Monday, November 29, 2010

Words & Music ~ Poetry of the Mind.

The Lyrics of Life come in many forms, many unspoken.

NOTE: An UPDATE on John Lewis Bartee is coming. It focuses on the business of Music, unpaid royalties and lies of men... all which take Joy & Beauty from the ART.  One needs the strength of the Poetry of Music to face this ugliness. 

Sunday, November 21, 2010

Sunday Morning Serenade


Fallen Leaves  IV
Piano music composed by Masashi Yamanaka

                                                                                    "Fallen Leaves" on the floor of the Memory Tower
                                                                                                                    Jewish Museum in Berlin, Germany


Masashi Yamanaka is a Japanese composer/piano player who was born, lives and works in Japan.

Thursday, November 18, 2010

Wake Up and Look Around...

Never a better time for the World to wake up to the TIMES we are in.

Serenade ~ Steve Miller Band

Monday, November 15, 2010

John Lewis Bartee ~ Born: November 15, 1912

Today, November 15th John Lewis Bartee would have been 98 years old... with his death nine years ago he was found and resurrected. 

  John abt. 1946 


John abt. 2000 - 2001

  Gallup, New Mexico

John Lewis Bartee born in Woodland, Georgia on November 15, 1912, the third child and oldest son of James Maxey Bartee & Nell Vashti Mathews. 

John's Mother the musically talented

Nell Vashti (Mathews) Bartee

(click on pictures to enlarge)

above: Nell on left with Guitar, her sister Mary Jane with Guitar on right.  Their younger sister Kate 2nd right from Nell. About 1899 near Atlanta, Georgia
left: John's older sister Julia (Bartee) Hardy

            Bartee Family March 1936 Nell Vashti Bartee's Funeral
 (Oldest daughter Julia taking picture)John between sisters Mary Kate & Virginia Nell
 L to R brothers William, James, Robert & father James Maxey


Bartee Home - Interlachen, Florida

The Little Sisters of the Poor buried John Lewis Bartee on a hill overlooking Gallup, New Mexico

John's Grandparents who lived in Woodbury, Georgia.
James Allen Bartee & Julia Ann (Thornton) Bartee

This page under

Updated November 12, 2010

All rights reserved for all photos on website 

copyright 2010 David Michael Wade

contact: for use 

Sunday, November 14, 2010

Sunday Morning Serenade ~ The Guitar

John Williams - Cavatina   (Live 1979)

The Guitar

He plays a song of intricate sound
laced with rifts and scars
tunes of love so lost and found
spun webs of silver stars.

Composed of wood and fragile string
that echo in still air
he plays its song, the notes that cling
to what he can't declare.

Amongst the shadow of silver frets
he plays a song so true
that of a hearts soft, sad regrets
and joys for what he knew

Notes sweeter than a word confessed
let loose like water seeping
breaking the glass of desire repressed
that mends with its own weeping.

He plays for secrets not yet known
song let loose in torrent flood
his tune the marrow of sweet bone
the wisdom of his blood.

- Brigid  ©2010 

Cavatina is a classical guitar piece by Stanley Myers.  It is most famous as the theme from the Academy Award winning The Deer Hunter,  whose writer/director Michael Cimino was a nearby neighbor the year I lived on the North Fork of the Flathead River near Polebridge, Montana in 1985. 

The piece had been recorded by classical guitarist John Williams, long before the film that made it famous. It had originally been written for piano but at Williams' invitation, Myers re-wrote it for guitar and expanded it. After this transformation, it was first used for the film, The Walking Stick (1970). In 1973, Cleo Laine wrote lyrics and recorded the song as "He Was Beautiful" accompanied by John Williams.

My thanks to Brigid for allowing me to share her words.  She has a blog, Home on the Range which is filled with good food, humor, and memories of family & friends. The World she paints offers a perspective of  a very unique individual whose journeys and experiences will leave you intrigued.

