Editing Pepper Adams

{{Short description|American saxophonist (1930–1986)}}
{{Infobox musical artist
| name            = Pepper Adams
| image           = PepperAdamsFrance78.jpg
| caption         = 
| background      = non_vocal_instrumentalist
| birth_name      = Park Frederick Adams III
| birth_date      = {{Birth date|1930|10|8}}
| birth_place     = [[Highland Park, Michigan]], U.S.
| death_date      = {{Death date and age|1986|9|10|1930|10|8}}
| death_place     = [[Brooklyn]], New York
| origin          = [[Rochester, New York|Rochester]], New York
| instrument      = Baritone saxophone, clarinet
| genre           = [[Jazz]], [[hard bop]], [[big band]]
| occupation      = Musician, composer
| years_active    = 1947–1986
| label           = [[Savoy Records|Savoy]], [[Prestige Records|Prestige]], [[Blue Note Records|Blue Note]], [[Warwick Records (United States)|Warwick]], [[Riverside Records|Riverside]], [[Enja Records|Enja]], [[Muse Records|Muse]]
| past_member_of  = [[Thad Jones/Mel Lewis Big Band]]
| website         = {{URL|https://www.PepperAdams.com/|PepperAdams.com}}
}}
'''Park Frederick''' "'''Pepper'''" '''Adams III''' (October 8, 1930 – September 10, 1986)<ref name="Harvard Bio">{{cite book|editor-last=Randel|editor-first=Don Michael|title=The Harvard biographical dictionary of music|year=1996|publisher=Belknap Press of Harvard Univ. Press|location=Cambridge, Massachusetts|isbn=0-674-37299-9|page=[https://archive.org/details/harvardbiographi00rand/page/4 4]|chapter=Adams, Pepper|chapter-url-access=registration|chapter-url=https://archive.org/details/harvardbiographi00rand/page/4}}</ref> was an American [[jazz]] [[baritone saxophonist]] and composer.<ref name="RCJE">{{Cite book
 | last = Cook
 | first = Richard
 | year = 2005
 | title = Richard Cook's Jazz Encyclopedia
 | publisher = Penguin Books
 | location = London
 | isbn = 0-141-00646-3
 | pages = 3
}}</ref> He composed 42 pieces, was the leader on eighteen albums spanning 28 years,<ref>{{cite web|url=http://www.pepperadams.com/DatesAsLeader.html |title=PepperAdams.com |publisher=PepperAdams.com |access-date=2013-08-09}}</ref> and participated in 600 sessions as a sideman. He worked with an array of musicians, and had especially fruitful collaborations with trumpeter [[Donald Byrd]] and as a member of the [[Thad Jones/Mel Lewis Big Band]].

==Biography==

===Early life===
Pepper Adams was born in [[Highland Park, Michigan]], to father Park Adams II, who worked as the manager of a [[furniture store]],<ref>{{cite web|url=https://doi.org/10.1093/anb/9780198606697.article.1802589 |title=Adams, Pepper |last=Kernfeld |first=Barry |website=American National Biography |year=2000 |publisher=Oxford University Press |doi=10.1093/anb/9780198606697.article.1802589 |access-date=August 22, 2022}}</ref> and mother, Cleo Marie Coyle.<ref name="Harvard Bio" /><ref name="Carner Chronology">{{cite web|last=Carner|first=Gary|title=Pepper Adams: Chronology|url=http://www.pepperadams.com/Chronology/index.html|access-date=12 April 2014}}</ref> Both of his parents were college graduates, with each spending some time at the [[University of Michigan]].<ref name="Pepper Adams Autobiography">{{cite web|last=Adams|first=Pepper|title=An Autobiography of Pepper Adams|url=http://www.pepperadams.com/PepperOnPepper/Page01.html|access-date=April 12, 2014}}</ref> 

Due to the onset of the [[Great Depression in the United States|Great Depression]], Adams' parents separated to allow his father to find work without geographic dependence.<ref name="Carner Chronology" /> In the fall of 1931, Adams moved with his mother to his extended family's farm near [[Columbia City, Indiana]], where food and support were more readily available.<ref name="Carner Chronology" /> In 1933, Adams began playing piano. His father having reunited with the family, they moved to [[Rochester, New York]], in 1935 and in that city he began his musical efforts on tenor sax and clarinet.<ref name="Carner Chronology" /> Two years later, Adams began deepening his developing passion for music by listening to [[Fats Waller]]'s daily radio show. He was also influenced at a young age by listening to [[Fletcher Henderson]]'s big band radio broadcasts out of Nashville, [[Jimmie Lunceford]], [[Duke Ellington]], and [[Cab Calloway]].<ref name="Carner Chronology" /><ref name="AllMusic.com Bio">{{cite web|title=Pepper Adams|url=http://www.allmusic.com/artist/pepper-adams-mn0000255377/biography|publisher=AllMusic.com|access-date=12 April 2014}}</ref> Adams would later describe "[his] time up until the age of eight or so [as] really just traveling from one place to another".<ref name="Pepper Adams Autobiography" /> As early as fourth grade, Adams sold cigarettes and candy door-to-door in order to contribute to his family's income for essential items.<ref name="Carner Chronology" />

