"Where's The Melody" By Martin Williams [From the Archives]

 © -  Steven A. Cerra, copyright protected; all rights reserved.

"A short, model primer on jazz, in which Mr. Williams triumphantly makes a difficult subject seem difficult and absolutely comprehensible. He spells out in an even, shoulder-to-shoulder manner the various kinds of improvisation, the places of the composer and arranger, jazz rhythms, and the like, and along the way he carefully knocks down those distracting and divisive genre terms 'swing/ 'Dixieland/ and 'bebop' by choosing illustrations from every walk of jazz."

-THE NEW YORKER

". . . a remarkable performance: concise, lucid, and mercifully free of fustian proselytizing. In the opening section, Williams, primarily through the analysis of key available recorded solos, clarifies the basic ways in which jazzmen improvise and the diverse functions of the composer-arranger in jazz.

The book, however, is more than a grammar. Jettisoning the traditional romanticized approach to jazz history by region and river, Williams places the evolution of the language in much more useful perspective by describing the changes in jazz made by its major innovators, from Louis Armstrong to Ornette Coleman."

- Nat Hentoff, BOOKWEEK

I can’t believe I still own a copy of Martin Williams’ Where’s The Melody: A Listener’s Guide to Jazz [New York: Minerva Press, 1963].

Dogged-eared with paper that is yellowing and book spine glue that’s hardening and cracking, it’s been loaned out so many times that it is a miracle that it ever made it back to my bookshelf.

One of the best primers on the process of making Jazz ever written, I thought it might be fun to share the book’s Introduction and Opening Chapter with you on these pages.

© -  Martin Williams, copyright protected; all rights reserved.

INTRODUCTION:

"An American Art"

If we know anything about jazz at all, we have probably heard that it is supposed to be an art—our only art according to some; "America's contribution to the arts,' according to certain European commentators. It has also the kind of prestige that goes with praise from the "classical" side of the fence. One of the first men to recognize the artistic qualities of jazz was the outstanding Swiss conductor Ernest Ansermet, who in 1919 wrote a tribute to the great clarinetist and soprano saxophonist Sidney Bechet, adding that perhaps tomorrow the whole world would be moving along his road. And in 1965 the American composer-critic Virgil Thompson said that "jazz is the most astounding spontaneous musical event to take place anywhere since the Reformation.”

Jazz has its special publications, both here and abroad, its own journalists, reviewers, critics, historians, and scholars. Also, as most of us are aware, our State Department is willing to export jazz to answer for our cultural prestige abroad. Yet here at home, this "American art" is the subject of certain ignorance and certain misunderstandings.

It is possible to approach jazz in several ways. It is more than possible—it is in a sense almost mandatory—to consider jazz as an aspect of Negro American life and of the far-reaching and little understood effect of Negro-American life on American life in general. Jazz is, of course, a product of Negro-American culture, and that means that it represents also a unique coming together of African and European musical traditions.

It is also possible to treat jazz at second hand, as it has influenced our other music. The results of this approach might surprise some of us, for there is hardly a corner of American music that has not been touched somehow by jazz. It has touched most corners of music in Europe as well. To give one rather unexpected example, most of the trumpet players in our symphony orchestras, whether they are performing Bach or Bartok, Grieg or Gershwin, play with a slight vibrato (literally, a vibration to their trumpet sound) that they are not supposed to have, because in the past jazz musicians have generally used one. The symphonists have simply picked it up, some of them perhaps unconsciously.

It is  not surprising that all American  popular music, and some American concert music as well, were once commonly referred to as "jazz,” because the influence of jazz and of pre-jazz Afro-American music is everywhere in our musical life — on Broadway, in musical films, in the hotel dance band, in the "hit parade," in the concert hall. And, in one form or another, this influence has been there for over seventy years. So apparently "square" a popular song as Dancing in the Dark would not have been written without the powerful and pervasive effect of the musical force we call "jazz."

Jazz has also been treated through the biographies of its players, and some writers have treated jazzmen as what they are—creative people, most often functioning as popular entertainers. But jazzmen have also been treated as colorful old characters or as pathetic, aging men, unworthy of the callous caprice with which a delinquent showbiz has shunted them aside. It is possible, after all, for the most interesting of men, or even the most colorful of old characters, to be involved in an activity that need not detain us for its own sake. We might appreciate the personal maturity of a shop steward without being interested in owning a handbook on union organization at the local level or one on the processing of auto parts on a modern assembly line.

However, jazz is a music, and it is worthy of our attention as a music. Its musical achievements are quite high, perhaps higher than those of any other so-called "folk" or "popular" music in human history. Undoubtedly the musical level of jazz would have had to be high before it could have exerted such a strong and continuing influence upon other music. But jazz music itself is much more interesting than the subject of its influence. It has a life of its own, growing, developing, and finding its own way, taking what it needs from the European tradition and adding something of its own at each step. And, as the years pass, jazz behaves less and less like a "popular" commercial music, subject to the fads of the moment, and more and more like what we are apt to think of (rightly or wrongly) as an "art music."

Let us assume in looking at jazz that we know little or nothing about the techniques of music and little or nothing about jazz and its history.

We will assume we know little about jazz history because we want to look at it from a musical standpoint, and because very little that we can appreciate has been written on it from that standpoint. And we will assume that we don't know much about music, because many of us don't.

