Tag Archives: Wardell Gray

JOURNEY TO UNMAPPED PLACES: “JAZZ LIVES: TILL WE SHALL MEET AND NEVER PART” by JAAP VAN DE KLOMP

JazzLives Blog

Between 2005 and 2008, the Dutch photographer and jazz scholar Jaap van de Klomp began a series of soulful pilgrimages in honor of the men and women who had created the music he so loves.

The result is the lovely and often sad book of photographs, JAZZ LIVES, which takes its subtitle, TILL WE SHALL MEET AND NEVER PART, from the words chiseled into Lester Young’s gravestone.

Yes, gravestone.

Every jazz lover knows the familiar photographs of our heroes and heroines: Billie Holiday with her dog; Louis Armstrong snappily dressed in London; Charlie Parker on the bandstand.  But where are our idols now?

The two hundred and more pages of JAZZ LIVES document where their mortal remains lie: with elaborate gravestones, unmarked plots of overgrown land, monuments proud and forlorn.  Jaap took his camera across the United States and Europe to capture these landscapes, resulting in a heartfelt pilgrimage to shrines of the dead. Each photograph is accompanied by a concise biography by Scott Yanow, and the book is organized by instruments once played.

The gravestones sometimes speak of posthumous reputation and fame: huge blocks of costly stone or unmarked areas of grass.  A monument for Ellington and empty space for Bud Powell.  An essay by Dan Morgenstern opens the book; one by the jazz musician and writer Bill Crow closes it. A simply written but evocative essay by the photographer himself explains something about his travels.

But the graves say so much — by presence and absence, reality and implication — about Scott Joplin, King Oliver, Serge Chaloff, Vic Dickenson, Andrew Hill, Sarah Vaughan, Illinois Jacquet, Django Reinhardt, Jack Teagarden, Britt Woodman, Al Grey, Johnny Dodds, Sidney Bechet, John Carter, Russell Procope, Pee Wee Russell, Jimmy Dorsey, Eric Dolphy, Willie the Lion Smith, Gigi Gryce, Roland Kirk, Coleman Hawkins, Dexter Gordon, John Coltrane, Wardell Gray, Stuff Smith, Red Norvo, Milt Jackson, Lionel Hampton, Hank Mobley, Jelly Roll Morton, Art Tatum, Lil Hardin Armstrong, Thelonious Monk, Bill Evans, Teddy Wilson, Herbie Nichols, Eddie Lang, Charlie Christian, Grant Green, Charles Mingus, Scott LaFaro, Milt Hinton, Jimmie Blanton, George Duvivier, Jo Jones, Zutty Singleton, Denzil Best, Billy Higgins, Sidney Catlett, Gene Krupa, Chick Webb, Ivie Anderson, Bessie Smith, Jimmy Rushing, Frank Sinatra, Billie Holiday, Ray Charles, Johnny Hartman, Mary Lou Williams, Count Basie, Benny Goodman, Billy Strayhorn, Sun Ra, Bennie Moten, W. C. Handy, Tadd Dameron, Benny Carter, Thad Jones, Oliver Nelson, and others.

To give some sense of the breadth of his searching, the gravestones of trumpet players included in this book are: Buddy Bolden, Bunk Johnson, Louis Armstrong, King Oliver, Bix Beiderbecke, Hot Lips Page, Henry Red Allen, Cootie Williams, Roy Eldridge, Dizzy Gillespie, Fats Navarro, Kenny Dorham, Miles Davis, Chet Baker, Clifford Brown, Booker Little, Lee Morgan, Lester Bowie.

Jaap, born in 1940, has been involved with the music and the musicians for more than half a century, including Sonny Rollins, Dexter Gordon, Johnny Griffin, Donald Byrd, Kenny Drew, and Kenny Clarke among others.

But he is not only a person of great feeling and a fine photographer.  Jaap is one of those rare souls who wants to share what he has done.  He wrote this to me, “The book which is sold out in the Netherlands by now will not be reprinted and has been proven to be physically too heavy for worldwide distribution. In this form I still hope to reach more jazz enthusiasts with a book which was a great pleasure to make.and which is still a very dear project to me.”

He has offered to make his book available as a digital download — for free — to anyone who emails him at info@jaapvandeklomp.nl  with JazzLives in the subject line.  The whole book is about 150 MB and it might take a few minutes to download.

This is generosity without hidden motive, and it is a beautiful work of art and devotion.

May your happiness increase!

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THOMAS McGUANE’S JAZZ COLLECTOR

Thomas McGuane’s short story, THE CASSEROLE, published in the September 10, 2012 issue of THE NEW YORKER, is short, sharp, and hard.  It begins on page 93, with the nameless narrator and his wife — and by the end of 94, the story is over, the narrator is by himself, not knowing what has hit him.

I was so struck by the story — and I mean that phrase in the literal sense — that I may bring it with me tomorrow morning when my semester begins and read it to my students.  But what also struck me is this short passage early on in the story, which I reprint here:

I had an extensive collection of West Coast jazz records, including the usual suspects, Gerry Mulligan, Chet Baker, Stan Getz, and so on — not everybody has  Wardell Gray and Buddy Collette, but I did — and if I’d had a bit more dough I could have added a room on to our house specifically to house this collection, with an appropriate sound system.  But when I complained about things like this to Ellie, she just said, “Cue the violins.”