Monday, November 8, 2010

In Search of Grace

Looking to find any information on Grace Marie Sampson.  She was the daughter of Arranger/Composer Edgar Sampson, (b.1907) who worked with many of the great Musicians of the Big Band Era. 

Grace was a Music Professor at Southern University in LA in 1955.  She may have a mother,sister, or daughter named Anna Sampson.

She also is credited with work on some of the Music Machito performed.

Here is Mambo Inn performed by Grant Green on his album  The Latin Bit.

Sunday, November 7, 2010

Sunday Morning Serenade

AIR ~ Johann Sebastian Bach

Performed by St. Martin-in-the Fields conducted by Sir Neville Marriner.

Saturday, November 6, 2010

Century of Progress

A Century of Progress International Exposition was the name of a World's Fair held in Chicago, Illinois from 1933 to 1934 to celebrate the city's centennial. The theme of the fair was technological innovation. Its motto was "Science Finds, Industry Applies, Man Conforms" and its architectural symbol was the Sky Ride, a transporter bridge perpendicular to the shore on which one could ride from one side of the fair to another.

77 years have gone by since John walked among the exhibits of the Fair... have we as a World Society built upon what we were given?

One musician who played at the World's Fair in Chicago was Harry Horlick.  Harry was the conductor of one of early American radio's most popular salon orchestras, largely due to his regular appearances on the long-running "A & P Gypsies" show from 1924 to 1936. Born in 1896, in Tiflis, Russia, Horlick remained in Russia when his family left for America at the beginning on World War I, and he became a prisoner of war. His family and the American consul helped him get to the United States where he performed in cafés in the early 1920s. Horlick's six-piece ensemble was playing unsponsored on New York's WEAF in the winter of 1923 when they were seen by a Great Atlantic and Pacific Tea Company executive who was taking a tour of the radio studio. The band -= now holding the name A & P Gypsies, began regular broadcasts, sponsored by A&P, on Monday nights, beginning March 17, 1924, with the opening theme of "Two Guitars. The host and band leader Harry Horlick had learned gypsy folk music while traveling with gypsy bands in Constantinople. The musicians performed while wearing gypsy costumes.

From 1924 into the 1930s they were the most popular instrumental music program on the air. In 1933, A&P took part in the World's Fair in Chicago with a canopied boardwalk where tea dances were held, and free tea and coffee samples were distributed.

Squandered Fortune, a book about Huntington Hartford a troubled man. His share of the "A&P Fortune" was only $400 mil. When he filed for bankruptcy several years ago, he still had 12 million dollars and a trust fund that netted him $500K per year. Throughout his life, he made bad investments. A&P had almost 16K stores in 1930, but that number declined quickly as the corner stores closed and were replaced with larger format supermarkets.

It is ironic that Harry Horlick died, as his grandnephew said, "practically broke". Horlick's ultimate employer, George Huntington Hartford II, was heir to the A&P fortune estimated in 1975 at $2.6 billion -- 16,000 A&P Supermarkets -- then largest retail empire in the world. Hartford died in 2008 at his Bahamas estate at 97, fortune mostly intact. As we enjoy the great musical legacy Horlick left us, let us consider how relatively little he and other great musicians received for their efforts.

Horlick died July, 1970.

Update:  A & P the 150 year old grocery store chain filed for bankruptcy reorganization on Sunday, December 12th, 2010.

Harry Horlick's A & P Gypsies ~ Only The Girl
Brunswick 1929

Chicago World's Fair 1934 Film

Sunday, October 31, 2010

Sunday Morning Serenade

Stephanie DeLange the daughter of  Songwriter / Bandleader Eddie DeLange stopped by the site for a visit this past week.  It seems to happen on a constant basis that in my search for John Bartee I cross paths with others who open up my life to the Music of some really talented individuals.  Eddie wrote some really poetic lyrics during his career, which like so many gifted individuals ended too soon.

