New record pressing – Pepper Adams Quintet – S/T.
If the tough tenor category in jazz also existed for the baritone sax, Pepper Adams would undoubtedly be its primal force. His huge sound, swaggering style and totally masterful fluidity on the challenging horn made him not only a dynamic and exciting soloist, but also an emphatic anchor to some of the most powerful large ensembles in jazz from the ‘50s into the ‘80s. Charles Mingus, whose smallish ensembles carried the energy of a big band due to the huge sounds of his horn players, roared from the foundation laid by Pepper over a 20-year relationship, as did the fiery swing of the Thad Jones/Mel Lewis Orchestra for more than 10 years.
While his reputation as a consummate sideman was immortalized by his presence on dozens of albums by a veritable who’s who of modern jazz over his 40-year career, Adams was also an outstanding leader and co-leader on the international scene and on nearly two dozen recordings both on his own and in lengthy partnerships with trumpet legends Donald Byrd and Thad Jones. His confident authority and personal vision were fully in display from his very first recording, made for Mode Records in 1957 under the appropriately straightforward title, Pepper Adams Quintet.
Long out of print, this outstanding breakthrough recording is available again through GAMMAUT on a vinyl-only release, lovingly produced with the label’s focus upon both the hi-fi/audiophile market and the jazz connoisseur with an extensive 40-page booklet containing highly detailed biographical information on the brilliant baritone saxophonist by Gary Carner, the sidemen on the album, production information and a history of Mode Records, and accompanied by several never-before-seen historical photographs, illustrations and related artifacts.
Accompanied by a stellar West Coast ensemble of trumpeter Stu Williamson, pianist Carl Perkins, the incredibly prolific bassist Leroy Vinnegar and drummer Mel Lewis, it’s not surprising that Adams’ first album as a leader sounds so vitally contemporary, given the superb command of the artists and the timelessness of the art form. What is surprising though, is that a debut album displays a leader who is so fully in command of his musical vision and the control and maturity to bring that vision into fruition by his leadership and confidence. On that same note, it is also remarkable that given the era’s contrast of the cool jazz West Coast style and the significantly more hardcore and explosive East Coast approach, that Adams’ vehement and spirited East Coast sensibility was so joyfully – and effectively – delivered by the ensemble by its consummate artistry.
The repertoire for this five-track album includes three highly familiar items from The Great American Songbook, along with two Adams originals. The musicianship throughout is exceptional, with everyone contributing beautifully to soloing, accompaniment and ensemble playing. Nothing here is mailed in and everyone is fully engaged and exuberant. The standards are treated like originals, played in refreshing fashion and with great enthusiasm, and the Adams pieces with the joy of new discovery.
The originals – the Latin-tinged “Muezzin’” and the blistering “Freddie Froo” – are deeply steeped in the bebop vernacular, providing total credence to the legendary Phil Woods’ statement about Adams as “a be-bopper down to his socks.” And while Adams was indeed so much more than that, the essence of his approach to the big horn was steeped in the tradition of his friend, mentor and profoundly inspiring force, Charlie Parker. His solos on these pieces soar with Bird-like precision and clarity of pursuit, inspiring the rest of the ensemble to the same lofty heights.
That explosive bop-fueled intensity is on full display on “Baubles, Bangles and Beads,” taken at an unexpectedly rip-roaring pace; while “Unforgettable,” solidified in musical history by the wonderful Nat King Cole, is an easy swinger, lyrical and buoyant throughout.
But truly special notice must be taken of the Guy Wood and Robert Mellon classic “My One and Only Love,” a feature for the marvelous ballad artistry of Adams. While his explosive solos and masterful eloquence of sound and rhythm are his hallmarks, the mesmerizing poignancy and exquisite delicacy he displays on this piece with such ease and command is truly a revelation – and a clear indication of the influence of Coleman Hawkins – capped by a gorgeous cadenza, it truly calls to mind the unparalleled Hawkins’ immortal Body and Soul.
Available courtesy of Gammaut.
(Gotta Groove Records offers vinyl record pressing and EcoRecord manufacturing for independent labels, musicians, and artists – this post features one of the many records pressed at Gotta Groove in the past month).
