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:
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, January 6, 2020

Pepper Adams Archive


Happy New Year! I was able to fit in a trip to New York over the Christmas holidays. In anticipation of finally delivering the first batch of Pepper Adams materials to William Paterson University’s Living Jazz Archive, a few weeks ago I emailed the following announcement to my jazz research colleagues around the globe:

I'm very pleased to announce that in the next few weeks I will be delivering to William Paterson University the first batch of Pepper's materials from his estate. My goal was to make his materials available somewhere in the New York City area, where far more researchers would have access to it. Furthermore, the idea of pairing his materials with Thad Jones' was irresistible. Many thanks to David Demsey for making this possible.

Mostly LPs and 78s are all I can squeeze into my little VW this time around. On subsequent trips north, I will deliver his papers, photographs and ephemera, plus my research notes and many rare audience recordings and broadcasts. Some of Pepper's documents have already been posted at my Instagram site: 

Additionally, all of my interviews with and about Pepper, about 275 at last count, are being digitally preserved by Worcester Polytechnic Institute's Jazz History Database:  Available to anyone with internet access, all of the audio should be available starting this summer.

Happy holidays!
Gary Carner

Also, while editing the final draft of the first half of my Adams biography, I sent the following excerpts of my galleys to my good friend Anders Savnoe. He’s the author of Bluesville: The Journey of Sonny Red, (Scarecrow, 2003), the study of Detroit alto saxophonist Sonny Red. I knew he’d appreciate reading all my references to Red:

Donald Byrd met the alto saxophonist Sonny Red in 1945 at the Hutchins Intermediate School. They had classes together, played school dances, and were in the orchestra and concert band. 

Charles Boles, Claude Black, Sonny Red, Donald Byrd, Paul Chambers, Doug Watkins, Teddy Harris and Tommy Flanagan all attended Northern High. Its program was run by Orvis Lawrence, who had played with Glenn Miller and the Dorsey Brothers. “Claude was in the choral group with me,” remembered Charles Boles: 

We all did the Messiah every year. We were very good. They had a very good [voice] teacher there, Claire Weimer. . . . I couldn’t play in the concert band because I couldn’t read as well as Donald Byrd’s sister, Martha Byrd. She was a classical pianist. So I ended up playing bells in the concert band, and then I played piano in the dance band. They very rarely played any dances. We just played jazz tunes, and blues of course. In that band were people like Donald Byrd and Sonny Red, Paul [Chambers]. Paul and I used to eat lunch together every day. When he got to the 10th Grade, he went to Cass. Him and Donald Byrd both.

Claire Roquemore is still another Detroit legend. “There was this great trumpet player named Claire Rocquemore,” wrote Miles Davis in his autobiography. “He was one of the best I ever heard.” “He could play anything,” remembered Charles Boles:

He’d wear Miles out. He’d wear anybody out. Donald [Byrd] didn’t want to get on the bandstand with him. He ended up being strung out, and he didn’t go anywhere. He would always be around, when he could keep it together, and kick everybody’s butt. He was at Barry’s house all the time.

Roquemore “was a wonderful, young, Caucasian-looking trumpet player,” recalled Roland Hanna. “He was very fair-skinned, blonde-haired. He probably had a white mother and a mixed father. He looked white but he wasn’t white. He was mixed. Whenever Claire had a gig, he’d use Pepper.” When Charlie Parker came to town, he would ask, “Where’s ‘Roque?’” Teeter Ford, yet another obscure trumpet player who never fulfilled his immense potential, replaced Roquemore in Barry Harris’ group (with alto saxophonist Sonny Red) in the early 1950s, According to Frank Gant, he had a better tone than Rocquemore, but not Roquemore’s extraordinary breath control. Harris believed that Ford would eventually become jazz’s greatest trumpeter.

When Frank Foster moved to Detroit in 1949, he taught many of the young musicians, including Barry Harris, how to work with tritone substitutions. “I think Frank Foster was probably one the best things to happen to Detroit when he came,” said Barry Harris. “He knew a lot about music. He was our biggest influence.” In turn, Detroit shaped Foster. “When I came to Detroit,” Foster told the audience at Thad Jones’ memorial service at St. Peter’s Lutheran Church in New York City, “I could play. But Detroit taught me how to swing.” In 1950 or so, before he joined the U.S. Army, Foster would meet with some of the budding Northern High School musicians. “He was becoming a pretty astute arranger,” said the pianist Teddy Harris. “He would get Donald Byrd, Sonny Red, and myself and Claude Black, and take us to his house, where he would teach us how to read his arrangements.” 

Detroit’s musicians revered Harris as much as they feared his mandates for self-improvement. After high school was out an any given day, some of Detroit’s most dedicated young players went to either Barry Harris’ house or Bobby Barnes’, depending on how they were faring with Harris’ jazz assignment from the previous week and how much courage they possessed. “At Bobby Barnes’ house,” remembered Charles Boles, “Roland Hanna was the piano player, Gene Taylor was the bass player, Claude Black played trombone, and Bobby Barnes played the sax.