Check out some of his work and those he worked with at his great website.  Even though he died in 1949 his Music is timeless in the thoughts & feelings which serenade the listener.

I felt this tune which he composed with Duke Ellington,  In my Solitude was fitting for this Sunday Morning Serenade.

                                                                                                    Thanks,  Eddie

Dianne Reeves ~ In my Solitude / Solitude

Monday, October 25, 2010

Sign of the Times?

Maybe its something in the air...  The above picture refers the most viewers from google images to this site.  This is not just  individuals doing a image search in the United States,  but more than half who search are from a diverse group of other Countries.

 For name search referral...
I think its great that  Tony Martin who will be 98 on December 25th still has a huge following all over the World.  At least we still have a statesman of the Music World that has experience sharing a song during a time of World financial turmoil.

Tony Martin ~ It's a Blue World  (1940)

Tony Martin ~ When Did You Leave Heaven

Sunday, October 24, 2010

Saturday, October 23, 2010

Just because...

I don't have a lot of words for this post...  Other than creative individuals balance their art on the edge of insanity,  yet they always open the minds of others to the many colors of their world. 

An Unnatural Love  ~  Insane Stranger

The Single Life
Dizzy Gillespie  ~  Love Theme from The Sandpiper

Moonglow  ~  Insane Stranger

Friday, October 22, 2010

Almost Snow White

I have read that Cab Calloway could have his pick of any music arranger in his day, and unlike Duke Ellington he looked to others to create the compostions he performed.  It is written that Will Hudson was the only "white" arranger Calloway ever used.  Yet, from Mario Bauza's lips John Bartee was Calloway's arranger while he was with the band.  Uh... John was at least 95% white.

Will Hudson

b. March 8, 1908, Barstow, California
d. July 1981   Isle of Palms, South Carolina

Will Hudson is best remembered as a bandleader and composer. In the late 20's, Hudson wrote scores for a great many famous bands of the day, including Cab Calloway, Don Redman, Fletcher Henderson, Ina Ray Hutton, Jimmy Lunceford, Earl 'Fatha' Hines, Erskine Tate and McKinney's Cotton Pickers. In the mid to late 1930's, he was active as an orchestra leader, first by himself, and then in partnership with Eddie DeLange.

Hudson's family moved to Detroit, MI, and there in the mid 1930's, he formed his very first band. In 1936, he and Eddie De Lange got together and formed the 'Hudson-DeLange Orchestra'. The band was well drilled and had a good sound, but trouble was brewing in the wings. Eddie was very extroverted and Will was just the reverse, very quiet. Due to this personality difference, the two did not get along and they disbanded in 1938, somewhat acrimoniously. In 1939, Will formed his own Will Hudson Orchestra, which lasted until 1940. In 1941, Hudson and DeLange again formed a band, but it was short-lived. Interestingly, Will studied Composing at New York's Juilliard School of Music in 1948. Never-the-less, he was musically inactive during the 1950's decade.

As a team, Will Hudson's songs with Eddie DeLange's lyrics were "Deep in a Dream"; "Remember When"; and perhaps their most successful work, "Moonglow". Separately, Will Hudson wrote some very successful instrumentals, such as: "Sophisticated Swing"; Love Song of a Half Wit"; "Monopoly Swing"; "Eight Bars in Search of a Melody"; and perhaps his most successful was "Organ Grinder's Swing".

Later, he arranged scores for music publishers. During World War II, he served in the United States Army Air Force. Joining ASCAP in 1935, his popular-music compositions include "Moonglow", "Tormented", "Sophisticated Swing", "Organ Grinder's Swing", "Mr. Ghost Goes to Town", "White Heat", "Jazznochracy", "Hocus Pocus", "Devil's Kitchen", "You're Not the Kind", and "Witch Doctor".

Irving Mills published their music, recorded it on his Master Records label, and took a little "piece of the action" by making them put his name on the music as one of the composers. That was the way the industry operated in those days. Irving did the same thing with the Duke Ellington Orch., and others.

