping pianist, Jimmy "The Lion" Stewart. Smith was 62 and Stewart, by all accounts, was close in age. Pepper liked to joke about his time in Rochester doing gigs at age 14-16. "If you could see over the bar," said Adams, "you could get a gig."

A little over an hour away from Rochester is Buffalo. In 1940, Buffalo was America's fourteenth largest city, bigger than New Orleans, Kansas City, Newark or Indianapolis. The US Census for 1950 puts Buffalo's population at 580,132, as compared to the other New York cities of Rochester (332,488), Syracuse (220,583) and Utica (101,531)—all dwarfed, of course, as compared to America's largest city, New York, then at 7,891,957. Buffalo was for many years, through at least the mid-1960s, an important part of the touring circuit that musicians regularly visited. In that way, Buffalo was a ribbon that connected cities of the Great Lakes with those on the East Coast. Rochester partook of musicians who toured through the larger cities into secondary- and tertiary-sized ones. At slightly more than half Buffalo's size, Rochester was not a small town. Just prior to America's involvement in World War II, as Wikipedia points out, "by 1940 the population had decreased to 324,975, the first drop since Rochester was founded. It was still the 23rd largest city in the United States."

I knew very little about Rochester in 1988, when I first stepped into the early-Rochester jazz history vacuum. My early moves were a flurry of interviews with people who knew Pepper in the 1941-47 war and postwar period. Much can be learned about that time simply by peeking at the "Early Years" chronology at pepperadams.com. I'm currently in the process of adding a wealth of new information to it. An update will be posted next week.

As for existing information about Rochester jazz, there is an important collection of material at the University of Rochester. The Hoeffler Collection is comprised of materials from Paul Hoeffler, an avid jazz fan and photographer who lived in Rochester and documented Rochester jazz from about 1955 until the mid-60s. (See http://www.lib.rochester.edu/index.cfm?page=3123) His work roughly corresponded with the early growth of Eastman's jazz program. Hoeffler was a very gifted photographer, trained by Ansel Adams, Minor White and others at Rochester Institute of Technology. Hoeffler went on to photograph musicians for Verve, Prestige, Blue Note and Mercury. His stills were used to a great extent in the Ken Burns multi-volume PBS documentary Jazz. Nevertheless, Hoeffler's Rochester work begins about eight years after Pepper moved to Detroit. I can't use it, except maybe to check on a few Adams gigs. As a corollary to Hoeffler's collection is the ongoing research being done by drummer Noal Cohen, who performed in Rochester from 1955-1961. He's assembled this site: http://www.attictoys.com/Rochester_jazz/Rochester_jazz_music.php

As I wrote last week about pre-1950s Rochester jazz, during the mid-1940s Pepper Adams and trombonist and future sociology professor Raymond Murphy were the best of friends, practicing once a week for more than three years and sharing many experiences around town. I've since learned much more about Murphy from Paul Remington, who serendipitously stumbled upon last week's blog post. It turns out that Remington and Murphy were very close friends too, and Remington wasn't aware, until he read my post, that Murphy had passed away in January, 2015. Remington was trying valiantly to locate Murphy and somehow my piece fell into his lap. 

In not too different a way from how Murphy befriended Pepper Adams, here's Remington's account of Raymond Murphy:

"I was rather curious why this older man would accept me. I was just a twenty-three year old, working as an electrical assembler at the time. He never differentiated people based on status. It all came down to interests and commonalities. I was a fierce music lover with very ecumenical tastes. From 1987 to about 1998 we met weekly for dinner, then a night of jazz listening in his home. He had the largest music collection I have ever seen. I would guess he had close to 100,000 LPs and CDs. I was like a kid in a candy store every time I went in his basement, which is where he had everything very carefully stored and cataloged. It was amazing! Ray taught me the world of classical music, including opera. I would spend forty hours a week working on the line listening to classical stations, then write down every composer I liked. On Friday I would head to his home with the sheet of paper and show it to him. I remember one time he looked at it, his face stretched a wide grin, and he said, 'You have very esoteric tastes!' We’d head to his basement, and of course he had everything on my sheet of paper. He’d pull out things and play them for me, teach me, share material… It was fabulous! I’d come over on Saturday and we’d spend the entire day together, go to music stores, book stores, out to dinner, back to his place and play jazz and classical all night, sometimes into the early hours of the morning. Absolutely wonderful! He was a best friend, mentor, and a father figure all rolled into one. A wonderful man!"

Obviously, Raymond Murphy played a huge role as a mentor to both Paul Remington and, much earlier, Pepper Adams. I'll go into much more detail about Murphy vis-a-vis Rochester's early jazz scene in my Adams biography.