But perhaps lack of a detailed musical background is an advantage. Jazz has taught itself, so to speak. Jazz musicians have often taught themselves and the music as a whole has wended its selective way, almost on its own, through the techniques of European music. If we were to study music, we would of course study a system largely deduced from practice, a theory derived from what the great European composers have actually done when they wrote. But sometimes this musical system and theory applies to jazz only approximately, only insofar as jazz musicians have borrowed it, transmuted it, and used it in their own way. So in listening to a partly self-taught music, we shall probably have the gods on our side if we become self-taught listeners.

We do not learn to listen theoretically or in the abstract, of course, and almost all the comments in this book are attached to specific recordings. We shall begin by going directly to the crux of the matter, to the jazz musician as he plays combinations and sequences of notes that sound sometimes familiar, sometimes only vaguely familiar, and sometimes not familiar at all. And we shall try to understand how] jazz musicians play, what they do with a melody; how much they improvise, make up as they go along, and how much they work out ahead of time; and the kind of musical logic involved in their way of playing.

There is, after all, little point in worrying about the history of an art or the biographies of its players until we have some familiarity with the art itself. As an introduction to how jazz players play, we will look in the first section of this book, "Where's the Melody?" at what they do with more or less familiar popular songs. Then we will turn to an important original musical form that has been used by jazzmen of all styles and periods, the form called "The Blues.' With these basic forms and practices in mind, we can examine "Eight Recorded Solos" in more careful detail.

Having been thus introduced to the work of the jazz soloist, we can turn, in the section called "What Does a Composer Do?" to the jazz composer-arranger, the man who provides the player with basic material or who revises material he finds in the American popular repertory. The composer-arranger orchestrates; he gives the musicians in large and small ensembles written (or sometimes memorized) parts to play and he assigns the soloists space and duration in which to improvise. A soloist is responsible for his portion of a performance; a composer-arranger for the effect of the whole.

In these four introductory sections we have deliberately avoided chronology and avoided the sometimes careless catch-phrases of styles and schools and periods of jazz. The things that Louis Armstrong and Thelonious Monk have in common as players are more important and instructive than differences in the way they make music. Teddy Wilson, a pianist who first rose to prominence in the mid-Thirties, in those days took the same basic approach to improvised invention as did Charlie Parker, the revolutionary figure of the mid-Forties. And the music of the pianist and leader from the "swing period," Count Basie, taught the modernist John Lewis as much as did Charlie Parker's music— perhaps more.

Having examined the basics of jazz this far, we are now in a position to look at its musical history in "Last Trip Up the River." From a musical standpoint that history is made up of the contributions of certain major

jazz players who renew the basic language of the music periodically, men like Louis Armstrong and Charlie Parker, and of certain major jazz composers, men like Duke Ellington, who periodically give larger synthesis and summary and form to the music.

After paying this much attention to the music itself, it is perhaps time to have accounts of the players at work on the scene—in nightclubs, in studios, and in private rehearsals. Thus, the second part of this book describes a nightclub evening of a pianist-composer, "Monk at the Five Spot"; a record date by vibraharpist Milt Jackson and a brass ensemble, "Recording with 'Bags'"; another recording session by a Mississippi blues singer of the old school, "Big Joe in the Studio"; and a rehearsal by some of the men who are involved in the avant-garde with "Jimmy Giuffre at Home.”'

The final part of this book, "Comment by a Listener," represents an effort to return to the music and its musicians with the knowledge so far acquired. In comments (some brief and some more comprehensive) on figures like Horace Silver, Billie Holiday, and Roy Eldridge, I have expanded on some of the points of jazz history described in the first part of the book and have tried to show, in a more or less casual sampling, how some exceptional musicians have developed the ideas of the great figures and have also made contributions of their own. I have also dealt with the work of some less creative figures who water down and popularize the musical ideas of others. I have used as examples some recorded performances which do not seem to me successful; the value in this is not in pointing the finger at failure (or my idea of failure) but rather in discussing how and why performances may fail. Finally, I have commented on recent developments and the jazz avant-garde as exemplified by Ornette Coleman.

I have not tried in this book to disguise my enthusiasm for jazz and for most of the players and performers I have discussed. But I have tried not to include too many of my own specific emotional responses to the musicians and their work. My purpose in this book has been to clear the way, to help listeners discover their own responses by putting them more directly in touch with the music itself. I have suggested my own feelings about jazz, I trust, largely as a means to such an end.

Finally, I think that each reader should undertake a book of this sort at his own pace—even at his own leisure—and that for some a gradual alternation of reading and listening can be the most rewarding. With that purpose in mind, I have included suggestions for a "Basic Library of Jazz" and have, in various sections, added "Record Notes" which list representative works of the artists discussed. The reader will, I hope, take it from there. …

Where's the Melody?

Let us assume that we are following two men as they enter a jazz nightclub or arrive, a few minutes late, at a jazz concert. One of them is an avid fan, an insider who has been following the music enthusiastically for years. His friend is not an insider; he is curious and sympathetic but a little puzzled. As they move inside the club or concert hall, the music is underway. The novice turns to the insider and asks, "What are they playing, do you know?"

The master replies, 'That's A Foggy Day"

At this point we can discern puzzlement, and perhaps despair, on the face of our novice. He knows perfectly well what A Foggy Day in London Town sounds like, and he hears nothing whatever like its melody coming from the musicians in front of him. Yet his friend is sure that it's A Foggy Day.

Jazz must be some kind of musical puzzle.

In effect, our novice has asked a prevalent question, "Where's the melody?" Or, to put it more crudely, "What are those musicians doing up there?" It is a question that is considered so square by some jazz fans, and even some musicians, that they refuse to answer—or even hear it. Yet I think it is a perfectly valid question, and answering it can be enlightening. For what those musicians are "doing up there" is not very obscure. It is not wholly unprecedented in the Western European music from which American music partly derives. And it is certainly no kind of musical game or puzzle.