Adams' interest in performing further grew in sixth grade when the public school system offered a loaned musical instrument to any student who was interested, and further musical instruction if he could get into the school band.<ref name="Carner Chronology" /> Initially Adams chose the trumpet, then the trombone, but eventually settled on the [[clarinet]], which he played in the school band.<ref name="Carner Chronology" /> The following year Adams attained his lifelong nickname of "Pepper" due to former [[St. Louis Cardinals]] star [[Pepper Martin]] signing on to manage and play for the hometown minor league team, the [[Rochester Red Wings]]. Adams' classmates saw a resemblance between the two, and the nickname stuck.<ref name="Carner Chronology" /> Later in his career, Adams also attained the nickname "the Knife" for "his 'slashing and chopping technique', which had a humbling effect upon musicians fortunate enough to gig with him".<ref name="AllMusic.com Bio"/>

In 1943, Adams skipped school for a week in order to see Ellington play local gigs. He eventually met [[Rex Stewart]], who further introduced him to [[Harry Carney]] and other band members. This led to Adams being able to take lessons from [[Skippy Williams]], who was the tenor saxophonist in Ellington's band.<ref name="Carner Chronology" /> 

Adams switched to tenor saxophone in the fall of 1943, which was made possible due to his jobs as a box cutter in the mail order room of a jazz store and an usher at a movie theater, allowing him to make enough money to buy the instrument.<ref name="Carner Chronology" /> His job at the jazz store also allowed him to listen to all of the newest available jazz records <ref name="Pepper Adams Autobiography" /> and led to his emulation of [[Coleman Hawkins]], who he had heard play locally in 1945,<ref name="New Grove Jazz">{{cite web|last=Jeske|first=Lee|title=Adams, Pepper|url=http://0-www.oxfordmusiconline.com.dewey2.library.denison.edu/subscriber/article/grove/music/J002400?q=pepper+adams&search=quick&source=omo_gmo&pos=2&_start=1#firsthit|work=The New Grove Dictionary of Jazz, 2nd Edition|publisher=Oxford University Press|access-date=12 April 2014}}</ref> and interest in the music of [[Don Byas]]. His first steady gig came in 1946 with a six-piece group led by [[Ben Smith (musician)|Ben Smith]], which then caused him to drop out of school in the 11th grade due to working six nights a week.<ref name="Carner Chronology" />

===Early playing career===
At age 16, Adams and his mother moved to Detroit, where he soon began playing with [[Willie Wells (jazz musician)|Willie Wells]], who he had heard play for [[Fletcher Henderson]], [[Fats Navarro]], [[Tommy Flanagan]], and Willie Anderson.<ref name="Carner Chronology" /> He had received casual instruction from [[Wardell Gray]] and [[Billy Mitchell (saxophonist)|Billy Mitchell]], and played with a group led by [[Little John Wilson]] as well.<ref name="New Grove Jazz" /> Through the employee discount from his job at Grinnell's, a music store in Detroit, Adams purchased what would become his main instrument: the baritone saxophone. He initially purchased a used Bundy baritone saxophone, but later traded it in for a new [[Henri Selmer Paris|Selmer]] 'Balanced Action' E-flat baritone in 1948, which he used until 1978.<ref name="Carner Chronology" /> This switch proved to be successful, as he was soon playing in [[Lucky Thompson]]'s band.<ref name="Feather">Feather, Leonard and Ira Gitler. ''Biographical Encyclopedia of Jazz''. Oxford University Press, 1999. pp. 5-6</ref> In Detroit, Adams also met several jazz musicians who would become future performing partners, including trumpeter [[Donald Byrd]]. He attended [[Wayne State University]].<ref>{{cite web|url=http://www.pepperadams.com/Chronology/EarlyYears.html |title=PepperAdams.com |publisher=PepperAdams.com |access-date=2013-08-09}}</ref> Adams became interested in Wardell Gray's approach to the saxophone, later naming Gray and Harry Carney as his influences. He spent time in a United States Army band, and briefly had a tour of duty in Korea.<ref>{{cite web|url=http://www.aaronlington.com/lington-aj.pdf |title=Archived copy |access-date=2008-11-20 |url-status=dead |archive-url=https://web.archive.org/web/20081120232323/http://www.aaronlington.com/lington-aj.pdf |archive-date=2008-11-20 }}</ref>