Despite my handwringing about the dearth of information about 1940s Rochester jazz, I'm relieved to say that several key musicians have emerged from my own research who would have been on the scene when Pepper was evolving in Rochester as a young musician. The most important of these, so far at least, are pianist Herbie Brock, trombonist/pianist Dave Remington and organist Doug Duke. Brock, a blind pianist and part-time tenor saxophonist, was arguably the dominant small-group musician in town. He was, according to Raymond Murphy, an Art Tatum disciple who was finally recorded first by Savoy in 1955. A piece done by Marc Myers on Brock (see http://www.jazzwax.com/2014/07/herbie-brock-brocks-tops.html) discusses Brock's recordings and his adoption of a Bud Powell type of pianism. From the little I've heard, Brock—much like Hank Jones, Barry Harris and other Detroit pianists of that period—moved away from an overt Tatum sensibility to a more streamlined, less orchestral, swinging, right-hand-dominated approach more akin to Powell. I'm looking forward to hearing more Brock soon.

As for Dave Remington, I've learned much about the Remington family just in the last few days from Paul Remington, his cousin. The Remingtons are a very distinguished Rochester family of musicians, going back to Emory Remington. A fascinating Wikipedia piece discusses Emory Remington's role as a pioneering trombone teacher at Eastman for some sixty years. One of his greatest pupils is jazz trombonist Jim Pugh. Obviously, Dave Remington had as a father the ultimate trombone teacher and I'm eagerly looking forward to hearing recordings that Paul will be providing of Dave Remington in action, including Chicago Shouts and Live at the Abbey. There's nothing at Google about either recording, nor, I'm afraid, much about Dave Remington.

This from Wikipedia about Papa Remington (see https://en.m.wikipedia.org/wiki/Emory_Remington):

"Emory Brace Remington (1892–1971) was a trombonist and music teacher. His unique method made him one of the most well-known and influential trombone educators in history. He was a member of the Rochester Philharmonic Orchestra from 1923 to 1949, and on the faculty of the Eastman School of Music in Rochester, NY from 1922 until his death in 1971."

This about Emory and Dave from Paul Remington:

"Emory taught Dave early in his life but Dave was a bit of a rebel. He didn’t want to be confined in the bowels of an orchestra all his life. His sister, Janet, took a different approach. She became a very successful harpist and was a staple of the Pittsburgh Symphony, which was, at one point, under the direction of Andre Previn. She embraced life in an orchestra. But Dave was a bit of a disappointment to Emory. He didn’t want to see Dave live the jazz lifestyle. Dave wanted the freedom that jazz offers. So he left Rochester. I’ll never forget seeing, at Emory’s funeral—which was massive, by the way—David sitting in the pew down from me with tears streaming down his face. I always wondered if he regretted the estrangement he had with his mother and father. I suppose we’ll never know. But he did receive his early training from Emory.

Dave started with trombone and moved to piano later in his life. He was a very good piano player—very talented. He could cross over from trombone to piano quite easily, so on some recordings he's playing piano while on others he's playing trombone. The other aspect of Dave you should know about is his abilities as a leader. He was a natural born leader with a vibrant personality. He could also be very opinionated. In his lifetime, he alienated many people, including three of his four sons. But in terms of musicianship, he had a triune of talents: piano, trombone and band leadership.

The Remington Exercises, developed by Emory, are taught in conservatories all over the world as standard trombone pedagogy. Emory also helped to redefine the physical instrument. He had a different vision for the trombone, and this vision formed a sensibility that was the bedrock of his teaching at Eastman. He wanted to see it elevated as a serious instrument, not just a circus instrument (as it was popularly used in the 19^th century). He invented the trombone choir, which is a standard arrangement for trombone formations that is stunning to listen to (in my opinion). Emory was a brilliant man with a natural gift for teaching."

As for Doug Duke, I've learned that Pepper sat in with his band c. 1947 at Squeezer's, a club in downtown Rochester. "Doug Duke," a stage name for Ovidio Fernandez, was Argentinian by birth and came to Rochester in 1920. He was a gifted organist in a Swing Era, pre-Jimmy Smith, Wild Bill Davis kind of style. Duke at one time toured with Lionel Hampton. In the late 1960s, years after Pepper left town, Duke ran The Music Room, a Rochester jazz club in suburban Charlotte, that brought in many great Swing musicians, such as Roy Eldridge and Coleman Hawkins. An informative site explains Duke's life and work: http://www.dougduke.com

                 (Emory Remington)

                    (Doug Duke)

                                           (1953 Doug Duke date for Regent)

                                                     

                            (1961 Herbie Brock date for Art)

                                                    (Herbie Brock c. 1956)