Moonglow ~ By Will Hudson with lyrics by Eddie Delange Performed by Judy Judd

Monday, October 18, 2010

Get your Kicks on Route 66

                      Robert W. "Bobby" Troup, Jr.
                                             October 18, 1918 - February 7, 1999

Bobby  & wife, Julie London

Bobby Troup Bio       on  Wikipedia    

                                                      on  Emergency Fans . Com

I had to add this performance by Julie London, singing Bobby Troup's lyrics with music by Neil Hefti.

Sunday, October 17, 2010

Sunday Morning Serenade

Nothing against Lou Reed... but Beck did a really nice cover to his original.  I felt this Original titled, Sunday Morning by Velvet Underground just nudged out Maroon5's song by the same title.

So on this Sunday Morning... Sunday Morning by Beck

Sunday Morning (The Velvet Underground song)
From Wikipedia, the free encyclopedia


In late 1966, "Sunday Morning" was the final song to be recorded for The Velvet Underground & Nico. It was requested by Tom Wilson, who thought the album needed another song with lead vocals by Nico with the potential to be a successful single. The song was written with Nico's voice in mind by Lou Reed and John Cale on, in fact, a Sunday morning. The band previously performed it live with Nico singing lead, but when it came time to record it, Lou Reed sang the lead vocal.

Wilson brought the band into a New York City recording studio in November. At the last minute, Reed declared that he would sing lead vocals himself, which was received with great resistance from Paul Morrissey, the band's manager, who thought Reed's voice was far less marketable than Nico's.[1][2] Nico would instead sing backing vocals on the song.

Aiming to create a hit for the album, "Sunday Morning" features noticeably more lush and professional production than the rest of the songs on the album. In fact, the song's inclusion on the album seems to be an afterthought — the final master tape of side one of the album shows "Sunday Morning" only penciled in before "I'm Waiting for the Man".[citation needed]

The song's prominent use of celesta was the idea of John Cale, who noticed the instrument in the studio and decided to use it for the song.

Lou Reed – lead vocals, lead guitar
John Cale – celesta, viola, piano
Sterling Morrison – bass guitar
Maureen Tucker – percussion
Nico – backing vocals

Tuesday, October 12, 2010

Southern Cousins ~ The Bartee and Thornton Families

Big Mama Thornton
1926 - 1984

Willie Mae Thornton toured the south as a blues singer in the 1940s, then settled in Texas. She wrote and sang blues songs, played the harmonica and taught herself to play the drums.

Willie Mae "Big Mama" Thornton (December 11, 1926 – July 25, 1984) was an American rhythm and blues singer and songwriter. She was the first to record the hit song "Hound Dog" in 1952. The song was #1 on the Billboard R&B charts for seven weeks. The B-side was "They Call Me Big Mama," and the single sold almost two million copies. Three years later, Elvis Presley recorded his version, based on a version performed by Freddie Bell and the Bellboys. In a similar occurrence, she wrote and recorded "Ball 'n' Chain," which became a hit for her. Janis Joplin later recorded "Ball and Chain," and was a huge success in the late 1960s.

Thornton was born in Ariton, Alabama. Her introduction to music started in a Baptist church, where her father was a minister and her mother a church singer. She and her six siblings began to sing at very early ages. Thornton left Montgomery at age 14 in 1941, following her mother's death. She joined Sammy Green's Georgia-based Hot Harlem Revue. Her seven-year tenure with them gave her valuable singing and stage experience, and enabled her[vague] to tour the South. In 1948, she settled in Houston, Texas, where she hoped to further her career as a singer.

She was also a self-taught drummer and harmonica player, and frequently played each instrument onstage.

