David "Fathead" Newman: Tough, Texas Tenor

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

“It's always been a mystery to me why Da­vid "Fathead" Newman isn't one of the most popular instrumentalists of the second half of the twentieth century.

He's got the intellectual chops to play be-bop, ballads or blues with a backbeat and with feeling, creativity and authority. He's got more taste than most living musicians; his sparse obbligatos behind Ray Charles on the magnificent live version of "Drown In My Own Tears" should be required listening for anyone licensed to carry a horn.

When he plays a note with the unique Texas tenor tone, every cell in my body comes alive.

That Texas tenor sound is a phenomenon in itself. David, Don Wilkerson, Booker Ervin, James Clay, King Curtis and Wilton Felder were some of its major exponents to emerge in the fifties. As different as their styles were, they shared a rich, hard, vibrato-less sound and a clear, deliberate articulation.

The sound is strong, sure and prideful, but with an underlying vulnerability. It's pas­sionate. … Cannonball Adderley described it as ‘a moan inside the tone.’ …”

- Michael Cuscuna, 1997

“When I was coming up in Dallas, all the older guys, especially the saxophone players, had a big, wide-open sound.”

- David “Fathead” Newman

“The Texas tenor sound and concept is very much unlike, and in advance of, the Coleman Hawkins of 1929 and beyond. It is a more fluent, more melodic and blues tinged approach, perhaps more elegant, too.”

- Günter Schuller

During an interview with him, I once asked Orrin Keepnews, who for many years was the proprietor and co-owner of Riverside Records, why he labeled the album he co-produced with Cannonball Adderley for David “Fathead” Newman and James Clay, The Sound of the Wide Open Spaces [Riverside RLP 1178; OJCCD-257]?

“Because,” he said, “ like Arnett Cobb, Illinois Jacquet, Bud Johnson, Buddy Tate, and a bunch of others, David and James seem to have the same compelling Texas moan in their tone.”

Even now, after all these years, when I listen to the music of tenor saxophonist David “Fathead” Newman, it always calls to mind Orrin’s phrase – “a compelling Texas moan.”

In his notes to David’s recording entitled Resurgence, which along with Still Hard Times has been reissued on CD as David “Fathead” Newman: Lone Star Legend [Savoy Jazz SVY 17249], Michael Cuscuna offered these insight on the Texas tenor sound, David Fathead Newman’s relationship to it and the salient features of David’s career up to when these recordings took place for Muse in 1980 and 1982, respectively.

© -  Michael Cuscuna, copyright protected; all rights reserved.

The legend and aura surrounding Texas saxophonists is clearly based in fact. Whether from Houston in the south or Dallas-Fort Worth in Central Texas, that state has spawned an array of impressive artists for generations, all toting a hard veneer and a soul that can em­brace the world. Only listening can reveal the bond that links Herschel Evans, Arnett Cobb, Illinois Jacquet, Booker Ervin, Wilton Felder et al.

A geographically genetic genre. An oral tradition and a testament to environment.

Consider the dramatic differences between David Newman, James Clay, King Curtis, and Ornette Coleman, all within a couple of years of the same age, all in Dallas-Fort Worth revolving around the band of the legendary saxophonist Red Connor in their teens.

Dig beyond their obvious stylistic differences, and you will hear the same voice, the same cry, the same bending of the note, the same powerful, but vulnerable sound.

On one end of the spectrum in the forties was Ornette Coleman, the oldest of the bunch. Red Connor would often scold or fire him for memorizing and perfectly executing Charlie Parker solos, an exercise that Connor felt to be uncreative. On the other hand was King Curtis (Ousley), mastering and crystallizing the rich blues and R & B tradition, but snubbed by Connor and the Beboppers of the day. History would vindicate men as their visions focused and their contributions became irrefutable. Fusing both extremes and all the riches that lie in between were men like David Newman, a master who has yet to receive his due.

Still in his teens, David built a strong repu­tation around Dallas before going on the road with Lowell Fulsom and T-Bone Walker, a road that rarely led far beyond the borders of Texas. He was playing alto and baritone saxophones at the time. He and Ray Charles had crossed paths on several occasions in the early fifties. When Charles put together a permanent working band in 1954 with the effective instrumentation of two trumpets, two saxophones and rhythm, he recruited Texas tenorman Don Wilkerson and David Newman, playing primarily baritone, but occasionally doubling on alto. A year later, Wilkerson left. David was offered the tenor saxophone chair. Of course, he accepted the new position and the new instrument. And the rest, as they say, was hysteria.

David's solos, obligate fills and ensemble voice were stunning testaments to the art of R & B. His understated, soulful creations matched the essence of Ray Charles perfectly. Charles recorded a couple of instrumental al­bums that featured Newman's talents. The band's repertoire was beginning to include pieces by James Moody, Horace Silver, Max Roach and Milt Jackson.