Upon returning from Korea, Adams began playing at the [[Blue Bird Inn]] in Detroit where he played with [[Thad Jones]]. When Jones left to play with [[Count Basie]], Adams then became the music director at the Blue Bird. In late 1954, Adams left the Blue Bird to join [[Kenny Burrell]]'s group at Klein's Show Bar, also in Detroit, where he would later become musical director following Burrell's departure.<ref name="Carner Chronology" /> 

Following the recommendation of friend [[Oscar Pettiford]], Adams joined the [[Stan Kenton|Stan Kenton Orchestra]] in 1956, where he played for a majority of the year until leaving the group to form a new ensemble with [[Lee Katzman]] and [[Mel Lewis]] in Los Angeles.<ref name="Carner Chronology" /> Before moving to California, he recorded with [[Kenny Clarke]], [[Curtis Fuller]], and [[Quincy Jones]].<ref name="AllMusic.com Bio" /> In April 1957, Adams joined [[Chet Baker]]'s group, where he played for about a year.<ref name="Carner Chronology" />

He later moved to New York City, where he performed on the album ''[[Baritones and French Horns]]'' with [[Cecil Payne]] (later re-issued as ''[[Dakar (album)|Dakar]]'' as by [[John Coltrane]], who also played on the album), worked 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 [[Atlantic Records|Atlantic]] albums of the period, ''[[Blues & Roots]]'', which includes Adams' extended solo on "Moanin'". Thereafter, he recorded with Mingus sporadically until the latter's death in 1979. Adams formed a quintet with [[Donald Byrd]] in 1958 that lasted until 1961. Following the breakup of the Donald Byrd–Pepper Adams Quintet, Adams lacked a consistent band association until 1965 and the formation of the Thad Jones–Pepper Adams Quintet. During this phase, he performed with the likes of [[Teddy Charles]], [[Pony Poindexter]], [[Marcus Belgrave]], [[Thelonious Monk]], and [[Lionel Hampton]].<ref name="Carner Chronology" /> 

In September 1963, Adams made an agreement with [[Motown Records]] for an exclusive recording contract and an exclusive management contract with International Talent Management, a Motown affiliate. Prior to signing with Motown, Adams turned down an offer from [[Harry James]] to play in his Las Vegas-based band because it was extremely commercial and presented few opportunities to solo, despite its $10,000 annual salary.<ref name="Carner Chronology" />

===Partnership with Thad Jones===
He later became a founding member<ref name="Feather"/> of the [[Thad Jones/Mel Lewis Big Band]], with whom he played from 1965 to 1976, and thereafter continued to record Jones's compositions on many of his own albums.<ref>{{cite web|url=http://www.allmusic.com/artist/pepper-adams-mn0000255377/biography |title=Pepper Adams &#124; Biography |publisher=AllMusic |access-date=2013-08-09}}</ref> Adams co-led a quintet with Donald Byrd from 1958 to 1962, with whom he recorded a live date, ''[[10 to 4 at the 5 Spot]]'' ([[Riverside Records|Riverside]]), featuring [[Elvin Jones]],<ref>{{cite web|url=http://www.allaboutjazz.com/php/article.php?id=5576#.UgTJ6dL_lKQ |title=Donald Byrd/Pepper Adams: The Complete Blue Note Donald Byrd/Pepper Adams Studio Sessions |date=May 2000 |publisher=Allaboutjazz.com |access-date=2013-08-09}}</ref> and a sequence of albums for [[Blue Note Records|Blue Note]]. During this time he also played with the [[Sal Salvador|Sal Salvador Big Band]] at the Diamond Beach Club in [[Wildwood, New Jersey]], in August 1965, along with [[Teddy Charles]] in early 1966, and [[Ella Fitzgerald]] in 1967.<ref name="Carner Chronology" /> Most of the [[Thad Jones/Mel Lewis Big Band]] performances took place at the [[Village Vanguard]] in New York City, along with many colleges and other locations around the United States, Europe, and Asia.<ref name="Carner Chronology" /> The 18-year period spent with [[Thad Jones]] was filled with almost constant touring when the band was not playing their steady gig at the [[Village Vanguard]]. One of the ensemble's most frequent performing locations outside the United States was the [[Jazzhus Montmartre|Montmartre]] in Copenhagen, Denmark.<ref name="Carner Chronology" />