Most of us probably know that jazz musicians make variations on a theme and that these variations are often improvised, invented on the spot as they play. For many people the primary quality in jazz is its rhythm—jazz is a particular rhythmic way of playing music. And anyone who has ever watched a group of jazz fans will be led to suspect that more than a few of them are responding to jazz rhythm—and very little else. There is nothing invalid about such a response, for its particular way of handling rhythm is indeed one of the unique things and one of the most compelling things about jazz music. But on the other hand, jazz rhythm, on the surface at least, is a readily recognizable quality. For our novice it is probably the thing that for him makes jazz jazz. He hears it, he feels it, and he says, "That's jazz." He may not always be right and he may not sense the fine details of whether the musicians are handling jazz rhythms well (that is, whether they are "swinging"), but he will be right most of the time.

Let's take a familiar popular song, which is what jazzmen do about half the time. There is nothing in the popular song that necessarily makes it jazz. It may have been influenced by jazz, even heavily influenced, as most American popular music has. But if a jazz musician plays it, he will play it with jazz rhythm. He will make it "swing/' give it a particular kind of momentum and movement. Thus, a jazz musician has already made a rhythmic variation on a piece by performing it at all. But so far he has given us no problems, for he has used the familiar melody in a recognizable way— let us say it is A Foggy Day or Pennies from Heaven or Embraceable You or any of thousands of American popular songs that are familiar to most of us and that are commonly used by jazz musicians.

Almost any jazz performance of familiar pieces like those will have at least an opening chorus based on the familiar melody itself. However, many jazz musicians use the melody not just for their opening statements, but as a basis of everything they do. There are players from every style and school of jazz who play that way; if you came in in the middle of one of their performances you would probably know right away what they were playing.

But such performances are not a matter of playing the same thing over and over again. These players make variations. For example, they will embellish the melody in various ways: they will add decorative notes and phrases, they will fill in in places where the melody comes to rest, and they will make slight changes in the notes as written.

At the same time they may improvise with the harmony of a piece (particularly if they are pianists) altering the simple chords that you and I would find on a piece of sheet music and even adding to the chords.

Now, of course, these things can be done badly. Some decorations can be cluttering and affected. The point of the melodic embellishments and of the richer harmony is to enhance the piece, to bring out its good qualities or modify its poor ones, and, at best, to discover hidden qualities and make a better piece of music of it. The great master of this particular embellishment approach to jazz improving was the pianist Art Tatum whose additions and fills were often dazzling, and whose sense of rich, improvised harmony was probably the most developed that our popular music has ever seen.

But besides filling out and elaborating the melody, a jazz musician can subtract from it, can reduce it to a kind of outline with fascinating musical experience thereby. Thelonious Monk,  because of his exceptional and subtle sense of rhythm, can take even a silly popular ditty and make it sound like a first-rate composition for piano — his version of You Took the Words Right Out of My Heart is a good example, or, to take a better song, his rephrasing of I Should Care.

Another player who uses this melodic approach to variations is Erroll Garner. And there are horn players, particularly from older generations, who are excellent at this kind of paraphrase of familiar melodies.

The greatest of all is Louis Armstrong, who can work with good popular material like I Gotta Right to Sing the Blues and improve it, or who can work with poor material like That's My Home and make it sound like deathless melody.

Thus a great deal of jazz variation is recognizably made on a familiar melody, and there are players from all styles and schools who use this approach. They may elaborate the melody, they may decorate it, or they may reduce it and simplify it (basically, these are what a classicist would call kinds of "melodic variation"), and they may re-harmonize it. But it is — always there somewhere. The art lies in how well they transmute it, in how good a paraphrase they come up with while transforming what was written.

Now let's go back to our jazz fan and his novice friend who were entering the club or concert. Let's assume that now they are comfortably in their seats, that the Miles Davis ensemble is performing, and that they begin Bye Bye, Blackbird. In the first chorus of this piece our novice would hear a transmutation of a familiar, perhaps appealing, but obviously and deliberately lightweight popular ditty from the Twenties. He will realize that there is indeed a sea change taking place, however, for although Davis' trumpet is keeping recognizably to the written melody, he has transformed it, making it a kind of buoyant dirge. Then, in Davis' second chorus, there suddenly seems to be no more Bye Bye, Blackbird. What is going on?

What is going on is that Miles Davis is offering a new melody, one which he is improvising on the spot. This melody does continue the mood and the musical implications he was sketching in his first chorus, but it offers some very new ideas of melody.

Davis is using as his guide for this new melody what we may call an "outline" or "framework" of Bye Bye, Blackbird. Technically speaking, he is using what musicians call the “chord changes, the harmonic understructure of Bye Bye, Blackbird as the basis for this melody of his own. (Classicists would call this a harmonic variation, incidentally.)

The way to listen to him now is to listen not for something we already know or have already heard, but for the music that Miles Davis is making as we hear him. If we also hear, or sense unconsciously, that "outline," that related chord structure the player is using as his guide, fine. But we don't have to. Jazz is not a musical game or puzzle.

Sometimes jazz musicians will a familiar structure, a familiar set of chord changes from a standard popular song, without using the theme melody at all, even for their opening chorus. They simply invent, from the very beginning, without any theme statement or paraphrase. Classic examples are Lester Young's 1944 version of These Foolish Things and Charlie Parker's Embraceable You. In each case the player is using the familiar harmonic outline for his guide — but not necessarily for ours. Again, jazz variation is not a guessing game or a puzzle. Where's the melody? Well, again, the melody is the one that Lester Young or Charlie Parker is making up, the one he is playing. It is not something we have heard before; it may even seem to be like nothing we have heard before. It is what he is playing. Hear it, enjoy it. And hear it well, for it may not exist again.

