The late saxophonist
Jim Pepper remains an enigma for some, a profoundly original player for others, and criminally unknown by most, even those in the
jazz listening community.
Pepper, who passed away in 1992, was of Native American descent -- Kaw and Creek Indian. He and
Larry Coryell were in a band together in 1968,
the Free Spirits, who were fooling with
jazz and
rock before
Miles Davis was; indeed, before
Tony Williams Lifetime were.
Pepper had been using Native American indigenous
folk music in his own
jazz compositions from the middle of the '60s when he was encouraged to do so by
Ornette Coleman and
Don Cherry. As of 2007, he has no recordings in print in the United States save for this reissue by
Wounded Bird of his debut album as a leader. Signed to
Atlantic by
Herbie Mann, who is listed as executive producer of
Pepper's Pow Wow,
Pepper set about recording his best known composition,
"Witchi-Tai-To," which has been recorded by
Ralph Towner and
Oregon,
Jan Garbarek,
Julian Priester, and many others. Assisting
Pepper in the studio were, in addition to producer
Daniel Weiss,
Coryell, alternating bassists
Chuck Rainey and
Jerry Jemmott, pianist
Tom Grant,
Spider Rice or
Billy Cobham on
"drums," and flutist and then wife
Ravie Pepper. Because of its clean, immediate production provided by
Weiss,
Pepper's Pow Wow is as timeless in the 21st century as it was in 1971. The first recording of
"Witchi-Tai-To" is here, in its initial rendering as a
chant by a religious peyote tribe giving way to a transcendent
folk melody that is carried on piano, electric wah wah guitar, shakers,
Cobham's tom tom heavy drum kit, and
Pepper's vocal before he ever blows a note. Over seven minutes in length, it's moving, beautiful, sweet and very powerful.
Pepper understood something of
soul music as well as
folk and
jazz. As the band begins to open itself up, the refrain -- the sung words of the
chant in an original melody by
Pepper -- becomes hypnotic, full of drifting, lilting flutes lines and some of the most elegant piano
Grant ever played.
Coryell and
Rainey support
Pepper to the gate. When
Pepper begins to blow, there is so much emotion and celebration packed into his delivery it can still bring chills decades later. This version of the song is, in its way, superior to the version on the excellent
Comin' and Goin' album released by
Antilles in the '80s with
Pepper fronting the
Kenny Werner band. If this was the only song on this record and it lasted for 45 minutes it wouldn't be too long. But, as fortune would have it, there is so much more here:
"Squaw Song," with gorgeous guitar, flute, and piano work with
Jemmott and
Rice as the rhythm section provides a different backdrop for
Pepper. He sings a
chant, and then blows some of the most spiritual and deep
soul-jazz saxophone of all time. Rhythm is circular and graceful and
Ravie's flute is as compelling as
Jim's saxophone work.
"Senecas (As Long as the Grass Shall Grow)," written by famed Native American songwriter
Peter LaFarge -- who was a profound but often uncredited influence on people like
Bob Dylan and
Johnny Cash -- is a
country song (hearing
Coryell play
country electric guitar and
Cobham play that snare and hi hat shuffle is a trip). The tune is narrated by
Pepper's father
Gilbert "Gib" Pepper.
Arif Mardin arranged
"Yon a Ho," written by
Gib, with
Pepper singing and blowing and a huge band behind the group complete with a horn section. It gives way to the
"Slow War Dance," done by
Pepper and
Gib on drums and chants, with
Ravie playing flutes.
Gib arranged a wild version of the traditional
"When the Roll Is Called Up Yonder," called here
"Nommie Nommie," where
Jim blows on tenor and soprano,
Grant plays his best
honky tonk piano and
Coryell offers his own rendition of a simulated steel guitar, but it's got plenty of
soul. The entire tune just roils and boils and grooves. The
"Newly Wed Song" is haunting, sultry, and utterly beguiling with
Ravie's funky C-flute solo, as are the two dance and
chant numbers
"Fast War Dance" and
"Now War Dance," and the
LaFarge closer
"Drums," another
honky tonk burner with
Coryell,
Jemmott,
Grant, and
Rice accompanying
Pepper. So, while
Pepper's Pow Wow is not strictly a
jazz record, nor is it a
folk record or a
rock record, it is something far greater than merely the sum of those things. It is the first recorded articulation for the majority of Americans -- even if they didn't hear it. That it is now available again, on compact disc, it is hoped that those who have been under
Pepper's sway since his passing will investigate it, as well as those young people investigating exotic
folk forms in the new century and those who have followed the careers of the others involved in making this record.
Pepper deserves far more recognition than he received for all that he put in, and still does. ~ Thom Jurek
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