By 1958, Memphis-born Benny Crawford, primarily a pianist and alto saxophonist, se­cured the baritone saxophone chair with the Charles band, bringing into it his own ideas and sound. A few months later, Detroiter Marcus Belgrave would assume one of the trumpet chairs. In July, the Ray Charles band would perform (and record) at the Newport Jazz Festival. In November, at Ray's instigation, Atlantic would record the first album by David Newman with the Charles band of the time mi­nus the second trumpet. And that meant David on alto and tenor, Crawford on baritone (and contributing three tunes), Belgrave on trumpet, Ray Charles himself on piano, Edgar Willis on bass and Milt Turner on drums.

In 1959, Charles added Leroy Cooper on baritone sax, freeing Crawford to return to alto saxophone. In the process, he changed his first name to Hank and affirmed his own startling identity. He too began recording for Atlantic, maintaining the essence and style of that orig­inal Ray Charles instrumentation throughout his ten year stint with that record company. On the first three albums (1960-62), he used the band minus Charles intact. And that meant more opportunities to hear David.

But for David Newman, any outside activity after his first album seemed to be an oppor­tunity to break away from the Charles mold. In 1960, he recorded a straight-ahead date for Riverside with James Clay and his second Atlantic album. Although Marcus Belgrave con­tributed a tune, the setting was strictly quartet with Wynton Kelly, Paul Chambers and Charlie Persip, a clear statement of hard-core jazz. His third album schizophrenically offered a hard bop quintet with Belgrave on trumpet and a funky, blusier quartet with Crawford at the pi­ano and Ray Charles' bassist and drummer.

In 1964, David left Ray Charles' orga­nization, which had been since 1960 a full-fledged and less personal big band. He gigged locally around Dallas and turned his attentions to his family in its crucial years. By 1967, he began commuting to New York. By this time, he was playing soprano sax, as well as alto, tenor and flute. He re-established his ties with Cedar Walton, who was his pianist on local Dallas gigs when they were both still in their teens. He also re-established his relationship with Atlantic Records.

In March, he made his first album in five years, using a Texas guitarist who had recently migrated to New York. His name was Ted Dunbar, and that was his first recording session. The tune that drew attention to the album was one that Walton had just given to him, when they were working out on a friend's piano. It was "To The Holy Land[Recorded on the 1967 House of David Atlantic LP 1489]." A month later, New­man and Walton would appear together on a Lee Morgan session for Blue Note, recently released as "Sonic Boom."

Throughout the late sixties, David continued to record a succession of albums under his own name and appear on dates led by organist Don Patterson, Lonnie Smith, Shirley Scott and Charles Kynard. After rejoining Ray Charles briefly in 1970, he became a member of Herbie Mann's Family of Mann, a vehicle that allowed his tenor saxophone and flute work to shine and allowed him to contribute to the band's book of compositions as well. It was this band that first recorded "Davey Blue."

Although he left Mann in 1974, David continued to record albums of his own for Atlantic (and its sister label Warner Bros.) until 1977. He did studio work for the likes of Aretha Franklin, Cornell Dupree, Nikki Giovani, T-Bone Walker and Ben Sidran and made oc­casional live appearances. But David's em­phasis shifted back to Dallas during the late seventies except for three heavily arranged albums for Prestige that were misguided in the sense that they obscured the identity of the man whose name appeared on the record cover.

In the summer of 1980, David arrived in New York and transcended his shyness, call­ing all his old friends in town to announce his presence and his availability. We all responded with delight, and many things grew out of it. Among them is this record date, his first pure effort in years. The cast featured old associates, including Hank Crawford who came to the ses­sion with "Carnegie Blues" freshly written and tucked under his arm.

There could not have been a more appropriate date to record this album than September 23, the birthdate shared by Ray Charles and John Coltrane. Welcome back to New York, “Fathead.”

It had been my plan to use the 1967 version of To The Holy Land from The House of David Atlantic LP as the audio track on the following video tribute to David “Fathead” Newman, but WMG had other ideas and muted the audio when the video was uploaded to YouTube.

So instead we turned to the 1980 version of the tune Michael references in his notes to the Resurgence LP with David on tenor sax, along with Marcus Belgrave on trumpet, Ted Dunbar on guitar, Cedar Walton on piano, Buster Williams on bass and Louis Hayes on drums.

And if you are in the mood for contrasts, with the help of the crackerjack graphics team at CerraJazz LTD, I also developed another video that shows actual images of The Holy Land, in this case, Jerusalem, with a big band version of Cedar’s tune for the sound track as provided by the Jazz Orchestra of the Concertgebouw. Peter Beets does the solo honors on piano.

Harry Allen: A Throwback

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

"Stan Getz was once asked his idea of the perfect tenor saxophone soloist. His answer was, 'My technique, Al Cohn's ideas, and Zoot's time.”