===Solo career===
Adams' solo career began in 1977 in California, where he initially stayed with John and Ron Marabuto.<ref name="Carner Chronology" /> He soon played gigs with Mingus, Baker, and Hampton, with whom he went on a two-month European tour in 1978. On March 18, 1978, Adams purchased a new Selmer baritone saxophone that served as his interim back-up instrument for his original saxophone that he had been using since 1948.<ref name="Carner Chronology" /> In 1979, Adams played several gigs with [[Per Husby]] across Norway. On June 5, 1980, the Berg Larsen mouthpiece Adams had been using for 32 years finally broke, which led him to replace it with a Dukoff D-5 mouthpiece and a Bari plastic reed. The following day, Adams premiered his new set-up at One Step Down in Washington, D.C.<ref name="Carner Chronology" />

Adams began composing "Urban Dreams" on July 29, 1980, on a flight to London for a short European tour.<ref name="Carner Chronology" /> Adams finally replaced his original [[Conn-Selmer|Selmer]] E-flat 'Balanced Action' baritone saxophone in December 1980 after 31 years of use.<ref name="Carner Chronology" /> In 1981, Adams performed with Rein de Graaff's trio, Per Husby's trio, and the [[Franco D'Andrea]] trio for three short European tours.<ref name="Carner Chronology" /> When in New York City, Adams performed at [[Scheffel Hall|Fat Tuesday's]] several times during this period of his career, one of which, ''[[Conjuration: Fat Tuesday's Session]]'', earned him a [[Grammy]] nomination in 1984 for Best Jazz Instrumental Performance as a Soloist.<ref name="Carner Chronology" /> In later years, Adams toured England and continental Europe several times, performing there with local rhythm sections, and he performed with a Count Basie tribute band at the Grande Parade du Jazz in Nice.<ref name="Feather"/>

===Leg injury and end of career===
Adams' life was severely altered by the leg injury he sustained in December 1983, which was caused by his car's parking brake becoming disengaged on his slanted driveway. This led the car to pin Adams up against his garage door, crushing his leg and restricting him to bed rest for the following five months.<ref name="Carner Chronology" /> Despite the long recovery from his injury, Adams began playing again and exhibited his love for performing in October 1984 by flying from New York City all the way to Singapore for a one-night gig, then returning two days later. He eventually regained the strength in his leg to move without the use of a wheelchair or cane in January 1985, after more than a year of recovery.<ref name="Carner Chronology" />

Adams was a [[chain smoker]] for most of his life.<ref>Carner, G. (2012). Pepper Adams' Joy Road: An Annotated Discography. Germany: Scarecrow Press, p. 492</ref> While in Sweden in March 1985, he visited a thoracic specialist at the suggestion of a friend, [[Gunnar Windahl]], and was diagnosed with [[lung cancer]].<ref name="Carner Chronology" /> He was hospitalized for testing later that month in New York, then was forced to take a break from performing or traveling for two months that summer in order to undergo [[Radiation therapy|radiation treatments]].<ref name="Carner Chronology" /> 

A benefit concert was held for Adams on September 29, 1985, in New York City that featured [[Dizzy Gillespie]], [[Frank Foster (jazz musician)|Frank Foster]], [[Kenny Burrell]], [[Tommy Flanagan]], and the [[Mel Lewis Jazz Orchestra]], among others.<ref name="Carner Chronology" /> Despite his various health issues, Adams continued pushing himself professionally, which was exemplified by his stretch in Dublin, Ireland, April 4–6, 1986, when he played five gigs over three days with five different bands.<ref name="Carner Chronology" />

Adams was diagnosed with [[pleurisy]] in April 1986 and died of lung cancer in [[Brooklyn, New York]], on September 10, 1986.<ref name=nyt>[https://www.nytimes.com/1986/09/11/obituaries/pepper-adams-dead-baritone-saxophonist.html "Pepper Adams Dead; Baritone Saxophonist"], ''New York Times'', 11 September 1986</ref> His final performance took place on July 2, 1986, at the [[Spectrum (Montreal)|Spectrum]] in Montreal as part of the [[Montreal Jazz Festival]]. Before counting off the first song, he received a standing ovation from the crowd.<ref name="Carner Chronology" />

==Style==
Pepper Adams was in many ways the antithesis of near-contemporary baritone players [[Gerry Mulligan]] and [[Serge Chaloff]], who favored melodic [[cool jazz]]. In contrast, Adams managed to bring the cumbersome baritone into the blisteringly fast speeds of [[hard bop]].<ref>Cook, Richard and Brian Morton. The Penguin Guide to Jazz on CD. Penguin Books, 2004. p. 10</ref> Gary Carner, Adams's biographer, described his style as having "very long, tumbling, double-time melodic lines. And that raw, piercing, bark-like timbre."<ref name="Feather"/> Adams "succeeded in elevating [the baritone saxophone] to the level of all other solo instruments [with] blinding speed, penetrating timbre, distinctive sound, harmonic ingenuity, precise articulation, confident time-feel, and use of melodic paraphrase".<ref name="Grove Dictionary of American Music">{{cite web|last=Carner|first=Gary|title=Adams, Pepper|url=http://0-www.oxfordmusiconline.com.dewey2.library.denison.edu/subscriber/article/grove/music/A2226814?q=pepper+adams&search=quick&source=omo_gmo&pos=1&_start=1#firsthit|work=The Grove Dictionary of American Music, 2nd Edition|publisher=Oxford University Press|access-date=April 12, 2014}}</ref> 