Now, if you read this without any context, it may well seem that our sympathy is with the narrator.  Poor fellow, his unsympathetic bitch of a wife doesn’t understand his love for jazz.  But the hubris of his boasting to himself that he knows what the real stuff is — I own Wardell Gray records! — comes to bite him a page later, for he is one of those characters (modeled on real people) who don’t see the train coming until it had flattened them.

I don’t present this as an example of how jazz collectors are represented in fiction, nor do I see it as an overarching commentary on marital relations when the soundtrack is jazz music.  (By the way, the narrator still has his records at the end of the story: this is not a fictionalized reading of BLACKBOARD JUNGLE.)

Incidentally, trusting the author is slippery business, but McGuane said this in a brief interview (on the magazine’s website), after calling the narrator a “twit,” “I think he has nearly everything wrong. He is a peevish fault-finder who gets what he deserves.”

This passage simply caught my attention not once but twice, and I suppose it is worthy of note when Wardell Gray shows up in THE NEW YORKER now that Whitney Balliett is dead . . .

I am sorry I cannot reprint the story for everyone to read, but you surely can find this issue in your local library or find someone who subscribes to the magazine.

May your happiness increase.

BOB WILLOUGHBY’S REMARKABLE PORTRAITS

Because they give themselves to what they are creating, jazz musicians make splendid photographic subjects.

Bob Willoughby, who died in 2009, wasn’t the first to capture their intensity, lack of self-consciousness, and energy on camera.  But his beautiful volume of photographs and recollections, JAZZ: BODY AND SOUL, shows on every page that his work is superbly moving.  (Evans Mitchell, 2012, 192 pages, hardbound.)

Since musicians — in the act of creation — aren’t standing still, some photographs begin to look like versions of poses we have already seen a thousand times before: the horn player, face distended, sweating, looking like a runner just before crossing the finish line; the intimate relationship between the singer and the vertical microphone; the drummer, moving so quickly that the sticks blur.  Other photographs entrance us because they are the only visual evidence we have that an otherwise obscure musician was ever seen.

Willoughby’s work goes well beyond these formulas, although some of his images have been reproduced so widely that they are now the way that we mentally identify the subject.  But even his most famous pictures have something to offer us, a half-century after they were created.

The book is divided into two sections: one of Wlloughby’s West Coast photographs from 1950 to — Billie Holiday, Wardell Gray, Miles Davis, George Shearing, Ella Fitzgerald, Gene Krupa, Roy Eldridge, Coleman Hawkins, Dizzy Gillespie, Charlie Ventura, Billy Eckstine, Louis Armstrong, the Stan Kenton Orchestra, Duke Ellington, Ray Nance, Paul Gonsalves, Johnny Hodges, Bing Crosby, Grace Kelly, Chet Baker, Gerry Mulligan, Paul Desmond, Dave Brubeck, Peggy Lee.  Particularly absorbing is a series of dramatic photographs catching the emotional interplay between saxophonist Big Jay McNeely and a crowd in hysterical rapture.  Willoughby photographed Benny Goodman, Teddy Wilson, Stan Getz, Buck Clayton, Martha Tilton and friends during the recording sessions for the soundtrack of THE BENNY GOODMAN STORY.  An extended photo-essay on Frank Sinatra tells us more than any biography.

The second section of the book offers photographs Willoughby created in Germany in 1992 and 1994 — fascinating portraits of Lee Konitz, Marcus Roberts, Jon Faddis, Art Farmer, Wynton Marsalis, Pat Metheny, John Lewis, Mulligan much transformed by the years, and many others.

Having purchased many volumes of photographs of jazz musicians, I tend to look at the book with fascination immediately after their purchase . . . but not often after.  Willoughby’s book has proven itself an exception.  In tne month that I have had a copy, I have come back to it over and over, drawn by what his eye captured — tantalizing wordless dramas that open deeper each time I stare into the pages.

And the appeal of the book is wider than the allure of the musicians portrayed there.  Without being precious or coy, Willoughby created small paintings full of feeling, emotion coming through the lovely blacks, greys, and whites.  He was a master of seeing, of shaping line and angle, shape and focus.  I look at these portraits and I can feel Louis’ happiness, imagine the words passing between Bing and Frank on the set of CAN-CAN, hear Billie’s voice.  In addition, Willoughby’s photos are idiosyncratic master classes for photographers: what to emphasize, what to leave out. . . all the more remarkable because he captured his subjects in the moment.

Marc Myers, of JAZZ WAX, knew and spoke with Willoughby, and the essays Marc has created about the man and his work are rewarding (with photographs that will astonish): read more here and here.   The book’s website — with even more beautiful pictures — can be found here.  Willoughby’s photographs reward the eye.

May your happiness increase.

ON AND OFF eBay: THE PORTRAIT GALLERY (November 2010)

More from eBay!

On the left, Al Hirt (possibly during his fame in the Sixties).  More interesting is a very thin Bobby Hackett on the right, working hard, with someone I can’t identify standing behind him, looking quizzically at the invisible photographer.

At top, the King of Swing, possibly at the Madhattan Room — on the air for CBS.  Below, circa 1948: is that Wardell Gray to the extreme left in the saxophone section?