Similarly, jazz musicians sometimes introduce their improvising with new themes, written or memorized, which are also patterned to old chord structures.  Thus, Ornithology takes its outline from the How High The Moon; Count Basie’s Roseland Shuffle came from Shoeshine Boy; Moten Swing came from You’re Driving' Me Crazy; and there are probably at least two thousand jazz originals, from Sidney Bechet's Shag through Ornette Coleman's Angel Voice, based on the chords to Gershwin's I Got Rhythm. An obvious reason for this is that the new themes have a more jazzlike melodic character than the popular songs which were their harmonic origin.

Thus, there are three kinds of variations—those that involve rhythm, which are intrinsic in jazz performances, as we have seen; those that involve embellishing or paraphrasing a written melody, either decorating it or subtracting from it or both; and those that involve the invention of new melodies within a harmonic outline. They are all found, alone or more often in combination, in all styles and schools of jazz except the most recent.

At this point, let's try a summary by example. Let us assume that we play a little bit of piano and read a little bit of music. We are attracted to a particular popular song and purchase a piece of sheet music for that song to try it out on the parlor spinet. The sheet music will probably present the song in a fairly simple manner. The right-hand piano part, the treble, will give its melody. The left-hand part, the bass, will give simple chords that fit that melody; usually the chords given on sheet music are simple, and often they are quite simple. We take the piece home and play it over a few times until we've got it, as written down, fairly smoothly.

For most people this is the end of the matter. They have learned to play the song as the sheet music presents it. But let us assume that there is a jazz musician inside us and he takes over. The first step would be to play the piece with jazz rhythm. Automatically, this will mean at least some changes in the values of the notes and some personal interpretations of the accents. We have begun to make the piece "swing." Actually, an authentic "swing" is not an easy matter, but let's assume we're getting one fairly well.

Incidentally, in doing this we have discovered that making a piece of music "swing" has nothing to do with playing it fast or loud. It is a matter of giving it a particular kind of rhythm. It can be done slowly and quietly. (Actually, it is very difficult to swing at extremely slow tempo or at extremely fast tempo—but that technicality needn't detain us now.)

Now let's say that under the impetus of that swing and its unique momentum, we begin to try changing certain of the melody notes more boldly. What we have already changed suggests more changes, and we extend some, we shorten others, we leave out some, we add others. We begin to get a different piece of music. At the same time, perhaps we hear more interesting harmonies for the left hand. We change a few of the chords to make them richer, and, in passing, we perhaps add a few appropriate tones that weren't there.

Now, the final step: suppose we gradually diminish the original right-hand part—the treble, the melody notes—altogether. We keep the left-hand part (or our version of it) and with the right hand we make up a new melody part that fits that left-hand part.

It used to be said that modern jazzmen, of the generation of the Forties, began the business of writing new themes to old structures and of inventing new solo melodies to chords alone. But this is obviously untrue. It is untrue of the blues form, as we shall see. Furthermore, our example of Moten Swing comes from 1932, and there are earlier examples of jazz originals with their chords borrowed from, let's say, After You've Gone, or I Ain't Got Nobody, or Sweet Sue, or a dozen others. And, almost all of the great players of the late Thirties—men like pianist Teddy Wilson; tenor saxophonists Coleman Hawkins, Ben Webster, and Lester Young; alto saxophonists Johnny Hodges and Benny Carter; guitarist Charlie Christian —did much of their playing on chord structures alone, with little or no reference to a theme. Indeed, even earlier players were capable of it, and there are many recorded examples of "non-thematic" variations, of variations that invent original melodies, by Bix Beiderbecke, Louis Armstrong, Earl Hines, Jack Teagarden, Sidney Bechet, and even by Bunk Johnson whose style dates from the early days of New Orleans jazz.

Only the youngest players have broken away from using either the melody of a piece or its chords as direct guides for making their variations.

A good paraphrase of a melody by a good jazz musician is frequently quite superior to its point of departure, the original popular song in the standard repertory. And a good melodic invention by a great jazz musician is a piece of spontaneous composition that may be miles ahead of its point of departure. 1 would not denigrate George Gershwin's achievements; he was one of our best popular composers— indeed, one of our best musicians. But Gershwin was usually writing songs, fairly simple melodies intended to be sung, usually by relatively untrained voices. And Charlie Parker's recorded variations on Gershwin's Embraceable You and Lady Be Good are instrumentally brilliant in a way that Gershwin's songs are not and were not intended to be.

However, Parker, like most great jazzmen, was also a melodist. He was a great instrumental melodist when judged by quite exacting musical standards. When we remember that Parker (again, like most great jazzmen) was a player and did his "composing" as he played, by improvisation, then we realize how astonishing his achievement was.

And so, we come back again to our question and our answer. Where's the melody? The melody is the one the player is making. Hear it well, for it probably will not exist again. And it may well be extraordinary.”

Brookmeyer, Mulligan and the Concert Jazz Band - Martin Williams

 © Copyright ® Steven Cerra, copyright protected; all rights reserved.

This feature is drawn from Jazz Changes [1992], a collection of essays and reviews by Martin Wiiliams about whom Gary Giddins wrote: “One of the most distinguished critics [about anything] this country has ever produced.”

I wanted to include it among the postings to these pages on the topic of the Gerry Mulligan Concert Jazz band because it begins at the beginning of what was to become one of the most profoundly influential Jazz big bands in the second half of the 20th century.