Thornton began her recording career in Houston, signing a recording contract with Peacock Records in 1951. While working with another Peacock artist, Johnny Otis, she recorded "Hound Dog", a song that composers Jerry Leiber and Mike Stoller had given her in Los Angeles. The record was produced by Johnny Otis, and went to number one on the R&B chart. Although the record made her a star, she saw little of the profits. She continued to record for Peacock until 1957 and performed with R&B package tours with Junior Parker and Esther Phillips. In 1954, Thornton was one of the eyewitnesses to the accidental self-inflicted handgun death of blues singer Johnny Ace. Her career began to fade in the late 1950s and early 1960s. She left Houston and relocated to the San Francisco Bay Area, where she mostly played local blues clubs.

In 1966, Thornton recorded Big Mama Thornton With The Muddy Waters Blues Band, with Muddy Waters (guitar), Sammy Lawhorn (guitar), James Cotton (harmonica), Otis Spann (piano), Luther Johnson (bass guitar), and Francis Clay (drums). Songs included "Everything Gonna Be Alright", "Big Mama's Blues", "I'm Feeling Alright", "Big Mama's Bumble Bee Blues", "Looking The World Over", "Big Mama's Shuffle", and "Since I Fell For You", amongst others.

Her Ball 'n' Chain album in 1968, recorded with Lightnin' Hopkins (guitar) and Larry Williams (vocals), included the songs "Hound Dog", "Wade in the Water", "Little Red Rooster", "Ball 'n' Chain", "Money Taker", and "Prison Blues".

One of Thornton's last albums was Jail (1975) for Vanguard Records. It captured her performances during a couple of mid 1970s concerts at two northwestern prisons. She became the talented leader of a blues ensemble that featured sustained jams from George "Harmonica" Smith, as well as guitarists Doug Macleod, B. Huston and Steve Wachsman, drummer Todd Nelson, saxophonist Bill Potter, bassist Bruce Sieverson, and pianist J.D. Nicholas.

Thornton performed at the Monterey Jazz Festival in 1966 and 1968, and at the San Francisco Blues Festival in 1979. In 1965 she performed with the American Folk Blues Festival package in Europe. While in England that year, she recorded Big Mama Thornton in Europe and followed it up the next year in San Francisco with Big Mama Thornton with the Chicago Blues Band. Both albums came out on the Arhoolie label. Thornton continued to record for Vanguard, Mercury, and other small labels in the 1970s and to work the blues festival circuit until her death in 1984, the same year she was inducted into the Blues Hall of Fame.

During her career, she appeared on stages from New York City's Apollo Theater in 1952 to the Newport Jazz Festival in 1980, and was nominated for the Blues Music Awards six times. In addition to "Ball 'n' Chain" and "They Call Me Big Mama," Thornton wrote twenty other blues songs.

In the 1970s years of heavy drinking began to hurt Ms. Thornton's health. She was in a serious auto accident and recovered to perform at the 1983 Newport Jazz Festival with Muddy Waters, B. B. King, and Eddie "Cleanhead" Vinson, a recording of which is called The Blues—A Real Summit Meeting on Buddha Records. Ms. Thornton died of a heart attack in Los Angeles on July 25, 1984, at age 57.

In 2007, in the movie, Hounddog, singer Jill Scott played Thornton.

Thornton is also the namesake of the Willie Mae Rock Camp for Girls.

Selective discography

Year Title Genre Label
2007 Big Mama Thornton Texas blues Vanguard
1994 The Complete OKeh Sessions 1952-55 Texas blues Sony
1975 Jail (Live) Texas blues Vanguard
1975 Sassy Mama! (Live) Texas blues Vanguard
1973 Saved Texas blues Backbeat
1970 The Way It Is Texas blues Mercury
1969 Stronger Than Dirt Texas blues Mercury
1968 Ball 'n' Chain w/Lightnin' Hopkins Texas blues Arhoolie
1967 Big Mama Thornton Vol. 2 Texas blues Arhoolie
1966 Big Mama Thornton With The Muddy Waters Blues Band Texas blues Arhoolie
1966 Big Mama Thornton in Europe Texas blues Arhoolie

Sunday, October 10, 2010

Strangers and Aliens


This Band of Brothers



Not Without Incidence

White Sheets

With all the voices out there in the Universe...  I have come across a very talented singer-songwriter. When you view and listen to him on YouTube performing his covers of many popular tunes its hard not take notice of his talent.