- Gene Lees

Harry Allen may well be the fulfillment of Getz’s recipe for making the perfect tenor saxophone soloist. His style of playing certainly recaptures the essence of the ultra cool sound and the easy, lyrical phrasing of Stan, Al and Zoot.

For as Richard Morton and Brian Cook state in their Penguin Guide to Jazz on CD 6^th Ed.:

“Allen has been acclaimed by an audience waiting for the Four Brothers to come back, if not the big bands. His full-blooded tenor sound offers countless tugs of the forelock to Zoot, Lester, Hawkins and whichever other standard-issue swing tenor one can think of; and it's hardly surprising that these enjoyable records have been given the kind of approbation that was heaped on the early Scott Hamilton albums. Allen plays nothing but standards, delivers them with a confidence and luxuriance that belie his then twenty-something age, and generally acts as if Coltrane and Coleman had never appeared at all.”

The editors go on the describe Allen’s “steamrollering sense of swing and his sewing of phrases and licks together with the kind of assurance once associated with Zoot Sims.”

Harry Allen can play and he comes to play.

He’s a throwback to a time when tenor saxophonists “plugged in” a rhythm section, planted their feet and “stretched out” into solos that were marked by fleet intensity, a warm, breathy sound and boppish licks.

Harry’s approach to the tenor saxophone finds the melodious aspects of the instrument and brings them to the forefront: no upper register squeaking; no running of seemingly mindless chromatic scales up and down the horn; no lengthy extrapolations that cause the listener to “head for the door” or to “turn that damn noise off.”

Harry’s music makes you stop and listen; it makes you feel good; it makes you smile. Here is the wonder and beauty of music the way The Muses, who created it, meant it to be played.

As is the case with many, younger musicians these days, Harry has his own website on which you can locate lots of information about his background, schedule of performances and a discography.

And here’s a link to a feature about Harry that Stephen Fratallone posted to his Jazz Connection Magazine in September 2005 entitled Just Wild About Harry: Harry  Allen brings His Swinging Mainstream Tenor Back to Jazz’s Forefront that’s just loader with good stuff about Harry.

Given his affinity for the style of playing made famous by the late tenor saxophonists Zoot Sims and Al Cohn, fittingly, these days, Harry can often be found in the company of guitar Joe Cohn, Al’s son. The two have formed a quartet that frequently records and appears at Jazz festivals and clubs both at home and abroad.

One of our favorite recordings by Harry and Joe in accompaniment is Eu Não Quero Dançar – I Won’t Dance [RCA Victor 74321 58126-2] about which Richard Cook and Brian Morton commented:

“For a change of pace, Allen did a sort of bossa nova album in I Won't Dance- sort of, because he swings it a lot harder than Getz chose to. Instead of the melodies billowing off balmy breezes, there's the odd tropical storm along the way, and it's an agreeable variation on what might have been expected.”

I have selected No More Blues [Chega de Saudade] from this CD as the audio track to the following video tribute to Harry. Checkout the simultaneous soloing by Harry and Joe that begins at 2:55 minutes. Beautifully done and not easy to do without tripping over one another’s solos.

Clare Fischer 1928-2012: A Tribute

A performance by Clare's Big Band of his original composition Miles Behind. The solos are by Warne Marsh on tenor saxophone and Conte Candoli on trumpet. Larry Bunker is on drums.

Milton Hinton and Jazz History: Parallel Courses

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

Born in Vicksburg, Mississippi in 1910 and relocated to Chicago by his family at the close of World War I in 1918, it seems that bassist Milt Hinton had been around Jazz since its beginnings.

But like Osie Johnson, his drumming counterpart on numerous recordings sessions over the years, I found it difficult to locate much information about Milt despite the fact that the Lord Discography lists him on 1,205 recording sessions!

So when my copy of Down Beat: The Great Jazz Interviews a 75^th Anniversary Anthology arrived from Santa Claus this year, I was thrilled to discover that it contained Larry Birnbaum’s detailed essay about Milt entitled Milt Hinton: The Judge Holds Court, January 25, 1979.

Here are some excerpts that primarily focus on Milt’s nearly 16 year association with the Cab Calloway Orchestra.

I think you’ll find it to be a wonderful reminiscence of what the world of Jazz and the United States were like for a working musician from approximately 1935-1950.

© -  Larry Birnbaum/ Down Beat, copyright protected; all rights reserved.

"Bass means bottom. It means foundation, and bass players realize that their first job j is to support the musicians and the ensem­ble. Bass players know more about sharing ffld appreciating one another than any other musicians. In all my years I have never heard a bass player put another bass player down; they have great love for each other and they learn from one another and they share experiences and even jobs. It's why the art of bass playing has made more progress in the last 40 years than the art of any other instrument."

