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22. Ken Peplowski 22. Ken Peplowski even years younger than Joe Years later, after playing with Lovano, Ken Peplowski some of the dixieland legends at Salso soared to international Eddie Condon's in New York, prominence. In a little more than Peplowski saw a similarity 15 years, he catapulted from a between polka music and early kids' polka band in Cleveland to American jazz. "The Polish the most respected jazz stages in polka, believe it or not," he said, the world. "is so close to New Orleans jazz, Born May 23, 1959,Peplowski it's frightening. Everybody is grew up in the Cleveland suburb always making these parallels ofGarfield Heights. Like Lovano about where jazz came from." and most musicians, his first With a smile, he said, "I can say musical influences were at home. it's Polish American music "My father was an amateur because it's two trumpets playing musician," he remembered in an in tandem, every song has got April 2000 interview with me, four or five different parts, "He was a policeman and he used there're drum breaks, and the to bring home instruments and try clarinet improvises through the to play them himself. He started whole thing. So it was a great with the trumpet. Gave that up in way to learn how to play." frustration. Then, the clarinet. Ken and Ted Peplowski's kids Gave that up. 1became a clarinet polka band began making a name player. Then, he wound up kind for itself around Garfield Heights ofmessing around with the accordion for the rest ofhis and Greater Cleveland and was soon appearing on radio life." and television broadcasts. "We used to go on that old Peplowski's father, however, was serious about his show Polka Varieties. We went on that show (on sons learning to play their instruments. Ken said his WEWS-TV) and some ofthe radio shows. We were out policeman father was a stern task-master. there working and that gave me a taste ofwhat it was to "My father did what they always say you're not be a professional musician. From the first time I played supposed to do with kids. He was the stereotypical in public, I thought, 'This is for me! This is what 1 want father who sat there with his arms crossed, making us to do.'" practice. You would think we would rebel against it, but Peplowski never had any other job. He always made I loved the music so much! And 1 loved the clarinet his living by playing music. from the first time I played it. I just loved the sound of His far-reaching musical tastes also began early - at the instrument." home. "Another kind of unusual thing about my At first, Peplowski was not a serious jazz fan, but he family," he said, "was everybody listened to everything. loved playing the clarinet and played at every My parents would sit down with us and listen to the opportunity. latest BeatIes record, they would listen to classical music, polka music, jazz music. And they let us spend Kids polka band a lot of the money we made to buy records. I spent He remembered, "When I was about maybe nine or money on records like you can't believe!" ten years old, with my brother, we formed a Polish polka band." They played for parties around Garfield Heights. Early jazz influences "It was," he said, "a great way to immediately jump up Among the many records Peplowski was buying were a couple of levels in playing. It was like learning how to old 1930s and '40s recordings by all-time jazz clarinet swim by being thrown into the water. legend Benny Goodman. He explained, "Because I was "I was taking lessons all along, private lessons, at a so into the clarinet, 1 tended to gravitate toward records music store called Cattell's on Tumey Road and we used of people who play the same instrument - Benny to rehearse there with the band. We actually learned Goodman! That was the big thing for me. The light how to write music, read music, and make arrangements bulb came on." for this band. At these Polish polka dances, you have to The Goodman light bulb came on for Peplowski in play some big band standards, so I learned that too. I the late 1960s when he was still very young and when wound up getting a saxophone for that reason, because Goodman was considered pretty much an historic relic. 1 was playing all these old big band standards." "That was really within just a couple years of my 208 Cleveland Jazz History playing," he said. "I was ten years old or eleven years and he could even give me a feature spot in the band old. 1 think the fIrst thing 1 heard was that (Goodman) with clarinet with the rhythm section. I took the Carnegie Hall concert." opportunity and I left. So I left Cleveland when I was Goodman was not Peplowski' s only early jazz about 20 years old, after about one and a half, maybe influence. "The second big influence," he said, "was two years at Cleveland State, to go on the road with the Duke Ellington' s band. I picked up some records ofhis Tommy Dorsey band." and I was really knocked out. My fIrst exposure to the band was the later band with Jimmy Hamilton and Touring with the Dorsey band Russell Procope, and 1 was so knocked out by their two Peplowski spent the next three years with the Dorsey different styles of clarinet playing." Orchestra, touring the country, playing saxophone and The 1970s was a relatively quiet time for jazz in clarinet in an almost never-ending series ofone-nighters Cleveland. There were only a few nightclubs presenting around the country. live jazz here, but Peplowski remembered many of the On the road with the band, Peplowski's roommate was big bands were still coming to Cleveland. "There trumpeter Jack Schantz, later the music director of the weren't many chances for the local guys to play, but Cleveland Jazz Orchestra. "He practiced all the time and bands always came in. 1 remember seeing Duke's band. listened all the time," said Schantz. "And he was a very, We saw Benny a couple of times at places like very funny guy. 1 don't think 1 ever laughed as much in my Musicarnival, and Maynard Ferguson. All the big bands whole life as when 1 was on that band. Everybody was just used to pass through town - Count Basie, Ella." real funny. 1 guess you have to develop that sense of humor because the life style is really hard. It's like Garfield Heights High School perpetual jet lag. You never have enough sleep." Peplowski went to GarfIeld Heights High School Peplowski smiled when he remembered that phase of where he played in various jazz and classical musical his life. "We had a lot oflaughs on that band," he said. groups, and where he got an opportunity to hear and "Twelve-hour poker games, you know, on the bus, and meet some ofthe world's leading jazz artists. hi-jinks on the road." "There was that big movement in the ' 60s," he said, While having fun on the road and playing the music "with all those big bands coming to school programs and of Tommy Dorsey, Peplowski, according to Schantz, workshops. And we had them too. We had Maynard was studying the old music of his boyhood music hero, Ferguson's band, and Stan Kenton' s band came in. And Benny Goodman. "He had all these Goodman solos on for a kid like myself, it was so exciting to not only hear tape," said Schantz, "and he knew them all. He could those people play, but then talk with them. And they give play them all, note for note. And he would just sit on you tips on playing and everything. That was a big deal!" the bed, playing along with these Goodman solos." After graduating from high school, Peplowski was Peplowski admitted, "In my earlier days, I would more convinced than ever that he wanted to devote his listen to the record and get the hom out and try to play life to playing music. He enrolled at Cleveland State back some of the things. I was such a fan of Benny! I University and studied clarinet. He also began playing went through a period ofa few years of not listening to jazz gigs around Cleveland. him because, geez, 1 don't want to sound like him as much as I loved him. And because I loved him so much, Jazz group in Cleveland I thought, 'This is not right! 1 don't want to be another "I had a quartet in Cleveland," he said. "We used to imitator.' So yeah, 1 was sitting there listening to those play at this place called Newman' s Corners, this bar that records. And the same thing with Sonny Stitt. I was just just decided to have jazz. We built up a huge following. eating those things up." I was playing a couple of nights a week with the jazz group and also jamming with some of the guys around Influenced by Sonny Stitt town like Bill Gidney, a great piano player. There were While Peplowski was obviously strongly influenced by a few joints, like the Smiling Dog Saloon. There used to Goodman, he was also influenced by bebop saxophonist be a place downtown where Bill always played. Stitt. The Cleveland native had been listening to Stitt's "I was playing a little bit of jazz and I got a big records for years.
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