Early Thirties, on the West Coast — CREOLE REVUE . . .

Ellington in the Forties (the first band shot has Ben Webster, Sonny Greer, probably Junior Raglin — 1943?); the second is twenty years or so later, with Lawrence Brown, stalwart, on the far left.

Probably Chicago?  Earl Hines, Billy Eckstine on trumpet, Budd Johnson on tenor saxophone.  Are the two other musicians Scoops Carey and Shorty McConnell?

I have to say very quietly that I am less interested in Glenn Miller and his many orchestras than many people: what interests me here is not the ghost band below, but the top portrait that has a portly Irving Fazola sitting in the reed section on a gig in Texas, early in Miller’s bandleading career.

Who’s the pretty lady with the astounding hat sitting with Glen Gray on the right?  Looks like Miss Mildred to me, grinning happily.  Whatever Glen said to her must have been delightful!

Two unrelated Johnsons, J.J. and Gus (they both swung)!

Circa 1937 or 38 — Teddy, Hamp (concentrating hard), and Benny (paying attention): Gene got cut off, but we know he was having fun, too.

The top portrait is just amazing to those of us who are deeply immersed in this art — an autographed picture of Kaiser Marshall in 1938, in Europe (wow!); the second is listed as guitarist Jimmy McLin and saxophonist Earl Bostic, when and where I can’t tell.  The beautiful double-breasted suits say “late Thirties,” but that’s only a sartorial guess.

This portrait of the John Kirby Sextet lets us see the diminutive O’Neill Spencer in action — something more unusual than seeing Charlie Shavers, Russell Procope, Buster Bailey, and a pianist who’s not Billy Kyle. 

Clockwise: Benny Carter in a familiar publicity pose; a small band featuring Fats Waller’s reliably swinging drummer Slick Jones, and a famous shot from the Columbia studios, 1940, of John Hammond’s noble experiment melding the Basie and Goodman stars in what might have been the world’s finest small jazz band.

A famous Chicago studio portrait from 1936 but still gratifying: the rhythm section of Fletcher Henderson’s Grand Terrace Orchestra: Israel Crosby, bass; Bob Lessey, guitar; Horace Henderson, piano; Sidney Catlett, drums.

Late Twenties, early Fifties, perhaps for Ben Pollack?  Jack Teagarden and Benny in the first photo, perhaps Charlie Teagarden (and the Pick-A-Rib Boys) in the second.

Lee Young and J. C Higginbotham, both middle Forties if the suits are evidence.

There’s that Louis fellow again!  Ecstatically with Trummy Young (and an invisible Barrett Deems) at top, with Danny Kaye in THE FIVE PENNIES (1959) below.

GOING PLACES indeed!  Louis, Maxine Sullivan, Johnny Mercer . . . no doubt rehearsing JEEPERS CREEPERS.

And a delightful piece of memorabilia from Phil Schaap’s new website — which not only features artifacts autographed by Wynton Marsalis and jazz broadcasts from WKCR, but also tangible morsels of jazz history.  Can you hear Lips Page and Johnny Windhurst swapping lead and improvised countermelody?  I certainly can imagine it!  Visit http://www.philschaapjazz.com for more.

RARE DISCS FOR SALE

I find it soothing to visit eBay on a regular basis to see what’s for sale and to muse about it. 

Our topic for today is 78 rpm jazz records, which used to be the only kind until the early Fifties.  I was somewhat overwhelmed the profusion of them on eBay — 1,183 items!  Of course, some of them had no business being in that category — a Dutch hand organ record, Clyde McCoy picture discs, records by Dinah Shore, Xavier Cugat . . . but there were more than enough authentic jazz rarities to make my head spin.  Here are some remarkable ones:

78 1

The combination of the Gennett label and Earl Hines is a potent one.

78 3

When was the last time you saw a Jack Purvis 78 for sale?

78 6

Squirrel Ashcraft and the boys, when they were very youthful.

78 9

Eddie sang on this one and apologized later . . . but it has Tesch, Sullivan, and Krupa, too.

78 11

I think this is a song from an otherwise forgotten musical production; if memory serves, the other side is YOU HAVE MONEY, DON’T YOU? — a song title that doesn’t make my heart leap with anticipation.  I want to know what the record under this one is!

78 12

Early Barry Harris and Frank Foster in Detroit, on the NEW SONG label.

78 14

The other side of this Wardell Gray record is called THE TOUP, no kidding.

78 16

I believe, although perhaps incorrectly, that this record has an early Jess Stacy solo passage; at least he remembered playing with this band.  (The leader would say, “Are you ready, Kittens?”  And they would have to answer “Meow!”  The life of a working musician.)

78 Fats Japan

And finally . . . an eBay seller is offering a dozen Japanese Victor Fats Waller and his Rhythm records . . . for some exorbitant price.  Who knew that Fats had such a reputation in Japan?  Did that country enter the Second World War because they wanted Fats to play for them?  It’s a theory no one, as far as I know, has yet explored.

The larger social significance of this list might be summarized quickly.  78s are unplayable artifacts for almost everyone in this iPod era and they look like valuable antiques that will fetch pleasing prices.  But the economy has made many people look for things to sell that they would otherwise have held on to.  Better that these records get sold on eBay to enthusiasts who can play them, so the music doesn’t vanish entirely.  Who knows how many wonderful 78s get thrown out when collectors die?  “Provide, provide,” as Robert Frost wrote.

