AnotetoallthePepperAdamsfansoutthere…

These transcriptions were done a little over a decade ago out of my love,respectandadmirationforPepperAdams.Hismusicality,harmonicconcept,senseofswing,intensityandhumoraretrulyanotchaboveeveryoneelse,whichiswhyheissospecial.Ihavespecificallyleftoutanyandallarticulations.Eventhoughonecouldattempt tophysicallywrite somethingonto themanuscriptpaper, I feel themusicrequiresustolearnitasitshouldbelearned…byabsorptionandassimilationthroughlistening.TotrulyunderstandhowPepper’snotesandphrasesareplayedrequires dedicated listening. Pepper’s improvisational voice was so unique andstrong. I suggest taking the time to listen toeach solo first; then listenagainandfollowalongonthetranscriptionmakinganynotesyoumaywish.Onlyafterthesesteps are done should you pick up your horn… Beyond this, the chord changesshownareareflectionofwhatIperceivedPeppertobethinkingandplaying…I’veattemptedtostayasclosetothestandardchangesfoundonthesetuneswheneverpossible.ItshouldbestatedthatPepperhadafondnessfortheDiminishedandtheTritone substitution in addition to the concept of ascending inminor 3rds over aMinororDominantchordorevenoveratwo-fivepassage.

Transcribing is a personal venture. These aremy interpretations ofwhatI’veheard. Shouldyoudisagreewith thewaywithwhich I’venotated something,that is completely acceptable, however, please change it in yourown score. If bychanceyou’vefoundaglaringmistake,pleasejustletmeknowanditwillbefixed.ThankyouandENJOYunlockingPEPPERADAMS!

AdamSchroeder

BaritoneSaxophonist AssistantProfessorofJazzStudies,UNLV adam.schroeder@unlv.edu www.adamschroedermusic.com 310-872-0156

*PleaseNote* Due to theway inwhich the tune InandOutwas recorded,youwillnoticethat there are no chord changes outliningwhat changesPepperAdams is playingover throughout the transcription. The layoutof this tune isnot as complexas itseams. InandOut is a 12bar bluesprogression in the key of concert F inwhichthree members of the quintet trade solo phrases. The progression starts withPepper taking the first 4 bars of theblues form followedbyZoot Sims taking thenext 12 consecutive bars, subsequently followed by Tommy Flanagan taking thenext12consecutivebars. WithPeppersoloingonlyoverthefirst4barsofthe12bar form, he in turn off sets the 12 bar solo form of the blues so that each newsoloist now starts on the IV chord of the blues and continues to solo for theconsecutive12bars.Thisplacesthe“top”oftheformonceagainontheIVchordforthenextsoloist.Thispatternlastfor22choruses’untilZootSimstakes14barsforhissolosection.Bydoingso,thischangesthetradingfrom12barphrasesinto6barphrasesthatnowincludesElvinJonesaswell.Thesoloformhasnowreturnedbackto itsoriginal12barblues form,withthetopofeachnewsoloistschorusstartingoutonthefirstbaroftheform,onthe1chord.

In and Out

December 11 & 12, 1968

Trans. by Adam Schroeder

Pepper Adams - Encounter

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