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Motor City Scene (Remastered)

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Album Review

As Donald Byrd and Pepper Adams emerged from the Detroit jazz scene to national prominence in the mid-'50s, their singular instrumental voices became pronounced. As good as their overall playing is on this recording from 1960 (also released with the title Stardust), it is not as potent and defined as on previous efforts, like the Savoy albums Kenny Clarke Meets the Detroit Jazzmen (aka Jazzmen Detroit) or their classic Riverside recording 10 to 4 at the Five Spot. The five selections here not all feature the total united Adams-Byrd package in terms of their signature sound or the compositions, and as such diminishes the overall quality of the project. It is like skimming the surface of what is an extraordinary band that feels like it is in a growth curve. Guitarist Kenny Burrell and bassist Paul Chambers fill large roles, but pianist Tommy Flanagan sounds like merely a sideman instead of a larger puzzle piece, and drummer "Hey" Lewis (a nom de plume for Louis Hayes) is not, at this point in his career, Clarke, Elvin Jones, or anyone comparable. "Stardust" is a ten-minute ballad feature for Byrd without Adams. The Thad Jones evergreen "Bitty Ditty" closes the set, as pretty a melody and classic a tuneful, melodic, hummable bop tune as has been invented. In the middle is a basic two-note bluesy swinger titled "Philson" and Erroll Garner's "Trio," played by this sextet led by Burrell (with Adams in too late and Byrd fairly inconsequential), while the cute calypso "Libeccio" has Adams and Burrell joining in only on the second chorus. Fine solos from the front-liners save this effiort, as their formidable powers still show great promise. Two years hence, this band was a top-drawer attraction, but somehow this session doesn't gel to the extent it might have. ~ Michael G. Nastos, Rovi

Biography

Born: October 8, 1930 in Highland Park, MI

Genre: Jazz

Years Active: '50s, '60s, '70s, '80s

Pepper Adams handled the baritone saxophone with the driven facility of hard bop and fueled the big horn with a propulsive intensity that caused him to be nicknamed "the Knife" for his "slashing and chopping technique," which had a humbling effect upon musicians fortunate enough to gig with him. From 1954 until shortly before his passing in 1986, Pepper Adams existed as an indispensable ingredient in the North American jazz ensemble, releasing more than 20 albums as a leader, emanating a special...
Full Bio
Motor City Scene (Remastered), Pepper Adams
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