And because: “Martin Williams persistently gets at essences, and that is why he has contributed so much to the very small body of authentic Jazz criticism.” [Nat Hentoff]

“Gerry Mulligan's Concert Jazz Band, founded in 1961, has become an intermittent, frequently revived institution in the years since. In the meanwhile, it had been the immediate progenitor of the Thad Jones—Mel Lewis orchestra and its successor, the Mel Lewis Orchestra. Mulligan's "movie work," referred to in the brief encounter recorded below, would include his fine vignette as a shy, inept suitor in the -film version of Bells Are Ringing, an appearance (as himself) in an episode of the Ben Gazzara TV series, "Run for Your Life," etc.

Bob Brookmeyer's puzzlement at the fact that I was interviewing him rather than the leader on the founding of the Concert Jazz Band continued after the piece appeared in Metronome. There were no protests voiced by Gerry Mulligan, however.

When the word first spread that Gerry Mulligan was forming a "concert jazz band," a lot of rumors spread with it. One of the first was that Bob Brookmeyer would be a member, the first soloist and first arranger after Mulligan, and that his enthusiasm was running very high. He was not, I learned, official "musical director," but he was rehearsing the band on occasion and very much wrapped up in its progress. Nevertheless, here was Bob Brookmeyer, after all these years, back in a chair in a brass section, reading a part—a sideman again.

I decided to talk to him rather than to Mulligan in order to get some feelings about the band that might prove to be as interesting as the leader's. Accordingly, I warned Brookmeyer to expect me one evening at the Village Vanguard.

I had to be fast in getting from a front table to the back door to catch Brookmeyer on the way out after the first set — and I thoroughly confused the headwaiter in the maneuver. Anyway, I overtook Brookmeyer in the street and after I reminded him that I had a pencil and intended to take notes, the conversation went something like this:

"Sure, I'll talk about the band. I love to. But I can't say anything official or about policy. Why don't you talk to Gerry?"

"Everybody talks to Gerry. I wanted to ask you. And from what I have heard this band has meant a lot to you."

"It certainly has. And not just me. But you'll have to check this with Gerry."

"I will. But, look, why don't we tell people how a thing like this starts? I mean, for example, it takes money. Where did the money come from?"

"From Gerry's movie work. He didn't want to borrow it, and he didn't want this band to have an angel. The first estimate was that it would take $30,000 to get it started and maintain it until we could see whether it would go. Arrangements, for example; the fellows who have contributed can't afford to write on hope or speculation as they could when they were younger. They have to have commissions."

"That's another thing, I said. When a band like this starts, where do the arrangements come from? You don't begin with old ones for something like this, do you?"

"No. The book had to be new — scored or re-scored just for this band. That was part of the idea. We began with twenty-seven things, from Al Cohn, Phil Sunkel, Johnny Mandel, Gerry, Bill Holman, me . . . We didn't want to borrow or trade with other bands, either, the way some groups do. Except Duke. Gerry asked Duke for some things, but he hasn't sent them yet.

Otherwise, we don't want things other people have played. Young Blood is rescored for us from the way Gerry did it for Kenton. A couple of things are re-scorings of arrangements from Gerry's Tentette album on Capitol. And Johnny Carisi rewrote Israel for us the way you heard it in the last set ... Look, Gerry doesn't need any refractor when he talks. Why don't you ask him?"

"Well, partly because, as I said, I know this band means a lot to you ..."

"To me, yes. But Mel Lewis left his wife and family behind in California, and the security of studio work, to come here and squeeze his way onto the bandstand at the Village Vanguard with us. And Nick Travis left a dependable job on the Jack Paar show, Buddy Clark originally came with Mel, Don Ferrara, and . . . but talk to Gerry. What he says goes."

"What was all of that stuff about there being only one soloist after you and Gerry, or whatever it was?"

"Well, you heard. We have at least seven soloists now — Gene Quill, Jim Reider, Don Ferrara, Nick Travis. We had Conte Candoli — Clark Terry replaced him — Willie Dennis — besides Gerry and me. Zoot Sims was with us for the Monterey festival. And we will have more. There are no duds in the band now, because all of us are enthusiastic, and we all know this is something we have to do. We believe in it. It is the chance we all still have to play jazz.

"We had a five-week lay-off last fall before we went back to the Vanguard In the middle of September. It was during that time that the changes in personnel were made and the enthusiasts joined.

"When we first opened the band at Basin Street East, last year, the band sounded bad in several ways. A lot of people put it down, or said it was loud, or other things. But some others were so glad to find a fresh attitude, a fresh big band sound, and musicians who were also fresh. Those people saw the possibilities in what we were trying to do and were patient; some of those people were musicians who wanted to join and help. Now we know. This band plays two kinds of sets: very good or very bad. Stay and listen. When you hear a good one, you will know what we know.

"I really was beginning to feel that jazz was passing me by. The newest things I have heard in person—I go to listen to Ornette or George Russell's group and I love them. But playing like that is not possible for me. I feel the way I think Buck Clayton may have felt around 1947.

"I put on a Joe Turner record and it gives me a starting point, but the newer things make me feel I am finished, and I'll have to wait out the rest of my life making soft-drink jingles for television. This band puts me in jazz, making jazz music I can love and respect.

"But talk to Gerry. He is the best spokesman for what we're trying to do."

"Are you doing any more writing for the band?"

"I haven't got the time while we are into it and working. I wish I did. Neither does Gerry. But we both did some writing during our winter layoff."

"By the way, this is some sort of precedent, isn't it? A big band with no piano — except for occasional piano things from you and Gerry."

