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Have you done Ferling No 1 ? I’m scouring your videos for it. It’s hard to find videos with people playing it on Bari and I really like your other Bari videos best from all their other ones.

Nicely done, gentlemen. It's worth noting that Pepper wrote his tune "Witches' Pit" on the chord changes of the Victor Young standard "Love Letters."

i have to play this etude for all state this year and this helped so much, life saver!!!

Nice! The low register is a little overpowering though. I wonder how it would sound with a range of types of saxes. I enjoyed your video.

There are many more of this guy Carner interviews than there ever was of Pepper Adams, just like there's many more discussions of Charlie Parker music than actual interviews whith Bird talking about his music.

Using this to help me with learning the pieces 🙏

Great performance. I am studying through Bach Chorales and came across your video. Keep it up!

Wow! I couldn't make this meeting, but this sounds like a highlight. I’ll have to reach out to Russell to talk about Thad. Sounds like there’s much more work to be done.

Bravo!!!. It's not easy, great tuning!!!

every time i hear this bourree i’ve thought it would be perfect for baritone sax. thank you for proving me right! well done 🎉

So Underrated!!

My son wants to play bari now. 👍

0:00-1:10

Beautiful!

Good job!

Swington playing straight 8ths looks so weird (but sounds good obviously)

Woah, what a blast from the past. Super interesting to see Aaron! Thanks for sharing.

I wish he had a mike to talk into.

Lovely.

Interesting that it’s written in D minor when it’s clearly in G minor. Also the progression starting with the N6 after the first fermata is one of my favorite musical moments.

lands of high, the

❤❤❤

beautiful

This is my all state piece and hopefully I can preform this as good as you did to make it past round two

Cool piece of near history! That hall makes his legendary sound that much more imposing.

Thank you for having me! It was an honor. A highlight from the show for me: "If you can't imitate him, don't copy him!", Yogi Berra via Kenny Berger

It's inexplicable to me that Thad, Pepper's homeboy and longtime partner, didn't give him the solo space on the band that he deserved. I read in Gary's wonderful discography that when he joined the Kenton band in '56, every player in the section GAVE their solos to him, realizing his brilliance. As a recording engineer and serious jazz listener for 65 years, I've become a student of Wally Heider's '50s live recordings of all the touring bands, accumulating well over 100 of them, and Pepper jumped out of the speakers at me! Wally's recordings captured Pepper with that band (3-4 weeks worth), and the last of his recordings of the band in San Francisco (from Nov 17-18) were Wally's first stereo recordings. Earlier recordings (at least those I've found on CD) from the same gig were mono. There's a comment in the discography that no one captured Pepper's sound better than Elvin Campbell, who used two mics on the horn and mixed them. This technique was developed by Wieslaw Woszczyk at McGill University in Montreal, and presented in a paper at the May 1979 convention of the Audio Engineering Society in Los Angeles. At the time, he was director of the graduate program in sound recording at McGill. I was there and heard his presentation. By then, I had been doing a lot of live recordings in Chicago jazz clubs and other larger venues where I was mixing live sound, and I had come to the same conclusion that a mic in the bell of horn destroyed its sound. Because I only did live sound (and recording), I never had the luxury of Wieslaw's technique, but my solution was to move the mic well above the bell, facing into the horn. A lot of my work ran on NPR's Jazz Alive during the '70s. I can email a photo of Wieslaw's 2-mic setup from the AES paper if there is interest. I recorded Pepper twice, both times at the Jazz Showcase in 1976 with Thad/Mel, and the 1978 set with Chet Baker. My masters, nearly all 15ips dbx, are at the archive of the LA Jazz Institute. BTW -- I read Gary's wonderful bio this winter/spring, and just finished the discography. It's great work! Thank you for it. An observation on Mulligan's sound -- I recorded him live twice, both in a small club (Ratso's) and in a large room at the Palmer House. In that venue, I close-miked the band, and had a large diaphragm stereo mic at least 10 ft downstage for him to solo. He often played with the section standing just in front of them, so 10 ft from the solo mic, but his sound was so strong that it was above the rest of the band in that solo mic. I concur that Pepper was a monster in every sense of the word, I think of him at the level of Bird, Prez, Trane, and Diz. And it's no surprise, since he came up in '40s and '50s Detroit with Barry, Tommy, the Jones brothers, Kenny, Byrd, and the dozens of other great musicians who were such an important part of jazz in the last half of the 20th century.

Thank you for the video! I can’t understand what song is talking about at 29:55, can someone help me please ?

Your style is super good! I really like that ritard. you added and im definitely going to implement it into this years etude

Awesome 👏🏾

Awesome! Really enjoyed that!

So good

I saw Pepper with Thad and Mel O when I was maybe 17….. I think it was the evening that Thad brought up a pregnant Dee Dee Bridgwater to sing Bye Bye Blackbird. Surely someone else out here remembers that evening. Anyways after a particularly wonderful Pepper solo I remember he sat down, and the applause were so enthusiastic that he stood back up and bowed … directly to the post that was very, very close in front of his spot, he almost bumped his head , as you all remember his place in the corner on that Vanguard stage. While bowing he may have almost smiled. He sat back down with a totally straight face. I remember thinking here is the Mona Lisa on baritone.

Awesome. I'm sure the red headed stranger would approve.

Beautiful! Thank You!!

Thank you for this post. The Pepper line on 'Moanin' (with Charles Mingus) has been used on at least one TV ad and one radio ad here in the UK, and absorbed into the subconscious by many folk, who know the line, but no clue who the musicians were. There is also a video out there on you tube of the Pepper line on 'Moanin' , well worth a watch. Pepper Adams landed that lick on a B natural, but subsequent musicians have ' corrected ' him by landing on B flat. Mr Adams was a master of the 'correct' wrong note.

YEEEAH

Pepper Adams did at least 4 London stints, and I went to hear him on 3 of those. What a shame he never got a week or two at Ronnie Scott's. Because Adams was not a "name", he never got the invite. People would go to Scott's and talk all night and not have clue who was on the bandstand. Maybe it is best that I saw him at smaller venues where he was more appreciated. In a pub in south London, the last place on earth you would expect jazz, he did a gig. A few jazz nuts crawled out of the woodwork, but mostly it was local boozers. I did something that nearly killed me with embarrassment, I asked Mr Adams to sign my favourite Byrd/Adams LP, and he did so with red marker pen across the back with his terrible handwriting...to Tony....Cheers...Pepper Adams. Of course I still cherish that LP and never asked anybody to sign anything since. It was a great gig and enjoyed by all, jazz nuts and the locals, The Red Lion, Thornton Heath, 1983. And, of course, enjoying this roundtable.

Thank you for this upload, man!!

What mouthpiece are you using?

Bookmarked! Many thanks.

Nice performance!

Totally enjoyable, nice music!

Wonderful!!!!!

Those chords are nuts! Love it.

Hey can you please provide sheet music

This makes me scared to be playing bari in hs lol

yes!!!!!! this is shear magic!!!!! incredible!!!!!!!

Beautiful again, Aaron!

Toooppp 👏🏻👏🏻👏🏻👏🏻👏🏻🙏🏻🤝🎷🇧🇷