Milt Hinton should know. At 68 [Milt died on December 19, 2000 at the age of 90], the dean of American bassists stands at the summit of a half-century career that has taken him from the speakeasies of Chicago to the pinnacle of the big-band era with Cab Calloway to the jam sessions at Minton's in the early days of bop. …

"But to get back, in '35 Cab went to California to do a movie with Al Jolson called The Singing Kid. His bass player, Al Morgan, was a fantastic visual player. He was really my idol; I used to watch him just to see how a great bass player acted, and that's what I figured I would be like when I grew up—of course I'm nothing like that at all. When they made this movie, the cameras would be grinding away and every time Cab looked around, instead of the camera being on him it would be on Al Morgan, because he was a tall, black, handsome guy and he smiled and twirled his bass as he played. This got under Cab's skin because it was a little too competitive for him. But nothing happened about it until one of the producers said to Al Mor­gan, 'Look, you're so very photogenic that if you were going to be around here, every time we made a picture with a band scene in it you would get the job.' So this guy quit Cab in California and joined Les Kite's band with Lionel Hampton and all those guys who were established in Hollywood, and he stayed there.

"Cab started back east without a bass player, and my friend Johnson told Cab that if he was going through Chicago he should stop at the Three Deuces and dig Milt Hinton. By this time Simpson's band had broke up and the owner had opened a Three Deuces at State and Lake. Zutty Sin­gleton was the bandleader and Art Tatum was the relief piano player there. When Art played, it was my responsibility to stand by and come in for his finale. He played solo piano, but for his last tune, which would be something up-tempo, I was supposed to join him and take it out and then come on with Zutty's band. Of course, Art Tatum was so fabulous that I don't think I ever caught up to him; his changes were too fast for me and he left me standing at the post. But it was such a joy to see him, and he was a very nice person. He could see slightly if you put a very bright light behind his eye, so during intermissions we played pinochle together.

"Zutty had the band, mostly New Orleans guys. It was Zutty playing drums, Lee Collins, a great trumpet player whose wife recently put out a book about him; there was a kid from New Jersey, Cozy Cole's brother, who played piano, and Everett Barksdale was the guitar player. We worked for months at the Three Deuces and my acceptance as a musician was established, because Chicago was a New Orleans town—all the jazz was New Orleans jazz—and Zutty Singleton was the drummer. There was Baby Dodds and Tubby Hall, but Zutty was really the guy. He had been with the Louis Armstrong Hot Five, with Earl Hines and Lil and Pre­ston Jackson, who is now living in New Orleans. Zutty finally decided to take me into his rhythm section. Now I was with the king and now I was established as a top bass player in Chicago.

"And now Cab comes down and he listens to me play. He never said a word tc me, he just sat there—I saw him in the room—and a guy said, 'Cab is in.' He came in with a big coonskin coat and a derby and, man, he was sharp, people were like applauding. He sat at a table and listened to us play, and on the intermission he invit­ed Zutty over to the table to have a drink with him—not me, but Zutty. He said, 'Hey, I'd like that bass player, I heard he's pretty good.' Zutty was most beautiful and kind to me and he was only too happy to have me make some progress, and he said, 'You can have him,' in that long drawl, New Orleans accent he had. So Cab said, 'Well, thanks man, and if you ever get to New York and there's anything I can ever do for you, you just let me know,' and they shook hands. Then Zutty came upstairs— I'm playing pinochle with Art Tatum—and said, 'Well, kid, you're gone.' 'Where am I going, Zutty?' 'Cab just asked me for you and I told him he could have you.' I said, 'Don't I have to give you some kind of a two-week notice or something?' and Zutty said, 'If you don't get your black ass out of here this evening, I'll shoot you.'

"Cab finally comes up and sings a song with us, he hi-de-ho's and breaks up the house—and as he's leaving he says to me, 'Kid, the train leaves from LaSalle Street Station at 9 o'clock in the morning. Be on it.' That's all he said to me, no dis­cussion of salary or anything. I dashed to the phone, called my mom, and told her to pack that other suit I had and my extra shirt. I got my stuff—of course, there was no time to sleep—and I met the band at the station. It was quite an experience, because I had never been on a train except coming from Mississippi to Chicago, and you know I didn't come on a Pullman or any first-class train—we were right next to the engine. I'd never seen a Pullman in my life, and here all of these big-time musicians were on this train, on their own Pullman.

"There were these fabulous musicians: Doc Cheatham, the trumpet player; Mouse Randolph, another trumpet player; Foots Thomas, the straw boss, the assistant leader of the band, a saxophone player; Andy Brown, a saxophone player; and the drummer, Leroy Maxey. These guys had been working in the Cotton Club in New York and they were really professional: Lammar Wright was another great trum­pet player in the band; Claude Jones, a great friend of Tommy Dorsey's, was the trombone player; and there was my old friend Keg Johnson who had recommend­ed me.