"I suppose so. But you don't need it. What do you hear of a piano in a big band anyway?

"But I can't speak about policy. Gerry and I have even disagreed about a couple of little things. I'm just trying to help. Check all this with him before you print it, will you?"

When I went back into the Vanguard, I was sure I had the headwaiter thoroughly confused. Gerry, on the other hand, said it was all, alright with him.” (1961)

Thoughts on Jazz Trombone by Martin Williams with an Introduction by John Litweiler

© -Steven Cerra, copyright protected; all rights reserved.

"The slide trombone is a primitive-looking instrument which, next to a trumpet, seems like a cycle to an auto. If your arms are short, don't even attempt to play it, for while you hold it to your lips with your left hand, you must move the slide back and forth in front of you through seven positions with your right, meanwhile manipulating your embouchure within a large mouthpiece in order to achieve the instrument's usual two and a half octave range. It’s no wonder that the trumpet is so vastly preferred as a Jazz instrument., far apart from  its carrying power within a higher range, its streamlined size and valves permit easy mobility where acrobatic coordination is required of the trombonist. Thus it's traditional in big bands for the trombone section to be rather simpler than those of the other winds, and indeed, in early jazz, the trombonist's role was to chuff away at rhythmic and harmonic support for the more mobile instruments.

Yet until the advent of jazz, the deep communicative power of the trombone had not been realized: its big sound, rich textures, and classic expressive techniques were the most distinctive of early jazz sonorities. Soloists emerged in the '20s as the big bands grew in versatility and the New Orleans ensemble style began to disappear, and while the liberating influence of trumpeter Louis Armstrong was a major factor in evolving trombone styles (transmitted most influentially by the young New York big band soloist Jimmy Harrison, who died in 1931 the grand manner of early masters such as Kid Ory retained its attraction, too. Surely the Swing Era was the jazz trombone's time of glory, for a diverse group if individualists flourished while, for example, trumpet and tenor sax players seemed to depend on the resources of Louis Armstrong and Coleman Hawkins. There were the majestic arrogance of J.C. Higginbotham, the powerful and subtle mastery of Dicky Wells, the suave melodism and blues interpretations of Jack Teagarden, and the elegance of Lawrence Brown to provide standards of excellence; Tricky Sam Nanton, with the Ellington band, was another world of expression entirely; outstanding players such as Trummy Young and the eclectic Vic Dickenson proved important influences themselves.

The end of the trombone's greatest significance was forecast when Lester Young introduced a wholly new sensibility to Jazz, when small combos with their emphasis on treble clef horns gained important as sources of jazz innovation, and finally when the fresh winds of Charlie Parker and Dizzy Gillespie renewed the whole atmosphere of the music. Bebop was a music wherein small note values and the clarity of the melodic line, almost the exclusive source of aesthetic values, could not in the least be obscured. The Swing trombone's nobility of sound and dramatic capacities had no place in such a completely lyrical idiom, for if even a trumpeter as accomplished as Gillespie had to sacrifice sonoric richness in order to achieve mobility of execution, how much more did the player of the ungainly slide trombone abandon. A teen-aged Indianapolis J.J. Johnson [born 1924] listened to the graceful, ornate Fred Beckett, with the bands of Harlan Leonard and then Lionel Hampton, "the very first trombonist I ever heard play in a manner other than the usual sliding, slurring gutbucket style. He had tremendous facilities for linear improvisation." Johnson's sense of musical values is important, for he is the leading modern trombonist, almost the exclusive source of '50s and '60s style — yet he maintained that tenor saxist Lester Young and trumpeter Roy Eldridge were more important to his developing art than his trombone peers; later came the impact of Parker and Gillespie on his work.

What Johnson's playing particularly offered — with Parker, Gillespie, and the other major bop figures; with the two-trombone Jay and Kai (Winding) quintets and then his own small touring groups, before he abandoned playing for a Hollywood composing career in the '60s — was fast, highly active lines played with a vibratoless tone so light that it abandoned expressive capability. These qualities made Johnson the dominating figure on his instrument, as two generations of players based their art on his perceptions; without his ideas, the trombone may not have survived in the bop hothouse. "There was a time in my life in the mid-1940s, when my aim was to play as fast as physically possible," he told Ira Gitler in an important interview (Jazz Masters Of The Forties, Macmillan, 1966). "In Philly a ridiculous club owner had a sign outside which read, 'Fastest Trombone Alive.” Inevitably, Jazz and tempos became more civilized . . ." The Johnson style made virtuoso demands on the player's stamina, dexterity, and intellect — thus Johnson was aware of the pitfalls of bop intensity, despite his natural attraction to a Romantic musical outlook."

- John Litweiler insert notes to The Trombone Album [Savoy SV-0276]

From the vantage point of when this article was written in January, 1962, many of the trombonists that Martin Williams writes about were still active in the music.

My one quibble with the piece is that it doesn’t take into consideration some excellent trombonists that were resident on the West Coast during the same period. Players like Frank Rosolino, Carl Fontana and Lou Blackburn probably escaped Martin’s attention due to the fact that his geographical vantage point was the East Coast.

But as it stands, Martin’s essay is a wonderful retrospective of the history of the Jazz trombone and the important Jazz trombone stylists.

One would be hard-pressed to find a better survey, especially one that treats as many of the more obscure early pioneers on the instrument.

“It is usually said that J.J. Johnson was the first trombonist to develop a modern Jazz style on the instrument.

There is more to it than that. It might be more nearly accurate to say that Johnson developed an individual style, which he plays on a trombone. There is not very much about that style that is peculiar to the instrument he uses, not much about it that uses the particular resources of the trombone.