Throughout his career, Adams consistently chose musical expression over large paychecks, as "[he] repeatedly recalled with great satisfaction his decision to play [in groups focused on musical expression] rather than to change his style to secure better paying jobs with now little-known white musicians".<ref name="New Grove Jazz" /> A large part of Adams' appeal was that "[he] had the remarkable ability to blow low with enormous power and swing, becoming a hefty addition to big band reed sections. He also was an equally dominant voice in small groups, adding ferocious excitement and stamina".<ref name=JazzWax.com>{{cite web|last=Myers|first=Marc|title=Complete Works of Pepper Adams|url=http://www.jazzwax.com/2012/09/complete-works-of-pepper-adams.html|work=JazzWax.com|access-date=April 12, 2014|archive-url=https://web.archive.org/web/20140726150121/http://www.jazzwax.com/2012/09/complete-works-of-pepper-adams.html|archive-date=July 26, 2014|url-status=dead}}</ref>

Despite his prowess at hard bop, Adams was also adept at ballads and slower numbers. An example is his contribution to the album ''[[Chet (Chet Baker album)|Chet]]'' (1958) including a solo on the bittersweet "[[Alone Together (1932 song)|Alone Together]]" that critic Dave Nathan described as "one of the album's high points".<ref name="Allmusic">Nathan, D. [{{AllMusic|class=album|id=r134878|pure_url=yes}} Allmusic Review]. Accessed March 19, 2010.</ref>

==Awards and honors==
He won ''[[DownBeat]]''{{'}}s New Star award in 1957 and was named baritone soloist of the year for 1980.<ref name=nyt/> Adams was nominated three times for a [[Grammy Award]], including nominations for Best Jazz Instrumental Performance as a Soloist for ''Reflectory'' in 1979 and Best Jazz Soloist for ''The Master''.<ref name="Carner Chronology" /> In the 1975  ''[[Playboy]]'' magazine annual music poll, he was named an All Star's All-Star. In 1967 Adams received the Talent Deserving of Wider Recognition award from ''[[DownBeat]]''.<ref name="Carner Chronology" /> From 1979 to 1982, Adams won the award for best baritone saxophonist from ''DownBeat''{{'}}s International Jazz Critics' Poll on four consecutive occasions,<ref name="Carner Chronology" /> something Adams attributed to his frequent touring of Europe throughout his career.<ref name="Pepper Adams Autobiography" /> In December 1982, Adams won the ''DownBeat'' Readers' Poll award for the best baritone saxophonist in the world, unseating Gerry Mulligan, who had held that distinction since 1953.<ref name="Carner Chronology" />