JOURNEY TO BOHEMIA: DICK TWARDZIK, SERGE CHALOFF, CHARLIE PARKER, and DYLAN THOMAS: THANKS TO SAM PARKINS

dick-t-photo-with-chetRichard Twardzik, Boston jazz pianist, was dead at 24.  And I don’t believe he ever saw any of his recordings issued.  His name has emerged once again in the jazz press (a fine appreciation by Ted Gioia at www.jazz.com) and there is a new biography out (BOUNCIN’ WITH BARTOK, by Jack Chambers, Mercury Press).  The photograph above shows him with trumpeter Chet Baker.

But The Real Thing is closer to home.  Sam Parkins, who never ceases to amaze, sent me this long essay — fascinating and heartbreaking in its immediacy — an excerpt from his book JOURNEY TO BOHEMIA, whose title refers both to the land beyond the familiar and to Cafe Bohemia.  Even if you’ve never heard Dick’s recordings, Sam’s essay-meditation is enthralling.

DICK TWARDZIK 1931-’55

Greetings gentle readers (that’s a 19th century locution. May not hold in today’s world): There’s a way over due bio published (back-ordered at Amazon) which may cause me to modify this and that – ‘though I bet I know stuff he doesn’t. As is true with all of these writings, this goes out to a dozen or so persons. Alta Ann is my first wife, member of my family and a good pal.

DICK TWARDZIK, d.’55; heroin overdose in Paris, with Chet Baker, age 24, is known to any even slightly modern jazz pianist because there’s a small recorded legacy. He’s the only junkie I knew – and I knew and loved this guy and could still weep for him – that wasn’t depressed. He had the joy of youth, always excited about what might come next. I wrote my first piano sonata for him, but death intervened…

$ [Alta Ann – you were in on the end – the night before he went off with Chet Baker. We had invited him to dinner; with desert I played him some of the Billy Banks sides with Fats Waller. He sat down at that great Bechstein grand in the living room and got very upset because he – a marvelous technician – couldn’t lay a glove on some of those triplet filigrees that Waller tosses off like cake frosting. It was you who asked – our friend now really clean after six months in the Bridgewater detox unit – “Dicky – why are you doing this – going off with all those junkies?” “To prove that I can do it”. You all know of course that he got dead in Paris instead. 1955]. Fine.

* * *

Dicky’s parents had restored the old house in Danvers (north of Boston) to its late seventeenth century state. Sure – it was central heated, had storm windows, sheep weren’t allowed to wander in and out of the kitchen. But they got it right, furniture and all – except for the big Steinway in the living room.

The kitchen was the showpiece. Discretely, at the far end of the big room, was a modern electric stove, refrigerator, butcher block island for chopping vegetables and having breakfast, but what you saw when you walked in the door, revealed by removing layers of sheetrock, plaster and wallpaper, was the ancient fireplace and chimney, with the hooks, rods and movable grills used to boil, broil, fry etc.; the oven to the right where bread was made, and the warming oven above it.

And on the left? A little door in the wall about a foot off the floor. Dick said that when they uncovered it and checked it out they left everything exactly the way it was:

He opened the door – and there was a little stairway – maybe a dozen steps, child-sized, that went nowhere. And, each exactly in the middle of its stair, climbing one at a time, were seven genuine, hand made, 17th century left shoes.

It’s late fall 1945. I’m on a long furlough, in the uniform of the buck-assed private I was. I get on a Cambridge bound trolley to Bobby Thayer’s house; he’ll drive us to the session.

But a note about Thayer, whom we won’t meet again. He had been in the trumpet section of the ‘kid band’ I played in through high school and early college, and had the distinction of being the first trumpet player in greater Boston – only a couple of months after those first mind-blowing Diz/Bird records – to master the complexities of Dizzy Gillespie’s style, which required blinding technique. He did make one little adjustment. He played all those licks at half-speed.

I meet his pretty wife, who spoke with a fashionable lisp. Go out to his ratty old Pontiac. Remember we’re all about 19. Head for downtown Boston to a jam session with (for me) mostly strangers – turns out to be the super stars of the region – Joe Gordon, Sam Rivers, Floogie Williams. Bobby, an otherwise lousy trumpet player, is accepted because of his curious quasi-mastery of Dizzy’s stuff. Turns out I can play with these guys because be-bop, which I never mastered, wasn’t the coin of the realm yet.

On the way, Bobby lights the first joint (marihuana) I had ever seen, let alone tried. Passed it over to me. Lovely.

The First Whorehouse. That was the working title in my early notes about Dick Twardzik. Most of the truly valid jazz joints I played in from 1944 on had a core ‘sin’ that defined them. The Golfers club, Ithaca, gambling. The Melody Lounge, Lynn MA, heroin. Harold’s House of Dixie, W. Orange NJ, money laundering and clubhouse for the North Jersey mafia. Barbara Kelly’s Glass Hat, Manhattan, blatant high-end prostitution. The Bowdoin Bar and Grill (where we’re going now) – really low-end prostitution. A sailor who had been all over the world said he never found a joint as rotten as this one in Calcutta. (To obfuscate matters – they weren’t all real ‘joints’. The Golfers Club was an old theater – take out the seats, add a bar and you have a dance hall. Gambling hidden in the back. Ditto Harold’s House of Dixie. College kids hangout. Bowling alley, cafeteria, two bars – and a big dance hall upstairs. Half a dozen hoods meet in an alcove under the stairs maybe twice a month. Black suits, navy shirts, silver ties, grey fedoras).