Once you reach his website and listen to his original songs from Strangers & Aliens  you will truly start to feel his musical abilities are endless.  Most of all read his lyrics.

Huw Rees is his name.  He is from Havorfordwest, Pembrokeshire in the UK.  Training to be a Science teacher,  I understand that... he already has a great start on how to be a Musician.

 Lets begin with one of his originals



I had never REALLY heard the Lyrics to this Song before.  This Cover really makes you want to listen.

Strangers & Aliens
by Huw Rees    

Don't miss reading his Lyrics 

Sunday Morning Serenade

Eva Cassidy ~ Songbird


                                                    Eva Marie Cassidy
                                                                   1963 - 1996
                                                    An Everlasting Serenade

Saturday, October 9, 2010

Whisper Not

I Remember Clifford  
by Benny Golson in memory of Clifford Brown

Whisper Not by Benny Golson

  Edward Lee Morgan was born in Philadelphia on July 10, 1938, the youngest of Otto Ricardo and Nettie Beatrice Morgan's four children.

Lee Morgan, a leading trumpeter and composer, recorded prolifically from 1956 until a day before his death in February 1972. Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. On his thirteenth birthday, his sister Ernestine gave him his first trumpet. His primary stylistic influence was Clifford Brown, who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, and remained a member for a year and a half, until economics forced Dizzy to disband the unit in 1958. He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader for the company, with more than 250 musicians. He also recorded on the Vee-Jay label.

He was a featured sideman on several early Hank Mobley records, as well as on John Coltrane's Blue Train (1957), on which he played a trumpet with an angled bell (given to him by Gillespie) and delivered one of his most celebrated solos on the title track.

Joining Art Blakey's Jazz Messengers in 1958 further developed his talent as a soloist and composer. He toured with Blakey for a few years, and was featured on numerous albums by the Messengers, including Moanin', which is one of the band's best-known recordings. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This version of the Jazz Messengers, including pianist Bobby Timmons and bassist Jymie Merritt, would record the classic The Freedom Rider album. The drug problems of Morgan and Timmons forced them to leave the band in 1961, and the trumpeter returned to Philadelphia, his hometown. According to Tom Perchard, a Morgan biographer, it was Blakey who introduced the trumpeter to heroin, an addictive drug that impeded his career trajectory.

On returning to New York in 1963, he recorded The Sidewinder (1963), which became his greatest commercial success. The title track cracked the pop charts in 1964, and served as the background theme for Chrysler television commercials during the World Series. The tune was used without Morgan's or Blue Note's consent, and intercession by the label's lawyers led to the commercial being withdrawn.[citation needed] Due to the crossover success of "The Sidewinder" in a rapidly changing pop music market, Blue Note owners encouraged other of its artists to emulate the tune's "boogaloo" beat. Morgan himself repeated the formula several times with compositions such as "Cornbread" (from the eponymous album Cornbread) and "Yes I Can, No You Can't" on The Gigolo. According to drummer Billy Hart, Morgan said he had recorded "The Sidewinder" as filler for the album, and was bemused that it had turned into his biggest hit. He felt that his playing was much more advanced on Grachan Moncur III's essentially avant-garde Evolution album, recorded a month earlier, on November 21, 1963.