==Discography==

===As leader/co-leader===
*''[[Baritones and French Horns]]'' (Prestige, 16rpm LP issue, 1957) with the Prestige All Stars; conventional LP release of session led by Adams as ''[[Dakar (album)|Dakar]]'' under [[John Coltrane]]'s name
*''[[Pepper Adams Quintet]]'' (Mode, 1957)
*''[[Critics' Choice (album)|Critics' Choice]]'' ([[Pacific Jazz Records|Pacific Jazz]], 1957)
*''[[The Cool Sound of Pepper Adams]]'' (Regent/[[Savoy Records|Savoy]], 1957)
*''[[The Pepper-Knepper Quintet]]'' ([[MetroJazz Records|MetroJazz]], 1958) with [[Jimmy Knepper]]
*''[[10 to 4 at the 5 Spot]]'' ([[Riverside Records|Riverside]], 1958)
*''[[Motor City Scene]]''  ([[Bethlehem Records|Bethlehem]], 1960) with [[Donald Byrd]]
*''[[Out of This World (Pepper Adams Donald Byrd Quintet album)|Out of This World]]'' ([[Warwick Records (United States)|Warwick]], 1961) with Donald Byrd
*''[[Pepper Adams Plays the Compositions of Charlie Mingus]]'' ([[Workshop Jazz Records|Workshop Jazz]], 1963)
*''[[Mean What You Say (Thad Jones/Pepper Adams Quintet album)|Mean What You Say]]''  ([[Milestone Records|Milestone]], 1966) with [[Thad Jones]]
*''[[Encounter!]]'' ([[Prestige Records|Prestige]], 1968)
*''[[Ephemera (album)|Ephemera]]'' ([[Spotlite Records|Spotlite]], 1973)
*''[[Julian (album)|Julian]]'' ([[Enja Records|Enja]], 1975)
*''[[Twelfth & Pingree]]'' (Enja, 1975)
*''[[Baritone Madness]]'' ([[Bee Hive Records|Bee Hive]], 1977) with [[Nick Brignola]]
*''[[Reflectory (album)|Reflectory]]'' ([[Muse Records|Muse]], 1978)
*''[[Be-Bop?]]'' ([[Musica Records|Musica]], 1979) with [[Barry Altschul]]
*''[[The Master (Pepper Adams album)|The Master...]]'' (Muse, 1980)
*''[[Urban Dreams]]'' ([[Palo Alto Records|Palo Alto]], 1981)
*''[[California Cookin']]'' (Interplay, 1983)
*''[[Conjuration: Fat Tuesday's Session]]'' ([[Reservoir Records|Reservoir]], 1983)
*''[[Generations (Pepper Adams and Frank Foster album)|Generations]]'' ([[Muse Records|Muse]], 1985) with [[Frank Foster (jazz musician)|Frank Foster]]
*''[[The Adams Effect]]'' ([[Uptown Records (jazz)|Uptown]], 1985 [1988])

===As sideman===
'''With [[Ray Alexander (musician)|Ray Alexander]]'''
*''Cloud Patterns'' (Nerus, 1983)

'''With [[Mose Allison]]'''
*''[[Hello There, Universe]]'' (Atlantic, 1970)

'''With [[Gene Ammons]]'''
*''[[The Big Sound (Gene Ammons album)|The Big Sound]]'' (Prestige, 1958)
*''[[Groove Blues]]'' (Prestige, 1958)
*''[[Blue Gene (Gene Ammons album)|Blue Gene]]'' (Prestige, 1958)

'''With [[Chet Baker]]'''
*''[[Theme Music from "The James Dean Story"]]'' (World Pacific, 1956) – with [[Bud Shank]]
*''[[Chet (Chet Baker album)|Chet]]'' (Riverside, 1959)
*''[[Chet Baker Plays the Best of Lerner and Loewe]]'' (Riverside, 1959)

'''With [[Walter Bishop Jr.]]'''
*''[[Cubicle (album)|Cubicle]]'' (Muse, 1978)
'''With [[Joshua Breakstone]]'''
*''[[Echoes (Joshua Breakstone album)|Echoes]]'' (Contemporary, 1987)
'''With [[Ray Bryant]]'''
*''[[MCMLXX (album)|MCMLXX]]'' (Atlantic, 1970)

'''With [[Donald Byrd]]'''
*''[[Byrd in Hand]]'' (Blue Note, 1959)
*''[[Off to the Races (Donald Byrd album)|Off to the Races]]'' (Blue Note, 1959)
*''[[At the Half Note Cafe]]'' (Blue Note, 1960)
*''[[Chant (Donald Byrd album)|Chant]]'' (Blue Note, 1961)
*''[[Royal Flush (album)|Royal Flush]]'' (Blue Note, 1961)
*''[[The Cat Walk]]'' (Blue Note, 1961)
*''[[The Creeper (album)|The Creeper]]'' (Blue Note, 1967)
*''[[Electric Byrd]]'' (Blue Note, 1970)

'''With [[Hank Crawford]]'''
*''[[Double Cross (album)|Double Cross]]'' (Atlantic, 1968)
*''[[Mr. Blues Plays Lady Soul]]'' (Atlantic, 1969)
*''[[Help Me Make It Through the Night (Hank Crawford album)|Help Me Make it Through the Night]]'' (Kudu, 1972)

'''With [[Richard Davis (bassist)|Richard Davis]]'''
*''[[Muses for Richard Davis]]'' (MPS, 1969)

'''With [[Maynard Ferguson]]'''
*''[[Ridin' High (Maynard Ferguson album)|Ridin' High]]'' (Enterprise, 1967)

'''With [[Don Friedman]]'''
* ''Hot Knepper and Pepper'' (Progressive, 1978 [1980])

'''With [[Jimmy Forrest (musician)|Jimmy Forrest]]'''
* ''[[Soul Street (album)|Soul Street]]'' (Prestige, 1958 [1962])

'''With [[Curtis Fuller]]'''
*''[[Four on the Outside]]'' ([[Timeless Records|Timeless]], 1978)

'''With [[Red Garland]]'''
*''[[Red's Good Groove]]'' (Jazzland, 1962)

