Ken Peplowski’s Noir Blue is one of those jazz records that just swings and sways naturally. Its ten silky tracks find the reedman respectful of tradition, sure, but he still allows his own diverse tastes the chance to slip up to the surface.
Peplowski is one of those unique post-Swing Era performers who hits all the bases. With Noir Blue, he offers up heaping servings of clarinet and tenor sax. Better still, the guy’s mastered both instruments and delivers the goods with the convention and bearing of the likes of Lester Young or Coleman Hawkins.
Out now on Capri Records, Noir Blue also features drummer Joe LaBarbera, bassist Jay Leonhart and pianist Shelly Berg.
Perhaps what is most captivating about this record is just how damn listenable it is. It slides around the palette like red wine, angling for flavour and refreshment simultaneously. Noir Blue goes down smooth, resting easily towards the back of the ears with simmering, soothing sweetness.
Peplowski was born in Ohio and was instantly drawn into the joy of performing. Whether it was a Polish polka band or some fun with his trumpeter brother Ted Peplowski, Ken was all business from an early age. He joined the Buddy Morrow-directed Tommy Dorsey Orchestra after one year of college and eventually met and studied with bop icon Sonny Stitt. Stitt was the cat that really showed Peplowski the ropes on the tenor sax.
After finding an appreciation for the clarinet working with Benny Goodman, Peplowski signed to Concord Records and started releasing records. Some 30 CDs later, Peplowski made his debut as a leader with Capri.
With such an intimidating pedigree, one might think Peplowski’s Noir Blue would be a little hard to reach. It is, as I said, just the opposite. Peplowski’s playing is smooth and gregarious, as though he’s kindly conversing and interacting with the listener.
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