We’re driving but you could take the scenic route: Get off the trolley at Boylston St.; walk northeast (you’re on Tremont St.) the full length of the Boston Common past the Park St. Church. Tremont curves around to the left and becomes Cambridge St., headed for the river. If you’re walking in the 21st century you’ll come to a desolate moonscape called Government Center.

But if your journey is in 1945 you’ll find Scollay Square, the “Armpit of Boston”, a bustling market place with porn shops – dildos, vibrators, 8 m.m. ‘blue’ movies. Strip joints [being Boston, they didn’t quite take it all off – except for a flash when facing away from the audience – and toward the band], and the venerable Old Howard Theater, home of Sally Rand and Gypsy Rose Lee. As you keep going toward the river the sleaze quotient becomes more pronounced and you come to Bowdoin Square – the back-side of Beacon Hill, with its Christopher Wren houses and some of the oldest money in America. Hang a left on Grove St. and there’s The Bowdoin Bar and Grill.

As you tour around this neighborhood keep in mind that WW II is just over and the Boston Navy Yard has hordes of sailors and marines in need of entertainment.

Ambience? Wasn’t any. No amenities. Maybe forty feet square. Row of tables on the left as you enter; kitchen on the right – a square chunk subtracted from the room. Past the kitchen in the resulting indent, three booths, followed by the men’s room – and the bandstand stretching across the back of the room. No sit-down bar; kitchen acted as a service bar. ‘Bar & Grill’? Massachusetts law requires that any establishment serving liquor must serve food, so the ‘Grill’ part was covered by remarkably good hamburgers when needed. The rest was dance floor.

Personnel: The kitchen – and the staff (patience my dears) were utterly dominated by Mary, the chef/bartender/boss. What in those politically incorrect days was called a bull dyke. At least 280 pounds, and I’m afraid it was all muscle. And two waitresses named Dusty and Dry Run. (For non-military readers, a ‘dry run’ is when the troops hold their rifles up, aim them at something, the sergeant says “Fire!”, pull the triggers – and nothing happens. No bullets). Well into their thirties, good-looking in a rough and ready way.

This was a non-resident brothel. The ladies had an apartment nearby, and one or the other would disappear for a half-hour periodically. When asked they would dance with the sailors; when not asked they danced with each other, with running commentary. Sample: “Hey Dusty, you stupid cunt. Your fucking slip is showing”.

Bobby and I climb on the (crowded) bandstand. Band as good as it gets; launch into some variant of the blues. Never was introduced to anybody. The stage is about 2 1/2 feet high; I’m perched at the edge, blowing leaning back a bit, eyes closed – and feel an unaccustomed draft around my crotch. Look down. My fly is open. “Oh – Dusty always does that to the new boy”. She had danced by, and…

One last tableau of The Bowdoin Bar and Grill: It’s a long set, strenuous, serious blowing. The joint is mobbed – it’s Friday night. Payday, and the sailors have money to burn. A crowd at the middle booth on the left gets my attention – three guys on the far side, four jammed in the near side and another half-dozen leaning on the table or the booth, laughing like hell. The guy in the middle of the far side is slumped down, head back, eyes closed in an expression of ecstasy — I peer under the table at his outstretched legs and there’s Dry Run on her knees, administering – well – in the Clinton era it was called oral sex…

Funky club, great session, great players – but that’s not why we’re here. We’re here to meet the piano player. The closet that was the men’s room stuck out into the dance floor right by the bandstand; the piano was tucked in behind it, the piano player faced away from us. All I noticed was a little guy, playing music I’d never heard before (but he had. Bud Powell) hunched over the piano with an inch thick pile of hand-written music on the bench beside him.

At eleven the trumpet player looked at his watch and said, “Hey Dicky – you gotta get outa here!”. We declared a break, the piano player turned around, slightly dazed – and I saw a kid.
Dicky said “Oh migod”, grabbed his music and fled. The trumpet player explained: “He’s only fourteen. His mother wants him home by midnight and the last train out of North Station is at 11:30”. I asked the obvious question, “Who is he?”

“That’s Dick Twardzik. He wrote out every tune we might play, but hasn’t memorized them yet – that’s what the pile of music is about…”

I didn’t see Dick again until I came back to Boston in 1950. He had been with Serge Chaloff’s band for about a year and that’s where the trouble started.  (If you don’t know who Chaloff is, you could start with the Wikipedia entry online: brilliance, heroin, cancer. )

There’s a back-story about Chaloff’s cancer that came from Dick Wetmore, the great cornetist/violinist I played with around Boston for years. It happened that Dick and Serge Chaloff developed testicular (NOT spinal – that’s later) cancer at about the same time. The treatment was to lose the infected ball, (leaves one ball and leaves you sterile so Dick, with no condom, could blithely screw his heart out – which he did). And to go for twenty weekly radiation treatments. Dick Wetmore did it and is living in Florida as we speak.

