Ken Peplowski: Enrapture

Capri Records
By Ric Bang
Buy CD: Enrapture

Jazz has numerous roots. One was swing, a term that can’t be used without thinking of Benny Goodman, often identified as “The King of Swing.” His horn was the clarinet; although a few pretenders came along, no one else had the same impact.

Many reed players start with that instrument, but most “graduate” to the saxophone, in its many variations. The major exception was Ken Peplowski, born 20 years after Goodman had been coronated.

Peplowski’s home was Cleveland, Ohio; his earliest experience (while still in elementary school) was playing in a Polish polka band for dances and weddings, almost every weekend. By the time young Ken was in high school, he was teaching at a local music store and playing with territory bands.

During his first year in college, he was hired by the Tommy Dorsey band, at that time led by Buddy Morrow. Peplowski played lead alto sax with the big band, and clarinet in a smaller combo within the ensemble.

During a subsequent lengthy career, Peplowski has recorded more than 50 CDs as a soloist, and at least 400 as a sideman. It’s almost impossible to find a name vocalist or musician with whom he hasn’t worked. As for his level of performance, as recently as 2015 he continues to receive awards for excellence.

This album features Peplowski on both clarinet and tenor sax. He’s joined by pianist Ehud Asherie, bassist Martin Wind, and drummer Matt Wilson. Peplowski’s execution is flawless, his tone a thing of beauty, and his ideas boundless.

As for the album contents, Duke Ellington’s “The Flaming Sword” is a calypso-flavored gem; “An Affair to Remember” and John Lennon’s “Oh My Love” are beautiful ballads. “Cheer Up Charlie” hails from the soundtrack to Willie Wonka and the Chocolate Factory, of all things; “Vertigo Scene D’Amour” comes from the Hitchcock film. We know “Willow Tree” from Fats Waller, and “I’ll Follow My Secret Heart” from Noel Coward. That’s just a taste; everything is gorgeous.

Ken Peplowski: In Search Of

Capri Records
By Ric Bang
Buy CD: In Search Of

Ken Peplowski is a master of all genres. Born near the end of the swing era, his first musical inspiration was Benny Goodman; as a result, the clarinet was Peplowski’s initial instrument of choice. His career began in a Polish polka band — which he credits with his ability to “play anything at any tempo” — and then transitioned through Dixieland to swing and traditional jazz. Along the way, he also became fluent on the tenor sax.

Peplowski is a musician’s musician: His discography is extensive, both as sideman and leader. By the time he had become a first-call artist, most of the famous swing era band-leaders had retired or died, although some of the orchestras had been reincarnated. One of these was the Tommy Dorsey Band, under the direction of Buddy Morrow; Peplowski toured extensively with that group. Goodman came out of retirement for a limited time in 1984, and hired Peplowski on tenor sax; so, finally, master and student were able to play together for a short time.

As the years passed, and styles changed, Peplowski adapted. It’s therefore difficult to find artists or groups with whom he hasn’t played and recorded. He concentrated on the standards during his early years, but — as this album illustrates — he has moved with the times.

Two sessions were involved. The first involved Peplowski on clarinet and tenor sax, with the backing of pianist Shelly Berg, bassist Tom Kennedy and drummer Jeff Hamilton; the second utilized Greg Cohen on bass, Chuck Redd on vibes and Joe Ascione on percussion.

The tunes are a mix of lesser-known charts by other musicians (Freddie Redd’s “The Thespian”), shows (“This Nearly Was Mine,” from South Pacific; “With Every Breath I Take,” from City of Angels) and originals by Berg, Hamilton and Kennedy.

It’s a marvelous selection of songs, done beautifully by consummate artists.

Ken Peplowski: Noir Blue

Capri Records
By Ric Bang • Originally published in The Davis Enterprise, 8.5.10
Buy CD: Noir Blue

Ken Peplowski could be considered a musical anachronism; he's one of very few reed players whose primary instrument is the clarinet.

During the reign of the big bands, that "horn" ruled because of artists like Benny Goodman and Artie Shaw, but today you can count the musicians who excel on clarinet on the fingers of one hand. Peplowski and Eddie Harris are the two archetypes.

Peplowski began to play as a youngster with his brother's polka band, but after just one year of college he joined the re-formed Tommy Dorsey orchestra, which was led by Buddy Morrow at that time. Sonny Stitt, with whom Peplowski studied, introduced him to the tenor sax and the bop genre.

In 1984, Benny Goodman came out of retirement and hired Peplowski for a tenor sax chair. In this album, he uses both the clarinet and tenor sax.

Readers who lived through the swing era will note that Peplowski's style is strongly related to that genre, and he swings like crazy.

The quartet featured on this album includes pianist Shelley Berg, bassist Jay Leonhart and drummer Joe LaBarbara: all excellent. The 10 tracks include covers of tunes by Irving Berlin, Ray Noble, Ellington/Strayhorn, Jerome Kern and Hoagy Carmichael, along with originals by Berg, LaBarbara and Peplowski. All are polished examples of swing at its best.

Holly Hoffman and Bill Cunliffe: Three's Company

Capri Records
By Ric Bang • Originally published in The Davis Enterprise, 6.3.10
Buy CD: Three's Company

Regular readers know that I lean toward hard-swinging instrumental and vocal jazz performers. That said, an album comes along every so often that — while not in my desired category — is intriguing enough to get noticed. Such is the case with this one.

Pianist Bill Cunliffe began as a classical musician, then expanded his horizons to include jazz; flutist Holly Hoffman followed the same path. Both also are composers and arrangers, and have known each other, and worked together, for more than 20 years. This duet album is their third.

They modified their usual instrumentation for this session. Four of the tunes are piano/flute duets, while the rest employ guest artists to produce unusual trios: two “horns” and piano; flute, violin and piano; and flute, piano and drums. The result is quite tasteful chamber jazz.

The guests include violinist Regina Carter, clarinetist Ken Peplowski, trumpeter Terell Stafford and drummer Alvester Garnett. The selections aren't free-for-alls; they're carefully arranged and quite musical, and they swing gently. Cunliffe composed half of them, while Hoffman wrote one; the others are covers of songs by Burton Lane, Billy Strayhorn and Gabriel Faure.

The resulting album is innovative, beautifully executed and genteel.