'''With [[Dizzy Gillespie]]'''
*''[[Live at the Village Vanguard (Dizzy Gillespie album)|Live at the Village Vanguard]]'' (Solid State, 1968)

'''With [[Bobby Hackett]]'''
*''[[Creole Cookin']]'' (Verve, 1967)

'''With [[Johnny "Hammond" Smith|Johnny Hammond]]'''
*''[[Wild Horses Rock Steady]]'' (Kudu, 1971)
*''[[The Prophet (album)|The Prophet]]'' (Kudu, 1972)

'''With [[Barry Harris]]'''
*''[[Luminescence!]]'' (Prestige, 1967)
*''[[Bull's Eye! (album)|Bull's Eye!]]'' (Prestige, 1968)

'''With [[Elvin Jones]]'''
*''[[Poly-Currents]]'' (Blue Note, 1969)
*''[[Merry-Go-Round (Elvin Jones album)|Merry-Go-Round]]'' (Blue Note, 1971)

'''With [[Philly Joe Jones]]'''
*''[[Showcase (Philly Joe Jones album)|Showcase]]'' (Riverside, 1959)

'''With [[Quincy Jones]]'''
*''[[I/We Had a Ball]]'' (Limelight, 1965)
*''[[Gula Matari]]'' (CTI, 1970)

'''With [[The Thad Jones/ Mel Lewis Orchestra]]'''
*''[[Opening Night (album)|Opening Night]]'' (Alan Grant Presents, 1966)
*''[[Presenting Thad Jones/Mel Lewis and the Jazz Orchestra]]'' (Solid State, 1966)
*''[[Presenting Joe Williams and Thad Jones/Mel Lewis, the Jazz Orchestra]]'' (Solid State, 1966)
*''[[Live at the Village Vanguard (The Thad Jones/Mel Lewis Orchestra album)|Live at the Village Vanguard]]'' (Solid State, 1967)
*''[[The Big Band Sound of Thad Jones/Mel Lewis featuring Miss Ruth Brown]]'' (Solid State, 1968)
*''[[Monday Night]]'' (Solid State, 1968)
*''[[Basle, 1969]]'' (TCB Music, 1969)
*''[[Consummation (The Thad Jones/Mel Lewis Orchestra album)|Consummation]]'' (Solid State/Blue Note1970)
*''[[Suite for Pops]]'' (A&M Horizon, 1972)
*''[[Live in Tokyo (The Thad Jones/Mel Lewis Orchestra album)|Live in Tokyo]]'' (Denon Jazz, 1974)
*''[[Potpourri (The Thad Jones/Mel Lewis Orchestra album)|Potpourri]]'' (Philadelphia International, 1974)
*''[[Thad Jones/Mel Lewis and Manuel De Sica]]'' (Pausa, 1974)
*''[[New Life (Jones / Lewis album)|New Life]]'' (A&M / Horizon, 1976)
*''[[Thad Jones/Mel Lewis Orchestra with Rhoda Scott]]'' (Barclay (France), 1976)
*''[[Live in Munich (The Thad Jones/Mel Lewis Orchestra album)|Live in Munich]]'' (Horizon, 1976)
*''[[It Only Happens Every Time]]'' (EMI/Inner City, 1977)

'''With [[Stan Kenton]]''' 
*''[[Kenton with Voices]]'' (Capitol, 1957)

'''With [[Peter Leitch (musician)|Peter Leitch]]'''
* ''Exhilaration'' (Reservoir, 1991)

'''With [[Herbie Mann]]''' 
*''[[Our Mann Flute]]'' (Atlantic, 1966)

'''With [[Arif Mardin]]'''
*''[[Journey (Arif Mardin album)|Journey]]'' (Atlantic, 1974)

'''With [[Howard McGhee]]'''
*''[[Dusty Blue]]'' (Bethlehem, 1960)

'''With [[Helen Merrill]]'''
*''Chasin' the Bird'' ([[EmArcy Records|EmArcy]], 1979)

'''With [[Charles Mingus]]'''
*''[[Blues & Roots]]'' (Atlantic, 1959)
*''[[The Complete Town Hall Concert]]'' (Blue Note, 1962 [1994])

'''With [[Blue Mitchell]]'''
*''[[A Sure Thing]]'' (Blue Note, 1962)
*''[[Boss Horn]]'' (Blue Note, 1966)
*''[[Heads Up! (Blue Mitchell album)|Heads Up!]]'' (Blue Note, 1967)

'''With The Mitchells: [[Red Mitchell]], [[Whitey Mitchell]], Blue Mitchell and [[André Previn]]'''
*''[[Get Those Elephants Out'a Here]]'' (MetroJazz, 1958)

