© -Steven
Cerra , copyright protected; all rights reserved.
“Sonny Clark
approached music with joyous abandon. … Note perfect, rhythmically bouncy and
always ready with a quirky idea, he was the ideal group-player ….
Appearing as it did in the
shadow of Cool Struttin’ [… an
immaculately tasteful Jazz album and one of the key documents of hard bop] the
March 1959 My Conception sessions
never gained the reputation of its wonderful predecessor. This is unfortunate,
for here again Clark
showcases a wonderful set of originals The result is an immaculately tasteful
and sophisticated modern Jazz record.. .”
- Richard Cook and Brian Morton, The
Penguin Guide to Jazz on CD, 6th Ed.
“And don’t forget,
Sonny Clark.”
This gentle
reminder was offered by a friend during a group conversation on the subject of
Jazz musicians who were often overlooked in terms of the body of work they
composed.
Also referenced
during the course of the chat were pianists Elmo Hope, Russ Freeman and Cedar
Walton, trumpeters Clifford Brown and Donald Byrd, trombonists Curtis Fuller
and J.J. Johnson, alto saxophonists Art Pepper and Gigi Gryce and tenor
saxophonists Hank Mobley and John Coltrane.
Remember, it’s all
in a point-of-view with regard to how opinions are formed.
Some in the group
seriously objected to Gigi’s Gryce’s inclusion in the obscure composer listing
arguing that Gigi was better known as a composer than a player while others
strongly agreed that the compositional body of work that Hank Mobley, Clifford
Brown and even John Coltrane had put together during their careers was
overshadowed by the acclaim they received as instrumentalists.
But when pianist
Sonny Clark’s name was mentioned, it was met by a universal acknowledgement
that his writing was deserving of much wider recognition and respect.
One person likened Sonny’s obscurity as a composer to that of
fellow pianist Elmo Hope while also remarking that “… the consistency and the of
quality of his writing puts him right up there with Horace Silver” [the
legendary small group leader and pianist turned out such iconic Jazz tunes as The Preacher, Doodlin’ and Senor Blues].
Following this get-together, I went searching through my collection
of Sonny Clark recordings and pleasantly rediscovered a number of his terrific
tunes, all of which was made even more amazing when one considers that he was a
victim of the heroin scourge that gripped the Jazz world from around 1945-1965
and died in 1963 at the age of 32.
Sonny’s all-too-brief career is wonderfully encapsulated and
memorialized in Michael Cuscuna ’s insert notes to Sonny’s Blue Note recording – My
Conception[7243 5 22674 2 2]. We wrote to Michael and he
graciously granted his permission to reproduce these notes on JazzProfiles.
© -Michael
Cuscuna : used with the author’s permission, copyright
protected, all rights reserved.
“SONNY CLARK is
not a name that appears with any frequency in documents of jazz history. He has
never been proclaimed a major original pianist. Yet Clark 's major influence seems to have been his
own creativity. His style was full and rich, yet carried a bright, irresistible
swing that swept away the musician and listener alike. He was, to these ears,
the realization of the perfect post-bop pianist. By all accounts, the musicians
that worked with him regarded him as a source of joy and inspiration. And any
listener who stops and really hears his work will be hooked forever.
After spending the
first 20 years of his life in and around Pittsburgh mastering the piano and playing vibes and
bass as well, Clark ventured out to the West Coast in 1951
with his older brother. He worked the Los Angeles area with Wardell Gray, Art Farmer, Dexter
Gordon, Shelly Manne and a score of others. In 1953, Oscar Pettiford came to Los Angeles , formed a band that included Clark and went up to San Francisco . There Sonny met Buddy DeFranco who was
leading a quartet with Art Blakey and Kenny Drew. Blakey and Drew left, and
Sonny was asked to join. During the next two and a half years, Clark appeared on three DeFranco recordings and
toured Europe , the American Midwest and Hawaii with the clarinetist.
In January of
1956, Clark settled into a more stationary life,
joining Howard Rumsey's Lighthouse All Stars. During that year, he recorded in
a quartet setting under the leadership of Serge Chaloff with Philly Joe Jones
on drums (EMI Capitol) and with drummer Lawrence Marable's quartet which
featured tenor saxophonist James Clay (Jazz West). On that album Sonny was not
only featured as a player, but also contributed three compositions.
In February 1957,
he joined Dinah Washington in order to work his way back East. Referring to West Coast
music, he said, "I did have sort of a hard time trying to be comfortable
in my playing, the fellows on the West Coast have a different sort of feeling,
a different approach to jazz. They swing in their own way....The Eastern musicians
play with so much fire.” On another occasion, he was quoted as saying,
"Jazz is jazz wherever it's played. The whole thing has to do with the
individual and his conception toward jazz. The thing is that my playing is
different from the way most of the fellows out West play. I'd rather work in
the East because what is played here is closer to the traditional meaning of
jazz. They're getting away from the tradition out West — combining jazz with
classical music and playing chamber music-type jazz. What they play is really
very good, but it's just not the way I want to play. That's why I came back
East." And come back he did in April 1957 at the end of the Dinah
Washington tour.
He worked at
Birdland under the leadership of J.R. Monterose and Stan Getz and gigged
briefly with Anita O'Day and Charles Mingus. In early June, he recorded with
Sonny Rollins (Riverside ). On June 23, he recorded as a sideman for Blue Note on a
Hank Mobley session. A month later, he made his first album as a leader for
Blue Note. Thus began a long and fruitful association wherein Clark appeared regularly on Blue Note dates with
a variety of artists.