"I must have looked pretty bad. I had the seedy suit on, a little green gabardine jacket with vents in the sleeves—we called them bi-swings in those days. Keg was introducing me around, and the great Ben Webster was in the band. He and Cab had been out drinking that night and they missed the train at LaSalle Street, but you could catch the train at the 63rd Street sta­tion. They were out on the South Side balling away with some chicks and they didn't have time to come downtown. So they picked up the train at 63rd Street and got on just terribly drunk. I was sitting there and Keg was trying to introduce me to the guys, and Ben Webster walks in ter­ribly stoned and he looked at me—I must have weighed 115 pounds soaking wet— and said, 'What is this?' and Cab said, 'This is the new bass player,' and Ben said, 'The new what!?' I remember thinking I would never like Ben, and he turned out to be one of my dearest friends.

"I hadn't asked anybody about the price, but I was making $35 a week with Zutty at the Three Deuces and that was one of the best jobs in town. Fletcher Hen­derson was at the Grand Terrace at that time with Roy Eldridge, Coleman Hawkins and Chu Berry and they were making 35 bucks a week. I didn't know how to approach anybody about money with Cab, so finally I told Keg that Cab hadn't said anything to me about money. Keg [Johnson, a trombonist] said, 'Oh, everybody here makes $100 a week.' Well, I almost fainted—$100 I had never heard of; it was a fantastic amount of money. This is before Social Security—they only took out $1 for union dues and you got $99, and $99 in those days was like $9,000 today. Honestly, you could get a good room for $7 a week; you could get a fantastic meal for 50 cents and cigarettes for 10 to 15 cents a pack; bread was 5 cents a loaf; so you can imagine what the thing was like.

"Cab told me after we started making one-night stands that he was only hiring me until he got to New York and got a good bass player. I was quite happy even to do that for 100 bucks a week. We made one-nighters for three months before we hit New York, all through Iowa—Des Moines, Sioux City, everyplace, and I got a chance to really get set and all the guys liked me.

"Well, Al Morgan was not a reading man. He had been in the band so long he had memorized the book, so there was no bass book. And here I was quite academ­ic—I'd studied violin and I'd studied bass legitimately with a bass player from the Chicago Civic Opera and I never had a problem with reading—I was playing Mendelssohn's Concerto in E-minor so there was no problem. I said, 'Where's the music?' and there was no music, so Benny Payne, the piano player, said, 'You just cock your ear and listen, and I'll call off the changes to you.'

"Benny was most kind and we've had many laughs about this later; I'm about S'7" and Al Morgan was a tall man, he must have been 6'3". There was no time to get new uniforms so I had to wear his clothes, and when I put on his coat I was just drowning in it. His arms were much longer than mine so that you couldn't see my hands because they didn't come out through the sleeves. The guys said I looked like Ichabod Crane or somebody—I'm playing bass through the coat-sleeves and they were laughing.

"I had never really played with a big band of that caliber, and when they hit it that first night it almost frightened me to death. The black guys in those days used to wear their hair in a pompadour—it was long in front and we would plaster it down with grease and comb it back and it would stay down. Of course, when it got hot that grease melted and our hair would stand straight up. I had this big coat on and I got to playing and the grease ran all out of my hair and my hair was standing up all over my head and Benny Payne is calling out these chords to me—'B-flat! C! F!' The guys in the band told me later that they were just rolling with laughter, they could hardly contain themselves, because I was really playing good but I looked so ungod­ly funny.

"Finally Cab saw that the guys liked me and we were having so much fun that he said, 'We'll give him a blood test.' There was a special tune that Al Morgan did, featuring a bass solo, called 'The Reefer Man.' Cab said, 'OK—"The Reefer Man,'" and my eyes got big as saucers because I didn't know anything about this new music. I said, 'How does it go?' Benny Payne said, 'You start it,' and I said, 'What!?' He said, 'We'll give you the tempo but it just starts with the bass—just get into the key of F.'

I tell you, I started playing F, I chromaticized F, I squared F, I cubed F, I played F every conceivable way, and they just let me go on for five or 10 minutes, alone, playing this bass, slapping the bass, and doing all this on this F chord. Finally Cab brought the band in with a 'two... three... four' and they played the arrangement. Benny's calling off the chords to me, and after three or four min­utes the whole band lays out and Benny says, 'Now you've got it alone again,' and here I go back into this F. I must have played five or 10 minutes, and Benny comes over and says, 'Now you just act like you've fainted and just fall right back and I'll catch you,' and I did it and it was quite a sensation as far as the public was concerned, and the musicians were just out of their skulls they were laughing so.

"By the time we got to New York, Ben Webster liked me and Claude Jones liked me and the guys all said, 'This guy's going to make it,' so I was in. I stayed with the band 16 years, until 1951.”

Down Beat: The Great Jazz Interviews a 75th Anniversary Anthology

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

I always keep a copy of William Zinsser’s On Writing Well by the computer when I’m writing.

You never know, one day I might – write something well [“Hope springs eternal?”].