After this commercial success, Morgan continued to record prolifically, producing such works as Search for the New Land (1964), which reached the top 20 of the R&B charts. He also briefly rejoined the Jazz Messengers after his successor, Freddie Hubbard, joined another group. Together with John Gilmore, this lineup was filmed by the BBC for seminal jazz television program Jazz 625.
As the 60's progressed, he recorded some twenty additional albums as a leader, and continued to record as a sideman on the albums of other artists, including Wayne Shorter's Night Dreamer; Stanley Turrentine's Mr. Natural; Freddie Hubbard's The Night of the Cookers; Hank Mobley's Dippin', A Caddy for Daddy, A Slice of the Top, Straight No Filter; Jackie McLean's Jackknife and Consequence; Joe Henderson's Mode for Joe; McCoy Tyner's Tender Moments; Lonnie Smith's Think and Turning Point; Elvin Jones' The Prime Element; Jack Wilson's Easterly Winds; Reuben Wilson's Love Bug; Larry Young's Mother Ship; Lee Morgan and Clifford Jordan Live in Baltimore 1968; Andrew Hill's Grass Roots; as well as on several albums with Art Blakey and the Jazz Messengers.

He became more politically involved in the last two years of his life, becoming one of the leaders of the Jazz and People's Movement. The group demonstrated during the taping of talk and variety shows during 1970-71 to protest the lack of jazz artists as guest performers and members of the programs' bands. His working band during those last years featured reedmen Billy Harper or Bennie Maupin, pianist Harold Mabern, bassist Jymie Merritt and drummers Mickey Roker or Freddie Waits. Maupin, Mabern, Merritt and Roker are featured on the well-regarded 3-disc, Live at the Lighthouse, recorded during a two-week engagement at the Hermosa Beach club, California, in July 1970.


Morgan was murdered in the early hours of February 19, 1972, at Slugs', a jazz club in New York City's East Village where his band was performing.[4] Following an altercation between sets, Morgan's common-law wife shot him in the chest, killing him within moments. He was 33 years old.[4]


Lee Morgan Indeed!
Blue Note
Introducing Lee Morgan
Lee Morgan Sextet
Blue Note
Lee Morgan Vol. 3
Blue Note
City Lights
Blue Note
The Cooker
Blue Note
Blue Note
Here's Lee Morgan
The Young Lions
Blue Note
Take Twelve
The Sidewinder
Blue Note
Search for the New Land
Blue Note
Tom Cat
Blue Note
The Rumproller
Blue Note
The Gigolo
Blue Note
Blue Note
Blue Note
Blue Note
Blue Note
The Rajah
Blue Note
Blue Note
Sonic Boom
Blue Note
The Procrastinator
Blue Note
The Sixth Sense
Blue Note
Blue Note
Blue Note
Live at the Lighthouse
Blue Note
The Last Session
Blue Not

 Further reading


  1. ^ NNDB
  2. ^
  3. ^ McMillan, J.S., (2008). DelightfuLee: the life and music of Lee Morgan, University of Michigan Press, p.1
  4. ^ a b Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books Ltd. p. 235. CN

    External Links 

Friday, October 8, 2010

The Adams Effect

                           Park "Pepper" Adams III
                                                                October 8, 1930 - September 10, 1986

"We called him 'The Knife' because when he'd get up to blow, his playing had almost a slashing effect on the rest of us. He'd slash, chop, and before he was through, cut everybody down to size."
--Mel Lewis