Jimmy Knepper, on the other hand, is the first trombonist in quite a while to find his style specifically in the possibilities of the instrument itself.

To say it another way, and exaggerate it a bit, you could play Johnson style on any horn, but you could play Knepper style only on trombone.

Cannonball Adderley spoke of the distinction and his opinion of it in a review of an LP featuring Knepper a couple of years atzo:

"Knepper is a very good trombonist. But J. J. has spoiled me with regard to a trombone sounding like a trombone. I mean that Knepper, though he's very good, is too tied to the instrument. J. J., on the other hand, is a good soloist who happens to use the trombone. Therefore, if you call Knepper an 'original' trombonist, you may be right. If you mean an 'original' soloist, in the same sense in which I'd use the term for J. J., that's something else.

"Similarly, I think Jimmy Cleveland is an original trombonist but not the original jazz soloist J. J. is. J. J. has a style, and it's the kind of style that allows men on other instruments beside the trombone to emulate it, and they wind up sounding in part like J. J.

"I'd say Knepper is like a modern Jack Teagarden. A man like Curtis Fuller emulates J. J. from a trombone point of view, and a player like Kai Winding was originally a J. J. emulator (not in content but from the viewpoint of the trombone). Knepper's influences, however, sound more traditional — Teagarden, Urbie Green. Even his sound sounds similar to Teagarden's in some spots."

Nowadays, then, jazz trombone has a dual role. It always has had, although the distinction that is now made between an almost abstract style, like Johnson's and a more "trombone-istic" style, like Knepper's, has not always been the distinction that applied.

It is obvious enough and well established enough that jazz first began at least partly as an instrumental imitation of vocal music.

It happens that the characteristics of the trombone are very close to those of the human voice, perhaps closer than those of any other instrument. Therefore, the temptation among early jazz trombonists to imitate human sounds must have been enormous. A surviving practitioner of the early style is, of course, Kid Ory. There are trombonists who probably play the "tailgate" New Orleans ensemble style with more technique than Ory uses (Georg Brunis does), but surely that are few who can play with more expressiveness. And even when Ory is playing the simplest parade smear, he is obviously a man singing on a trombone.

There were some marvelously guttural (and gutter-al) trombone comments recorded in the 1920s by a man named Ike Rodgers.

It has been said that Rodgers could play only two notes but that when he played the blues, they seemed to be the only two notes anybody ought to need. There are examples of Rodgers' work on an available LP, playing with blues pianists Roosevelt Sykes and Henry Brown and commenting on the woes of singers Edith Johnson and Alice Moore (Riverside 150). Rodgers had a trick of his own, of stuffing the end of his horn with window screening. He got a sound that words fail to describe—he still seemed to be talking away on his horn but with a different voice.

Charlie (Big) Green, who graces many an early Fletcher Henderson and Bessie Smith record, carried this vocal tradition further along.

But it reached another kind of development in the work of Duke Ellington's plunger man, Joe (Tricky Sam) Nanton. There are Nanton solos from the late 1930s and early '40s that are so uncannily like projections of the male human voice that they are nearly unbelievable.

Sidewalks of New York was a particularly striking example, because there Nanton was playing a well-known melody, and he seemed almost to be singing it wordlessly. It might be said with only slight exaggeration that Nanton had but one solo, which he put together in various ways. But Ellington used that solo, and the impact of its sound and emotion, so resourcefully and with such variety of settings that to this day there must be a capable Nanton imitator in the Ellington trombone section. He not only must play the old pieces, but he must re-create some of the old effects even on many of the new tunes.

Before Nanton, jazz trombone had already taken another step that gave it its first duality.

There were trombonists in the early 1920s who were playing the horn as a brass instrument, not just using its slide in limited and obvious ways and not using its resources only to re-create human sounds. The first such men to be celebrated in jazz history, were, of course, Jack Teagarden and Jimmy Harrison, and independently they worked out rather similar approaches. (Actually, Miff Mole did the same sort of thing concurrently, if not slightly before them, and Mole was a fine instrumentalist if not quite so good an improviser.)

Coleman Hawkins, who was in the Henderson band with both Big Green and Harrison has put the story this way:

"Jimmy, he was quite a trombone player. . . . I'll never forget it. You know I used to kid Jimmy a lot. I'll never forget the first time we ever heard Jack Teagarden. It was in Roseland. This other band played the first set. I'd heard about this Teagarden ... so I went up to hear him, you know. I went downstairs to get Jimmy and the fellows, to start kidding about it. So I said, 'Umm, man, there's a boy upstairs that's playing an awful lot of trombone.'

'Yeah, who's that, Hawk?'

I said, 'what do they call him . . . Jack Teagarden?'

I said, 'Jimmy, you know him?'

" 'No, I'm not gonna know him. I don't know anything about him. What's he play? Trombone player, ain't he? Plays like the rest of the trombones, don't he? I don't see no trombones. Trombone is a brass instrument. It should have that sound, just like a trumpet. I don't want to hear trombones that sound like trombones. I can't see it.'

"So I said, 'But, Jimmy, he doesn't sound like those trombones. He plays up high, and he sounds a whole lot like trumpets to me.'

"I'll never forget it. Jimmy and Jack got to be the tightest of friends."

So they did, and played together nightly. Sometimes they played all night long in Hawkins' apartment. They did it out of mutual respect, of course, but Hawkins adds slyly that they also did it because each was trying to find out what techniques and ideas the other had that he hadn't learned yet.