In his chapter entitled Writing About People – The Interview, Mr. Zinsser urges prospective writers to:

“Get people talking. Learn to ask questions that will elicit answers about what is most interesting or vivid in their lives. Nothing so animates writing as someone telling what he thinks or what he does—in his own words.

His own words will always be better than your words, even if you are the most elegant stylist in the land. They carry the inflection of his speaking voice and the idiosyncrasies of how he puts a sentence together. They contain the regionalisms of his conversation and the lingo of his trade. They convey his enthusi­asms. This is a person talking to the reader directly, not through the filter of a writer. As soon as a writer steps in, everyone else's experience becomes secondhand.

Therefore learn how to conduct an interview. Whatever form of nonfiction you write, it will come alive in proportion to the number of ‘quotes’ you can weave into it as you go along.”

It seems that Frank Alkyer and Ed Enright have taken Mr. Zinsser advice to heart, for in searching for a format to celebrate the 75^th anniversary of Down Beat, they have chosen to edit a collection of interviews that were published in the magazine from 1934 – 2009.

The interviews are grouped according to decades and represent, the editors words, “… 124 of the best interviews or artist-written articles that this magazine has ever produced.”

In the book’s Preface, editors Alkyer and Enright go on to say:

“The history of Down Beat is the history of the last 75 years, just told through the lens of jazz and blues musicians as well as the journalists who cover them. Race relations, sexual equality, unionism, wars, recessions, birth, life, death, the tri­umph of the will, the battle of the soul: it spills across the pages of Down Beat.

But the aspect of this dense history that holds up best, that truly endures, is the voice of the artist. The editors of Down Beat get a lot of opportunities to go back and look through the archives for research. It's one of the great privileges of working for the magazine, and one of the real occupational hazards. Plan for an hour of research, then lose the better part of the day reading through all of those terrific pages from bygone eras.”

Whenever I have an opportunity to go into the archives, the items that really draw my attention are the articles writ­ten by musicians, or those heavily spiced with quotes from musicians. The music criticism in Down Beat is fantastic, sec­ond to none, an essential guide to music that is being made. Record and concert reviews provide a glimpse into how a piece of music is received at the time it's presented. The critics may not always be right, but they do give you a sense of how that work fit into the critic's personal tastes as well as into the realm of other music being created at that time.

But the opportunity to read about Ellington, Armstrong, Miles, Bird, Dizzy, Coltrane, Brubeck, Eldridge, Lester Young, Ella, Lady Day—all the greats—to hear them talk about their lives and their careers—in their voices— that's what paints a lasting picture, and delivers a glimpse inside the artist's world. That's the essence of Down Beat. …”

So not only does this 340 compilation contain interviews with musicians, but it also has a bevy of articles in which musicians in essence “interview” themselves by writing about their music.

In order to provide you with a sampling of what’s on offer in this terrific book, here are excerpts drawn from interviews and guest artist essays for each of Down Beat’s almost eight decades of publication.

© -  Down Beat Magazine, copyright protected; all rights reserved.

The 1930s – “Duke Ellington: A Black Genius in a White Man’s World” – Carl Cons

“Duke is  highly  imaginative   and extremely sensitive to close and weirdly beautiful harmonies. He has a mirror type of mind that catches all the brilliant, col­orful and vivid images of living and reflects them in tonal pictures.  He is reflective rather than interpretive in that he is interested principally in reproducing all of his experiences rather than account­ing for them. He is a tone painter who tries to catch all the warmth and color of a set­ting sun on his canvas keyboard, translat­ing sight into sound, and using chords as his pigments.

Many critics read a great deal of their own personalities into Duke's music when they start interpreting it for us—and usually miss the central idea. This is regrettable, but a simple mistake that would not be made over and over again if they under­stood one fundamental characteristic of the Duke. He is a narrator, and a describer. "Lightnin"' is the description of a train journey with all the excitement and variety of scenes and sounds. "Mood Indigo" is an innocent little girl longing—soliloquizing. "Toodleo," the picture of an old Negro man broken down with hard work in the field coming up a road at sunset, his broken walk in rhythm.” [p.5]

The 1940s – “Lester Young: Pres Talks About Himself, Copycats” – Pat Harris

"The trouble with most musicians today is that they are copycats. Of course, you have to start playing like someone else. You have a model, or a teacher, and you learn all that he can show you. But then you start playing for yourself. Show them that you're an individual. And I can count those who are doing that today on the fingers of one hand."

It was the Pres talking. Lester Young, a pioneer of the "new" jazz, whose friends find themselves in the peculiar position of trying to persuade him to tolerate the majority of musicians who can't meet his standards, and, on the other hand, getting others to try and understand the Pres.

"Lester Young has been so misunder­stood, underestimated, and generally shoved around," one of them said, "that he almost was pushed out of the field of top active jazz musicians." The tendency is to relegate him to the position of a historical "influence."