'''With [[Hank Mobley]]'''
*''[[Poppin' (album)|Poppin']]'' (Blue Note, 1957)
'''With [[Thelonious Monk]]'''

*''[[The Thelonious Monk Orchestra at Town Hall]]'' (Riverside, 1959)

'''With [[Lee Morgan]]'''
*''[[The Cooker]]'' (Blue Note, 1957)
*''[[Standards (Lee Morgan album)|Standards]]'' (Blue Note, 1967)

'''With [[Oliver Nelson]]'''
*''[[More Blues and the Abstract Truth]]'' (Impulse!, 1964)

'''With [[Duke Pearson]]'''
* ''[[Dedication!]]'' (Prestige, 1970, rec. 1961), issued as ''[[Minor Mishap]]'' (Black Lion, 1989) under [[Freddie Hubbard]]'s name
*''[[Honeybuns]]'' (Atlantic, 1965)
*''[[Introducing Duke Pearson's Big Band]]'' (Blue Note, 1967)
*''[[Now Hear This (Duke Pearson album)|Now Hear This]]'' (Blue Note, 1968)

'''With [[Houston Person]]'''
*''[[Blue Odyssey]]'' (Prestige, 1968)

'''With [[Pony Poindexter]]'''
* ''[[Pony's Express]]'' (Epic, 1962)

'''With [[Shorty Rogers]]'''
*''[[Shorty Rogers Plays Richard Rodgers]]'' ([[RCA Victor]], 1957)
*''[[Portrait of Shorty]]'' (RCA Victor, 1957)

'''With [[A. K. Salim]]''' 
*''[[Pretty for the People]]'' (Savoy, 1957)

'''With [[Lalo Schifrin]]'''
*''[[Black Widow (Lalo Schifrin album)|Black Widow]]'' ([[CTI Records|CTI]], 1976)

'''With [[Ben Sidran]]'''
*''[[Too Hot to Touch (Ben Sidran album)|Too Hot to Touch]]'' (Windham Hill Records, 1988)

'''With [[Dakota Staton]]'''
*''[[I Want a Country Man]]'' (Groove Merchant, 1973)

'''With [[Idrees Sulieman]]'''
*''[[Roots (Idrees Sulieman album)|Roots]]'' (New Jazz, 1957) with the Prestige All Stars

'''With [[Toots Thielemans]]'''
*''[[Man Bites Harmonica!]]'' (Riverside, 1957)

'''With [[Mickey Tucker]]'''
*''[[Mister Mysterious]]'' (Muse, 1978)

'''With [[Stanley Turrentine]]'''
* ''[[The Spoiler (album)|The Spoiler]]'' (Blue Note, 1966)

'''With [[Jimmy Witherspoon]]'''
*''[[Blues for Easy Livers]]'' (Prestige, 1965)

'''With [[Joe Zawinul]]'''
*''[[Money in the Pocket (Joe Zawinul album)|Money in the Pocket]]'' (Atlantic, 1967)

===Live recordings released posthumously===
*''Live in Europe'' ([[Marge Records|Marge]] (F), 1977) with the Georges Arvanitas Trio<ref name="autogenerated2005">{{cite web|url=http://futuramarge.free.fr |title=Disques FUTURA et MARGE – FUTURA records – MARGE records – Jazz et musiques improvisées |publisher=Futuramarge.free.fr |date=2005-02-22 |access-date=2013-08-09}}</ref>
*''Pepper Adams Live'' (aka ''Live Jazz by the Sea'') (1977), live in California
*''California Cookin''' (1983), live in California

==References==
{{Reflist}}
{{Pepper Adams}}
{{Authority control}}

{{DEFAULTSORT:Adams, Pepper}}
[[Category:1930 births]]
[[Category:1986 deaths]]
[[Category:Hard bop saxophonists]]
[[Category:Mainstream jazz saxophonists]]
[[Category:Jazz baritone saxophonists]]
[[Category:American jazz baritone saxophonists]]
[[Category:Musicians from Detroit]]
[[Category:Savoy Records artists]]
[[Category:Enja Records artists]]
[[Category:Muse Records artists]]
[[Category:Palo Alto Records artists]]
[[Category:Deaths from lung cancer in New York (state)]]
[[Category:Riverside Records artists]]
[[Category:20th-century American saxophonists]]
[[Category:American male saxophonists]]
[[Category:Jazz musicians from Michigan]]
[[Category:20th-century American male musicians]]
[[Category:American male jazz musicians]]
[[Category:The Thad Jones/Mel Lewis Orchestra members]]
[[Category:Reservoir Records artists]]
[[Category:Uptown Records (jazz) artists]]