Pepper Adams, a scholarly looking, strong-toned baritone saxophonist, who placed first in the "New Start--1957 Down Beat Critic's Poll" makes his initial Blue Note appearance on this record. Born in Highland Park (a suburb of Detroit), Michigan in 1930, Pepper moved to Rochester, New York when he was five and began listeneing to people like Fats Waller over the radio when he was in the first or second grade.
He lived in Rochester until he was sixteen, picking up the tenor when he was twelve, and digging in particular the big bands of Jimmy Lunceford, Lucky Millinder, Cab Calloway and Duke Ellington. He played with his high school band and local groups and collected records by Ellington, Coleman Hawkins, Art Tatum, Benny Goodman, Don Byas, Charlie Christian, et al.
He moved back to Detroit in 1946 and switched to baritone, then worked his first big-time gig with Lucky Thompson. After that he played with just about all the young Detroiters who were eventually to make a success in the east (most on this label); Barry Harris, Billy Mitchell, Kenny Burrell, Tommy Flanagan, Paul Chambers, Don Byrd, Doug Watkins, Curtis Fuller, the Jones Brothers and Yusef Lateef. Sonny Stitt, Milt Jackson and Wardell Gray were others with whom he worked.
Pepper remained in Detroit until early 1956 when Oscar Pettiford got him a gig with the Stan Kenton orchestra. That band broke up six months later in Los Angeles, but Pepper stayed on the coast to work with Dave Pell, Shorty Rogers, etc. He came back east with the Maynard Ferguson big band--quit it in New York and then returned to the west with Chet Baker.
Once again in L.A. Pepper left Baker and came back to New York where he has since remained. He says that Hawk, Harry Carney, and Wardell Gray have been his biggest influences and names Carney and Cecil Payne as his favorite baritonists.
--ROBERT LEVIN, from the liner notes,
The Cooker, 1957, Blue Note.

Biography from Wikipedia

Pepper Adams was born in Highland Park, Michigan. His family moved to Rochester, New York when he was young. and in that city he began his musical efforts. Then when he was sixteen he moved back to Detroit, Michigan, near where he had been born, and where he met several musicians who would later be important to his career, including trumpeter Donald Byrd. Adams now became interested in Wardell Gray's approach to the saxophone, later naming Gray and Harry Carney as his influences. He also spent time in a United States Army band, and briefly had a tour of duty in Korea.[1]

He later moved to New York City, where he played on the album Dakar by John Coltrane, played with Lee Morgan on The Cooker, and briefly worked with Benny Goodman's band in 1958. During this time, Adams also began working with Charles Mingus, performing on one of Mingus's finest albums from this period, Blues & Roots. Thereafter he recorded with Mingus sporadically until the latter's death in 1979. He later became a significant member of the Thad Jones/Mel Lewis Big Band from 1965 to 1978, and continued to record Jones's compositions on many of his own albums.[2] Adams also co-led a quintet with trumpeter Donald Byrd, with whom he recorded a live date, 10 to 4 at the 5 Spot, featuring Elvin Jones.[3]

He died of lung cancer in Brooklyn, New York on September 10, 1986.[4]

As can be heard on his recordings with Morgan and Mingus, Adams's sound on the baritone was very big and intense – almost completely contrasting that of Gerry Mulligan – and so lent itself very well to up the up-tempo hard bop style that was prevalent during the 1950s and '60s. The styles of Adams and Mulligan are considered to be the foundation for contemporary playing of the baritone saxophone, and Adams's influence can be heard in the work of such notable jazz baritone saxophone players as Scott Robinson, Ronnie Cuber and Vanguard Jazz Orchestra "bari chair" Gary Smulyan, among many others.


As leader

  • Pepper Adams Quintet (1957)
  • Critic's Choice (1957)
  • 10 to 4 at the 5 Spot (1958), with Donald Byrd and Elvin Jones
  • Motor City Scene (1960), with Donald Byrd
  • Donald Byrd and Pepper Adams, Out of This World: The Complete Warwick Sessions (1961), with pianist Herbie Hancock
  • Encounter (1968)
  • Ephemera (1973)
  • Julian (1975)
  • Twelfth and Pingree (1975)
  • Live in Europe (1977)
  • Live Jazz By the Sea (1977), live in California
  • Reflectory (1978)
  • Be-Bop (1979) Musica Records
  • The Master (1980)
  • Urban Dreams (1981), quartet with pianist Jimmy Rowles
  • Conjuration: Fat Tuesday's Session (1983), live with trumpeter Kenny Wheeler
  • The Adams Effect (1989, posthumously)

As sideman

With John Coltrane
With Ben Webster
With Charles Mingus
With The Thad Jones/ Mel Lewis Orchestra
With Lee Morgan
With Donald Byrd
With Duke Pearson