Serge went for two weeks, “Oh the hell with it”, stopped going for treatment, went back to music and junk (heroin) – and that particular cancer’s first migration is to the nearest bones, in this case, the spine…

Woody’s Second Herd? Formed in 1947 after the huge success of the First Herd (see ‘Woody ‘n Igor’, module 4). Propelled Stan Getz to stardom with his ethereal solo on “Early Autumn”. Getz, Chaloff, Zoot Sims and Al Cohn made up the most famous “Four Brothers” sax section mentioned above (other players not so illustrious came and went). All addicts. In fact half the Second Herd were junkies. The stated reason for the break-up of the band in 1949 was financial – the dancers didn’t understand heavily be-bop tinged music. David Young, who knew Woody and most of the musicians, told it a little differently:

“Woody had to break up the band because guys were throwing up all over the bandstand”.

Gene Lees, Woody’s biographer, says “Hiring him must be accounted one of Woody’s worst errors: Serge was a serious heroin addict and, like so many of his kind, a dedicated proselytizer for the drug”.

Band breaks up in ’49, Chaloff returns to Boston with enough of a reputation as a star to be able to start a band of very young men (age 19 or so) and keep them working. And still proselytizing. It is here that Dick Twardzik and his band mates became heroin addicts.

The yin and the yang of the Chaloff family: Serge’s mother, Margaret Chaloff, was considered one of the finest piano teachers in Boston, with a studio over Symphony Hall. Dick studied with her for years. Gene Lees has high praise for her in his bio of Woody Herman.

I came back to Boston June, 1950, and into a steady Saturday night ballroom job for the summer – Nuttings on the Charles (river) – near the end of the ballroom era. Sparsely attended, only one night a week. After a six-year absence I knew almost no one. Circulated, went to sessions, slowly got back on the scene – and started four years of graduate school in composition at the New England Conservatory in the fall (playing constantly to pay for it). In getting back on the scene I encountered Dick Twardzik all over the place. Sessions, the occasional gig – not much of that though. I veered away from bop into New Orleans while Dick forged ahead as one of the few major ‘modern’+ piano players – remember 1950 is early days in be-bop, est. 1945. (+ let’s dispose of that right here. There was a lot of silliness about terminology. Be-bop, modern jazz, with a slightly different twist, but inaudible to the un-hip ear, progressive jazz. George Russell in desperation called his version ‘the New Thing’. Composers in the early 14th century faced the same problem. Came up with the ‘Ars Nova’).

But I particularly I encountered him at The New England Conservatory of Music (likewise encountered the legendary avant-garde pianist, Cecil Taylor, who gets a long look later). Dick was studying composition, and – and this is one of the real artistic drags about his death: He was studying harp with Louise Pappoutsakis, the Boston Symphony harpist, and would have evolved into – not the first, but the only be-bop harpist.

There is a warren of practice rooms on the second floor of the conservatory; each with a pretty good grand piano (and a dungeon in the basement with maybe fifty cubicles with not so good uprights). I’d see Dick at one of those grands, join him and he would show me what he was pursuing at the moment. For instance, what he called his ‘speed bass’. True stride piano in the manner of Fats Waller requires the left hand to drop at least two octaves (a leap of about a foot and a half) for a bass note on beats 1 and 3, leaving the chord indicating the harmony back up in the middle on beats 2 and 4. Playing a lot of Chopin helps. Dick kept his left hand in the middle position and hit the nearest ‘correct’ note (bass equivalent) to the south with as little hand motion as possible. (Any readers who know Dave McKenna’s music will hear this technique in frequent use).

I went to hear him with Serge, and particularly with Bird when he came to town – unlike classical performers, jazz players on tour then and now almost always go out alone and are at the mercy of local rhythm sections.+ It’s the Hi-Hat club, described elsewhere (the second burned-for-insurance fire closed it permanently). Of course I went. But missed the first tune of the first night. [+one of those half-truths that are taken for gospel at the time. Two Charlie Parker CDs, both taken from broadcasts in Boston clubs, have Charles Mingus, bass, Roy Haynes, drums – and Dick Twardzik, piano. For the non-jazz reader – Mingus and Haynes, New Yorkers, were about to become international stars].

Music lesson: Pop music back into the mists of history has been pretty simple. During the Golden Age of American Song – Berlin, Kern, Gershwin, Porter et al – the harmony would change typically every two measures; once in a while, as in ‘The Song is You’, every measure, and on the lazy side, ‘Sweet Georgia Brown’, every four measures, with four beats to each measure. Until be-bop came along. The improvisers took to modifying the songs in the direction of complexity, putting in as many as one chord change per beat.

So Charlie ‘Yardbird’ Parker comes to the Hi-Hat and Dick Twardzik is tapped for the piano chair. “Ohmigod – I’m going to play with the Great Master”. Dick sat down at the piano and worked out complex re-harmonizations of every tune he could think of that might be in play and went to the gig*.