In fact, between
June 1957 and March 1959, he was in the studio eight times as a leader and
another 15 times as a sideman with Mobley, John Jenkins, Curtis Fuller, Johnny
Griffin, Clifford Jordan, Lou Donaldson, Lee Morgan, Louis Smith, Tina Brooks,
Bennie Green and Jackie McLean.
Then for some
strange reason, Sonny was totally absent from Blue Note for the next two and a
half years. In 1960 he recorded a trio album and appeared on albums by Bennie
Green and Stanley Turrentine, all for Time Records and all very much Blue Note
in style and personnel. That two and a half years of relative inactivity is
usually credited to his bouts with drug addiction.
In October 1961,
he reentered the Blue Note fold on a Jackie McLean date and during the next 12
months appeared on 13 sessions under the leadership of McLean , Don Wilkerson, Dexter Gordon, Stanley
Turrentine and Grant Green as well as making his last album as a leader, Leapin'
And Lopin', in November 1961. After his final session in October 1962
(Stanley Turrentine's Jubilee Shout), Clark suffered a heart attack. He was released
from the hospital in January 1963. He played two nights at a New York club called Junior's and, in the early
morning hours, died of an overdose. To preserve the club's image and liquor
license, his body was moved to a private apartment before the police were
called in. Thus, a short ten years after his first record dates with Teddy
Charles and Buddy DeFranco, his career and his life came to an end with the
most tragic cliché in the jazz life.
It is through
recorded documents such as this one that Sonny Clark continues to live and
enrich our lives. This album, made on March 29, 1959 , closed the first of Clark 's two tenures at Blue Note.
What is most
unique and most delightful is the presence of Art Blakey on drums. It is
surprising that these two Blue Note regulars only recorded together three times
— on this date and on still unissued Tina Brooks and Grant Green sessions.
[Note: These sessions have since been released by Blue Note as Tina Brooks Minor
Move and Grant Green Nigeria .] The great Blakey is typically superb
here in his drive, pacing and taste. Listen to how he literally conducts the
flow and dynamics of the music from the drum stool. His shadings and his power
pace and inspire each soloist perfectly. And when given the opportunity to
trade fours with the horns, as on "Junka" and "Some Clark Bars”
he positively erupts.
With the exception
of Sonny's first Blue Note album and a trio session of standards issued on 45
singles, bassist Paul Chambers was present on every date that the pianist led
at Blue Note. And they were, of course, brought together on many sessions by
other Blue Note artists. Clark
once said, ‘I met Paul in Detroit in 1954. He was very young and nobody
outside the city knew much about him, but I dug him right then. He's very
consistent and has superior conception, choice of notes and ability to
construct lines. He plays with intelligence and he always keeps it
interesting.’ Aside from his typically superb support, Chambers gets off an
effective and to-the-point arco solo on "Junka.”
Donald Byrd
appeared on Clark 's second album Sonny's Crib in October
1957. Two months later, both men contributed admirably to Lou Donaldson's Lou
Takes Off. They were reunited in January 1959 on a Jackie McLean date that
produced half of the Jackie's Bag album. That reunion
undoubtedly led to Byrd’s presence on this session.
Encounters between
the pianist and Hank Mobley were all too rare. Clark made his Blue Note debut, as mentioned
earlier, on one of Mobley’s sextet albums (BLP 1568) on June
23, 1957 . Mobley
then participated in Sonny's first album Dial S For Sonny a month later. Clark appeared a month later on a still unissued
Mobley album. They did not record together again until this album. Clark once said, ‘I never heard Hank Mobley in
person until I came to New York but I listened to his records with the
Jazz Messengers and dug him very much. [He] plays in my style and I was very
happy working with [him] and very satisfied with the results.’
That is certainly
an understatement. If "post-bop" ever spawned two underappreciated
figures who were suited to each other's playing, it was Clark and Mobley. Both
have a bright, propelling and very individual sense of swing. And both can burn
hard with surprising lightness and grace. In the general format of hard bop
that can mask the less inventive player, Clark and Mobley always gave their all
with subtle, self-assured brilliance. Check out Mobley's astonishing solos on
"Junka" and "Royal Flush" and his beautiful reading of the
theme of "My Conception." They made quite a team!
"Some Clark
Bars" is the only tune on this album that pops up nowhere else in Sonny
Clark's discography. "Minor Meeting," the oldest composition, first
appears on the Lawrence Marable-James Clay album of 1956, then on a December
1957 Blue Note session (that was issued in Japan on the album Quintets in 1977) and
finally on the pianist's trio date for Time Records. "Royal Flush,"
from the January 1958 session that produced the Cool Struttin' album, was
also issued in 1977 on the Quintets album. The version heard
here eliminates the introduction used on the earlier date. "Junka,"
"Blues Blue" and "My Conception" were all given trio
treatments on the aforementioned Time album from 1960.
Despite an
occasional rough edge in the arrangements or a minor trumpet fluff, this newly
unearthed album is a welcome and valuable edition to the legacy of Sonny Clark.
Perhaps through such releases the magnitude of Sonny Clark's brilliance will be
recognized by the world audience where it has only been truly appreciated by
the musicians themselves and the Japanese jazz audience. Sonny Clark 's music will long endure.
—MICHAEL CUSCUNA,
1980”