The 1950s – “Lennie Tristano – Multi-Taping Isn’t Phony” – Nat Hentoff

"If I do a multiple-tape," Lennie said slowly with determination, "I don't feel I'm a phony thereby Take the 'Turkish Mambo.' There is no way I could do it so that I could get the rhythms to go together the way I feel them. And as for playing on top of a tape of a rhythm section, that is only second-best admittedly. I'd rather do it 'live,' but this was the best substitute for what I wanted.

"If people want to think I speeded up the piano on 'East Thirty-Second' and 'Line Up,' I don't care. What I care about is that the result sounded good to me. I can't otherwise get that kind of balance on my piano because the section of the piano I was playing on is too similar to the bass sound. That's especially so on the piano I use because it's a big piano and the bass sound is very heavy. But, again, my point is that it's the music that matters."

One of the objections voiced to these particular tracks was that whatever Lennie did to the tape made his playing very fast. "It's really not that fast, though," Lennie said. There are lots of recordings out there that are much faster. … The tempo, in most Jazz joints, in fact, is faster than on the record. And the record was a little above A-flat. That may account for a little of the speed, too.”

The 1960s – “The Resurgence of Stan Getz” – Leonard Feather

“Bill Coss, reviewing his Village Van­guard re-debut in the June 8, 1961, Down-Beat, synthesized the problems that Getz had to face: "There were in attendance the haters, musical and otherwise, who came to find out whether the young white man, who had long ago lengthened the legendary and unorthodox Lester Young line into something of his own, could stand up against what is, in current jazz, at least a revolution from it (or a revulsion about it)."

While asserting that in his own view Getz could and did and seemed as if he always would measure up, Coss added that "the still broad-shouldered, blue-eyed, bland-faced young man met musicians backstage, and they tried him with words and with Indian-hold handshakes of ques­tionable peace and unquestionable war. The young man out front was his arrogant best, holding his audiences with strong quotations from his past and much stronger assertions of his version of the newest (but much older) sound!"

Clearly implied were the facts of jazz life that had come into focus during Getz's absence: the cool sound and the cool atti­tude had given way, during those two or three years, to a concern for heavy, aggres­sive statement, to an atmosphere of racial hostility without precedent in jazz, to an accent on musical anger and disregard for fundamentals—characteristics that were not to be found in the light lyricism of a Stan Getz solo.”

The 1970s – “Cannonball The Communicator” – Chris Albertson

“Critic John S. Wilson summed it up in a 1961 issue of Down Beat :

‘Cannonball’s [Julian “Cannonball” Adderley] unique ability to talk with an audience with intelligence, civility and wit does a great deal toward establishing a warm, receptive atmosphere for his group.’

The new Adderley Quintet was born on the Riverside label, whose driving force was the late Bill Grauer, an enterprising man who greeted the sounds of King Oliver’s Creole Jazz Band and a new Quincy Jones Orchestra with equal, boyish enthu­siasm. In Cannonball's music, Grauer saw earthy elements that were missing in the so-called cool jazz and the free-form music that Ornette Coleman was pioneering— Cannonball's music had soul.

Just how the term "soul jazz" came about is uncertain. Cannonball believes it was coined by Grauer, and it might well have been. Certainly, Grauer did a great deal to promote the use of the term, to the point where its application became so widespread that it lost any meaning it might have had.

Today the term "soul" has a different connotation, having become a synonym for "black." Today's soul music is that per­formed by the Temptations, James Brown or Gladys Knight and the Pips. "Let's say that soul has developed the way it should have, according to Bill Grauer's concept and the way I thought it was going to be," says Cannonball. "It has developed along the lines of the old things, utilizing elements of contemporary beats and stuff like that... now the blues, the same old blues that we loved 25 or 30 years ago. It's a big thing and it's called 'soul' music instead of the blues... B.B. King is a lion after so many years of being just B.B. King, and I think it's beautiful."

The 1980s – “Maynard Ferguson: Rocky Road to Fame and Fortune” – Lee  Underwood

“Ferguson: I always have that fun thing with composers and arrangers. I say, ' Are you sure what my thing is?' As soon as they say, 'Yeah, I know what your thing is,' I say, 'Great. Now do something different.' That is, something which is me, but which I don't impose on other people.

Basie, for example, has sounded the same for many years, and yet I can still sit in front of that band and thrill to it. The same thing with Ellington, even with his great creativity. The same thing with the Beatles. I refer only to their validity. I have no interest in talking about the things that don't enhance me. Their music is their right, their privilege, their art. …

Ferguson: I love the independence of if I never have another hit single, we're still gonna burn it out every night and we know we'll have good albums. I enjoy doing my own thing and being contempo­rary, and doing it honestly. I really enjoy playing "Rocky," and if you listen to it, you'll see that, in person, my solos are not the same, and the drummer doesn't play it the same way.”