It has not been possible during the last few years to hear Harrison on currently available LPs, but Columbia's recent four-record set, The Fletcher Henderson Story (C4L 19; also available as a CD boxed set), presents a great deal of Harrison, and also of Big Green. It is also possible on that set to hear Harrison, J. C. Higginbotham, and Dickie Wells all taking solos on various versions of King Porter Stomp during the evolution of that important Henderson arrangement.

Teagarden remains a superb instrumentalist, and he can be a first-rate improviser. Bill Russo said of him in a recent tribute, "... it was not until a few years ago that I realized that Jack Teagarden is the best jazz trombonist. He has an unequaled mastery of his instrument, which is evident in the simple perfection of his performance, not in sensational displays; the content of his playing illustrates a deep understanding of compositional principles. ..."

A favorite, representative Teagarden solo is the variation he played on Pennies from Heaven during a Town Hall concert with Louis Armstrong (on RCA Victor 1443). It is a free invention within the harmonic framework of the piece that makes little reference to melody itself.

Once Harrison and Teagarden had shown the way, a number of trombonists followed. One of the best was Dickie Wells. Another was J. C. Higginbotham, whose style humorously carried both the vocal tradition and the trombone-instrumental tradition as one. One of Higginbotham's later heirs decidedly is Bill Harris.

Wells has been most highly praised by French critic Andre Hodeir as one of

those who need only "blow into their instruments to achieve something personal and move the listener. Dickie Wells gets this expressive quintessence out of the most thankless instrument of all. When played without majesty, the trombone easily becomes wishy-washy and unbearable. Dickie Wells is majesty personified, in style and particularly in tone."

Wells is also praised for his sense of balance and for the fact that he also knows how to use contrast within a solo. Among the solos Hodeir cites are those on Fletcher Henderson's 1933 version of King Porter Stomp and on Count Basie's Texas Shuffle (Brunswick 54012), Panassie Stomp (Decca 8049), Taxi War Dance (Epic LN 6031-2), and his accompaniments to Jimmy Rushing on Nobody Knows and Harvard Blues (Columbia 901).

And then there is Benny Morton. A compliment once was extended to Morton on the originality and compositional balance of his solos. It was a half-humorous remark: "I don't see why you throw them away by just playing them. You really ought to publish them, they are so lovely and complete." His modest reply was, "Well, I don't have an awful lot of flashy technique so I figured the best thing for me to do was to work on making melodies in my playing."

One of Morton's other contributions was inadvertent and came about because one of his solos happened to get orchestrated.

Even into the late '30s, the written parts and section effects for trombones, although sometimes highly effective, were likely to be rudimentary. In fact, the trombone style that still was used in many swing arrangements can be heard in scores from the mid-1920s by King Oliver's and Jelly Roll Morton's groups.

However, there is included in The Fletcher Henderson Story a remarkable pair of pieces, originally sold back to back on a 78-rpm single, called Hot and Anxious and Comin' and Goin'. Bits of those two orchestrations were lifted by swing arrangers to make "originals" (including In the Mood). The most notable "borrowing" was the Count Basie arrangement Swinging the Blues, which comes directly from these Henderson pieces, and during the course of which Morton's trombone solo on Comin' and Goin' is orchestrated for the entire Basie section.

So far no mention has been made of a singular trombonist in American popular music, Tommy Dorsey. There is hardly a man on the instrument who does not look up to Dorsey as a player, and Dickie Wells recently dedicated a piece to him with a tribute-title: Bones for the King.

On the other hand, it is quite possible to maintain that Dorsey was not a very good jazzman, perhaps not a jazzman at all, although he was in several respects a dedicated musician, and there was never anything phony or patronizing about his use of jazz or of jazz musicians. About Dorsey as a jazzman, one remembers the story of the Metronome all-star date on which both he and Teagarden appeared. Dorsey would not agree to solo with an improviser like Teagarden in the studio, but he did agree to ad lib an accompaniment, using his lovely sound, when Teagarden played The Blues. The result is now available on Camden 426.

Another trombonist who was celebrated in the late '30s and early '40s among musicians was Jack Jenney, who had a lovely tone and ballad style and some fine variations on Stardust. He recorded them with his own band in 1939, and repeated them with Artie Shaw in 1940 (the latter reissued on Victor LPM 1244).

As was indicated, J. J. Johnson gave the trombone an almost abstract style that depended neither on the fact that a trombone can be made quite readily to imitate the human voice nor on the specific resources of the instrument.

As Johnson himself has indicated, he was inspired by one predecessor in this, Fred Beckett.

The more vocal style of trombone continues in J. C. Higginbotham, in the Ellington trombone section, in Al Grey's plunger style, in Bill Harris, and in Bob Brookmeyer, who punctuates his fluent improvising with allusions to the sighs, laughs, grunts, and other yeahl-sayings of the vocal-trombone tradition.

Brookmeyer has spoken with deep respect of Vic Dickenson. To Brookmeyer, Dickenson's horn has gone beyond being an instrument and is an extension of himself, not only of his voice but also of his whole being, so that it is hard to know which is Dickenson and which is trombone. And Dickenson also combines the instrumental tradition and the vocal tradition in a very personal way.

The trombone-instrumental style— or as it may somewhat awkwardly be called, the trombone-istic style—that reappeared in Urbie Green's and Jimmy Knepper's work may find its following again.

This discussion has not been an exhaustive treatment of the history of jazz trombone, or of all its major players in any sense, but it was intended to indicate that there long have been at least two jazz trombone traditions and that now there are three. A young player whose ears are really open to the past has a varied tradition to draw on.”

Source:

Down Beat Magazine

January 8, 1962