Revisiting Pepper Adams

Things have been relatively quiet this summer. Given that I have already begun to write about programs for the coming season, I realize that I also have time to reflect on past impressions. Basically, I have decided to see if recordings that made a strong impression in the past continue to do so.

Pepper Adams on the cover of the album being discussed (from the Amazon.com Web page)

Today I would like to direct that reflection on baritone saxophonist Pepper Adams. These days my opportunity for listening to jazz recordings is limited to a Music Choice channel, and I cannot remember the last time I heard the music in performance. I have only one album with Adams as leader. When I first encountered it on Amazon.com, it was listed under the title Three and One. Fortunately, the Web page has been corrected; and it is now listed as Live At Room At The Top.

This was a two-CD set released in January of 2022. However, I did not get around to writing about it until the end of April. This was due in part to the fact that it was first released in Canada, and I only encountered its Amazon.com Web page at the beginning of March. One of the reasons I was drawn to the album is that I had a few encounters with the instrument through my high school jazz band. My primary instrument was the alto saxophone; but, every now and then, I would trade places with the baritone player. As might be expected, breath-work was a bit of a challenge; but I still enjoyed the low-register sonorities that differed from what came out of my alto.

Adams made his album for Reel to Reel Recordings from a concert performance made in 1972 at the University of Alberta. He led a quartet, whose other players were the members of The Tommy Banks Trio, led by Banks on piano with Bobby Cairns on electric bass and Tom Doran on drums. It was a generous undertaking, released as a two-CD set.

“Generous” also applies to Adams’ role as a leader. He was more than generous is allowing all of the Trio members to explore their own approaches to improvisation over the course of the event. As might be expected, the saxophone work framed each of the selections; but Adams appreciated the value of being “first among equals.”

When I wrote my previous article, I felt it necessary to do justice to each of the seven compositions on the album. Having already provided the hyperlink to that article, I see no need to repeat myself! Nevertheless, I was amused to see that I had to explain who “Patrice” was. I was not sure how much of African history had found its way into our school systems. I felt it important to call out the fact that the tune was named after the first Prime Minister of the Republic of the Congo. He was elected to office in May of 1960, but was the victim of a coup the following month. He was assassinated by a firing squad the following January. Personally, I am glad that the music for “Patrice” was generally upbeat, celebrating the election rather than the following rebellion!