First song up is the above mentioned ‘Sweet Georgia Brown’. ‘F7′ for four measures, ‘B-flat 7′ for four measures and so forth. Dicky is ready. He has a different chord for each beat, totaling sixteen chord changes for every four measures where there had only been one. At the end of the song, Bird – having never bothered to shake hands with his piano player before the gig – comes around behind the piano and says in Dicky’s ear, “Kid – just play ‘F7′. I’ll do all the diddley shit”.

[* typical sad Charlie Parker story. He was hired to play seven nights – Monday thru Sunday – at the Hi-Hat. He actually showed up for only five. One absent night was a mystery, during the other he was found out cold in a gutter. And he was so revered that he was invited back anyway. His legendary absences were part of the mystique. I’ll say right here, noting as I read about the Hip-Hop world that nothing has changed except the be-bopping junkies of my youth didn’t shoot each other**, that the general irresponsible lifestyle of our heroes made great newspaper copy and influenced a lot of kids]. [**But once in a while someone else did. Lee Morgan was shot on the bandstand by an outraged wife; Wardell Gray was shot by the outraged husband of his girlfriend – or so said the tale that circulated at the time (1955). The current internet bio has a mafia/drug-tinged story instead. The joys of history].

Dylan Thomas made four trips to America, beginning in February, 1950. America didn’t interest him; he came mostly for the money. The job that got him here the first time was a reading at New York’s YMHA, which paid $500 plus airfare. Factor in inflation – in 2006 dollars that’s closer to five grand. Once he got here he took his show on the road, making substantial money, much of which he drank…He died in New York during the fourth tour, of acute alcohol poisoning, November ’53.

Of all the scenes described in these writings – some hazy memories, some Hi-Definition Technicolor – the most vivid is this:

Dick’s mother was an artist. Her day job was as an illustrator at MIT for books and scientific papers produced by the faculty. Dylan Thomas came to America for the third time in April of 1953 and his first stop was MIT, Cambridge, for a lecture/reading. 3 o’clock on Friday afternoon, end of the school week.

Mother picked us up at school (New England Conservatory) at 2:30 on a beautiful spring afternoon; Dick had those bright red spots on his cheeks that showed he was really flying. Mother says indulgently, “Oh Dicky…” (must have shot up in the men’s room after lunch), and drove us across the Harvard Bridge to MIT.

The reading was closed to the public; it took place in a very ordinary classroom – teacher’s desk up front on the left, equal size table on the right for the guest. We were almost late. Walked into a nearly full house and found seats just as the presiding faculty member was introducing Dylan Thomas.

What did he look like? The picture of him in the BBC bio shows an uncanny resemblance to Orson Welles as Harry Lime in ‘The Third Man’. Attractive, perspiring, mop of wild curly hair, red-faced, really drunk, but the kind of drunk that can function normally when he should be in a coma. He began his lecture, interspersed with readings from his poetry – and you couldn’t tell them apart. His language was luminous – beyond beautiful, and his presence eerily commanding [the Welsh and Irish can do that. Celts]. It isn’t often given to any of us to be in the same room with true genius. Palpable, vibrating genius.

So where am I? In the presence of two great artists, both doomed to die real soon of substance abuse – Thomas, gone at 39, with a substantial body of work behind him, the other, Dick, 24, with the barest hint of what’s coming in his sparse recorded legacy.

Here’s a glimpse of Dick’s genius. He is simply not ‘just another be-bop piano player’ In recordings with Chet Baker and Serge Chaloff he sounds more conventional, but that’s what a sideman is supposed to do. Not upstage the leader [and more than by-the-way, note his gorgeous piano sound. Gene Lees in his Woody Herman biography says that that sound quality is a hallmark of all of Margaret Chaloff’s students].

And there is a home recording, 1954 Improvisations. Boston. June-October 1954, where, in a fragment of Jerome Kern’s ‘Yesterdays’ the future really shows. He deconstructs the tune the way Charles Ives might have – and then he’s gone.

Dick’s is the only early death among musicians/composers that really bothers me artistically [it killed me emotionally]. Mozart made it to 35. And left a complete life’s work. I’ve always felt that he lived a compressed, accelerated existence and died of old age. Ditto, Bird, also gone at 35.

Charlie Christian? Dead of TB at 26, with less than two years in the public eye and ear. But heavily recorded, and – here’s the Internet quickie: “was the founding father and primary architect of the modern jazz guitar style”. And revolutionary. Someone else would have done it, but in fact it was Christian that set the stage for guitar driven rock and roll, comin’ at you a little over ten years after his death in 1942.

Dick Twardzik left only the barest hint of what was to come…

I realized, whizzing around the park on my bike yesterday, what I uncovered here. Note the extreme contrast of the house Dick lived in and the joint he – and we all – played in. A couple of observations: No matter what your background – in Dick’s case it seems clear that there was substantial wealth in his family – you were likely to play in the scuzziest possible circumstances unless you became a star and Storyville (or its equivalent in any city) could afford you. More likely in a joint with the mafia lurking in the background. And of course – as an only child from an affluent family, how could he not have been rescued from his virtual suicide? It wasn’t exactly a secret. Let’s look:

His father was one of only two stained glass window designers and builders in the United States. Had an atelier on St. Botolph St., the front 3 stories high so they could assemble a finished window, then take it apart for (very careful) shipping. St. Botolph – that funky little street that petered out behind the Conservatory, coming over from Mass. Ave. just across the tracks from the ‘colored district’. David Young’s studio was there in the early 50s.

