@katharsis: sorry, brauchte eine Weile, um’s wieder zu finden, aber hier ist das Zitat von Adams:
Wardell was one of the finest baritone saxophonists I have ever heard in my life. If I had to think of any influence on a baritone saxophone, I would have to say Wardell Gray. I think it’s a common tendency for uninformed people to think of me as a bebop baritone player influenced by Serge Chaloff. But I don’t care for Serge Chaloff at all. That nanny-goat vibrato, the flabby rhythmic approach to playing turned me off something terrible, particularly contrasted with the way I heard Wardell playing. Someone else who played baritone really well was Sonny Stitt. And he would never touch it again after that period of time when he was with Gene Ammons, that powerhouse little band. I heard them several times in person. Only three years later Sonny and I worked together, and I tried to get him interested in playing my horn, but he said he didn’t play baritone anymore. He just wouldn’t touch it, wouldn’t even consider it.
[Peter Danson, “Pepper Adams,” Coda 191 (August 1, 1983):pp. 5-6].
Zu Mulligan gibt’s das hier – gnädiger, differenzierter (und vielleicht aufschlussreich, was Adams Motivation zu solchen Statements betrifft?):
“…the fact that Gerry Mulligan is the famous baritone saxophone player, and I’m playing baritone saxophone yet I don’t sound a bit like him…people would take this as being that I can’t play very good [sic]! Because if I was any good, I’d play like this fella who everybody says is great! And I enjoy what Gerry plays and he plays it very well, but that’s not the way I want to play at all! I’ve got a whole different thing I want to do. We’ve got two levels of appreciation here: critics like who they like and then musicians like who they like. Sometimes there’s a wide differentiation.
[Carner, “Pepper Adams: Interview Part 3,” Cadence 12 (March 1986): 12.]
(beide von hier)
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