Sometimes we’d go to Bobby Barnes’ house, who lived on Russell on the North End, or we’d go to Barry Harris’ house. Sonny Red would go back and forth. . . . We would come out of Northern High School — me and Paul Chambers and Sonny Red — and we’d catch the Woodward bus. . . south, downtown to, say, Warren, and then you’d catch the crosstown bus to Russell. And then you’d catch the Russell bus to Barry’s house. . . . At Barry’s house, it was almost a situation where it was either Doug [Watkins] or Paul. They were in fierce competition. . . . When we went to Barry Harris’ house, more than likely you’re gonna get slaughtered! You know what they do? They would egg you on, and do everything they could do to get you to play, and then they’d play something like “Cherokee” or some hard-ass tune. Of course, they’d play it at some ridiculous speed, but you couldn’t keep up. So you’d go home and you’d practice that all week long, and you go back and they’d play it in “A,” or play it in some other ridiculous key that would have nothing to do with the tune at all. They’d say, “Oh, I’m sorry, I’m in ‘A.’” Whatever you practiced would be null and void. You could barely play in B-flat! When you get your butt kicked at Barry Harris’ house, then you’d slink on over to Bobby Barnes’ house the next two or three days. You wouldn’t dare show your face at Barry Harris’ house when you got killed already. He was a master teacher, though. I tell you what: If you continued to go there, he would help you. He would teach you how to improvise.

Monday, December 2, 2019

Progress with the Biography


Much of my free time in November was consumed by proofreading
and polishing the galleys of Chapters 1-3 of my Pepper Adams
biography. Chapter 1 is currently being reviewed by two readers, after
having been read by another. Chapters 2-3 are following the same
process. Obviously, the more feedback I get, the stronger the book
becomes. The Prologue has already been put to bed.

Each chapter has an epigraph, which helps me underscore why I chose
each chapter title. The book’s central epigraph, essentially my lead
argument, is this:

How many musicians out
there are really different?


I’ve begun hunting for an ebook publisher. Nothing tangible yet, but
I’ve made progress nonetheless.

As for the second half of the biography, to be published in 2021,
Chapters 4-6, 8 and 10 are done. Chapter 7 is in progress, about a
third finished. 9 remains as a major task, though I have a ton of notes. 

Chapters 7-10 will follow this basic format:

Chapter 7:
  1. Solos with Thad/Mel
  2. Solos as a single, 1963-1977
  3. Solos as a sideman, 1963-1977

Chapter 8:
  1.  Marriage proposal; Girlfriend #1
  2. Girlfriend #2
  3. New York loft scene
  4. Girlfriend #3

Chapter 9:
  1. Racial relations
       2.   Journeyman, original poem
       3.   Drugs/Bobby Timmons/Elvin Jones
       4.   Interlude: Bohemian New York in the Fifties
  1. Byrd/Adams
  2. Goodman, Monk, Mingus
  3. Kenton, West Coast Scene, early New York experiences

Chapter 10:
  1. Accolades
  2. Six reasons why Adams didn’t gain popularity
  3. Conclusion

The process of working through all of my taped interviews was very
well worth it. I was able to add some really great excerpts to the book:
Lew Tabackin, for example, discussing the bleak 1960s, the difference
between Thad and Duke Pearson as bandleaders, and why Thad and
Mel were crazy to put their band in the hands of Keiko Jones for the ill-
fated 1968 trip to Japan that almost finished off the orchestra. 

My Mel Lewis interview was equally good. What a rich trove of information
about the intricacies of Thad/Mel and the Stan Kenton band. Some very
important information also came from the two physicians who owned
Uptown Records, Pepper’s last record label. They had much to say about
his final illness, and the role they played when advising him about his
health. Many other quotes were added from other interviewees; subtle but
important comments that added depth to my existing text.

My biggest discovery, however, wasn’t testimony from an interview, as
valuable as they are to the project. The most startling find was the Norma
Desmond-like letter (remember the film Sunset Boulevard?) that Pepper’s
mother wrote to her son when he moved out of her house in late 1955. It
really put her character into perspective. Previously, I had all these friends
of Pepper’s commenting about her, but nothing at all from her in her voice.
This is the only letter that exists written by her, and it’s quite telling that
Pepper would save it. 

Next to that, my interview with Bob Cornfoot was very important. It made me
completely revise when Pepper moved back to Detroit in 1947, and when he
began working at Al’s Record Mart. It necessitated a complete revision of
Pepper’s chronology from late 1953 to the end of 1955, plus changing some
language in my text.

One of the enormous benefits of working through all the interviews yet again
is correcting errors, and discovering so many new facts about where and what
Adams did during his lifetime. Accordingly, many changes have been made
to Pepper Adams’ chronology:
I expect the updates to be posted soon.

I’ve organized all of my remaining Pepper materials for donation to William
Paterson University. Pepper’s recordings and other materials that belong to
the estate are still in my possession. It looks like it will be 2020 before I
deliver the first batch of goods. Then, it's up to the university to make room
for the rest of it.

I’ve corresponded with Chick Corea, asking him to consider writing a foreword
to the book. I was pleased that he bought a copy of Joy Road. Any suggestions
about who else I should contact for a foreword?

Monday, November 4, 2019

The Hard Copy-Ebook Dilemma


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: 
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 

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