[What follows is probably from my friend Jack Lawlor, the left-handed bass player who shows up on several records and attended the sessions we held at Dick’s parent’s home. As I write, the long promised biography of Dick remains back-ordered at Amazon and people in Dick Twardzik chat rooms are getting pretty upset. So 1) I have no confirmation of the health issue; 2) Jack Chambers, the biographer, could conceivably have missed this. Families are pretty close-mouthed about health disasters].

It matters that Dick was a sickly child. He had a rare disease – here’s the Internet word:

“…probably had polyarticular arthritis, a form that affects children in at least five joints. Samantha at 16 months had 11 swollen joints, in her knees, wrists, toes, elbows and fingers. NY Times 9.30/03, Health & Fitness”

People that knew him told me that by the time he was 11 Dick had every joint in his body operated on. Helps explain the indulgent mother. How could you not spoil an only child with such a dreadful illness?

There was just forming up when I returned to Boston in 1950 a consortium of young modern musicians that called themselves ‘The Jazz Workshop’+; their mission to provide a space where students and professionals could play and study together. They found a bar downtown that had a little used back room; they persuaded the owner that jazz would bring in customers and were given carte blanche to do whatever they liked. I paid my dues with saw, hammer and nails many an afternoon helping to build the stage. [+Those musicians, led by trumpeter Herb Pomeroy, became the core faculty of the internationally famous Berklee School of Music. They are now of course very senior faculty or emeritus]. It prospered; a Monday night big band session was laid on, with Jaki Byard writing the arrangements and sitting in the tenor sax chair rather than piano.

And eventually they had to move to larger quarters; a club called The Stable on nearby Huntington Ave.

Dick Twardzik was a frequent member of the Jazz Workshop ‘in house’ rhythm section and it was here that he asked his fellow musicians for help with his heroin addiction. We have seen that his family was no help at all.

Now look: This may be apocryphal in places; it went around town as scuttlebutt. But it rings true. He asked the guys in the band for help “…and they laughed at him”. So after the gig, at two o’clock in the morning, on a cold December night, he walked up to a cop on Huntington Ave. and said, “Officer – I’m an addict and need to quit. Can you help me?”

Bless that cop. I’m sure there was and is a city agency set up for this. They helped get Dicky into the Massachusetts detox unit in Bridgwater, where he stayed for six months, met a priest he really liked and started going to church. Came out squeaky clean and full of the joy of life. He had finally beaten it.

In a musical composition that returns to the beginning for the last few measures, there is a convention that we’ll use here. “Dal Segno” – “to the sign”, which is a squiggle not on the keyboard. We’ll use $.

“Dal segno $ al fine [finish]”

If you don’t want to bother, it goes like this:

$ [Alta Ann – you were in on the end – the night before he went off with Chet Baker. We had invited him to dinner; with desert I played him some of the Billy Banks sides with Fats Waller. He sat down at that great Bechstein grand in the living room and got very upset because he – a marvelous technician – couldn’t lay a glove on some of those triplet filigrees that Waller tosses off like cake frosting. It was you who asked – our friend now really clean after six months in the Bridgewater detox unit – “Dicky – why are you doing this – going off with all those junkies?” “To prove that I can do it”. You all know of course that he got dead in Paris instead. 1955].

Fine.

Copyright © 2006 Leroy Parkins

[Here’s Sam’s own biographical sketch, taken from his MySpace page:

Leroy (Sam) Parkins: born in reign of Calvin Coolidge. Heard Benny Goodman, Duke Ellington, Lionel Hampton 1936 – 1945. Charlie Parker from then on. Normal life no longer possible. Cornell for composition; New England Conservatory for Masters. Saxophonist-in-residence two whorehouses (Bowdoin Bar & Grill, Boston, 1945; Barbara Kelly’s Glass Hat, NYC 1960), the Heroin Capital of the North Shore (Melody Lounge, Lynn MA, 1954 but didn’t sample the wares); Carnegie Hall (one-shot, 1976) etc.etc. Sixteen years with two major society orchestras. Duties included playing New Years Eve for the Carnegies and Mellons at Rolling Rock Country Club, Ligonear, PA.; deb parties as far away as St. Louis, MO. Joined production staff CBS Masterworks 1967. Recorded the complete Charles Ives chamber music. One Grammy (European); four Grammy nominations. Recorded Milton Babbitt, John Cage, Charles Wuorinen et al for New World Records, 1975. Black composers series, various labels: Music of Jelly Roll Morton, James P. Johnson, Eubie Blake, Cecil Taylor, Benny Carter, Scott Joplin. Stravinsky’s ‘Ebony Concerto’ with Richard Stolzman and Woody Herman’s Thundering Herd, RCA Victor, 1987. Grammy nomination. As featured soloist, ‘Take Me To the Land of Jazz’, Aviva records. Stereo Review, Album Pick of the Year, Acoustic Jazz, 1979. Recorded ‘Preservation Hall Live!’ for Sony Classical, 1991. Miscellaneous recordings since; clarinetist-in-residence, Cajun Restaurant, NYC; ditto weekly stint New York Public Library. Commence writing ‘Journey to Bohemia’ 1997. Lived.]