The 1990s – “Joe Henderson: The Sound That Launched 1,000 Horns” – Michael Bourne

“He's not Pres-like [Lester Young] or Bird-like [Charlie Parker], not 'Trane-ish [John Coltrane] or Newk-ish [Sonny Rollins]. None of the stylistic adjec­tives so convenient for critics work for tenor saxist Joe Henderson. It's evident he's listened to the greats: to Lester Young, Charlie Parker, John Coltrane, Sonny Rollins—to them and all the others he's enjoyed. But he doesn't play like them, doesn't sound like them. Joe Henderson is a master, and, like the greats, unique.

When he came along in the '60s, jazz was happening every which way, from mainstream and avant-garde to blues, rock and then some, and everything that was happening he played. Henderson's saxo­phone became a Triton's horn and trans­formed the music, whatever the style, whatever the groove, into himself. And he's no different (or, really, always different) today. There's no "typical" Joe Henderson album, and every solo is, like the soloist, original and unusual, thoughtful and always from the heart.

“I think playing the tenor saxophone is what I’m supposed to be doing on this planet,” says Joe Henderson. “We all have to do something. I play the saxophone. It’s the best way I know that I can make the largest number of people happy and get myself the largest amount of happiness.””

The 2000s – “Dave Brubeck: That Old Cowboy” – David French

"If you knew all the guys who never say anything too good about me who secretly know I opened the door for them, or have said it, but it isn't picked up by the jazz police," he said. "If I told you all the guys you'd be surprised. At the same time the critics are saying I'm not playing jazz, I'm influencing a whole bunch of guys who play so great.

"I'll give you one example," he contin­ued. "One of my favorite piano players was Bill Evans. When he was young, he made a lot of good remarks about me. In the fake book, he gets credit for recording 'Alice in Wonderland' and 'Someday My Prince Come.'

But where did Bill hear it? Maybe five years before? I know where he heard it, he knows where he heard it and he would tell me where he heard it. But it dies right there.

"I won't name any more. But look at some of the best, far-out guys, you'll find that the guy they heard who set them off in right direction was that old cowboy Dave Brubeck."

Most authors will tell you that their writings, in whatever form, benefit immensely from the involvement, assistance and guidance of a good editor.

My late friend, Jack Tracy, joined Down Beat in 1949 and was its editor from 1953-1958. According to John McDonough in his August/2011 tribute to Jack, “Tracy guided Down Beat out of the last phrases of its fabled but fading antiquity into a modern era of serious criticism and journalism.”

Upon his passing in December, 2010, I put together this video tribute to Jack and thought I reprise it as a fitting way to close this review of Down Beat: The Great Jazz Interviews a 75^th Anniversary Anthology.

The audio track is vibraphonist Victor Feldman performing his original composition Too Blue with Scott LaFaro on bass and Stan Levey on drums.

Down Beat Magazine – 25th Anniversary

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

My how time flies.

While preparing a forthcoming feature on Down Beat Magazine’s 75^th Anniversary Interviews, the editorial staff at JazzProfiles suddenly remembered that it had been the recipient of an LP album given to all of the magazine’s subscribers in celebration of it having reached the quarter-century mark in 1959.

“Recorded in Hollywood and New York in special cooperation with Verve Records under the personal supervision of Norman Granz,” the LP which is entitled Down Beat’s Hall of Fame Volume 1 [Verve MG V-8320] is comprised of 12 tracks selected by the editors “… to get a full representation of the past quarter century in Jazz…. [the magazine was founded in 1934]”

Featured artists include vocalist Ella Fitzgerald, drummer Gene Krupa, tenor saxophonist Coleman Hawkins with trumpeter Roy Eldridge, pianist Oscar Peterson with bassist Ray Brown, vocalist Anita O’Day, pianist Art Tatum, tenor saxophonist Stan Getz, the Count Basie Band, drummer Louie Bellson, tenor saxophonist Lester Young and alto saxophonist Johnny Hodges and his orchestra.

As we were unable to find a CD reissue of this recording, we thought it might be fun to make available the liner notes from the original LP with their point-in-time reference to the state of Jazz in 1959. We wonder if our old friend, the late Jack Tracy, may have been one of “the editors” who had a hand in writing them?

These notes are followed by a video which uses graphics from the LP’s cover art as developed by the crackerjack production team at CerraJazz LTD and the Magic track from the album played by the Basie band.

© -  Down Beat, copyright protected; all rights reserved.

“JAZZ

Down  Beat's

Hall of Fame, Volume I

Verve  MG V-8320

If all the greats in the history of jazz were laid end to end, you'd have . . . something similar to this LP. Released to help Down Beat celebrate its 25th Anniversary, it is a disc that attempts to achieve that kind of jazz universality.

Of course, it would be impossible to get a full representation of the past quarter century in jazz on five LPs, much less one. How many important figures you have to leave out, how many great choruses go unincluded!

How, for example, do you chose between a track by Dizzy Gillespie and one by Charlie Parker?

You take into consideration that Bird is gone, and will make no more recordings —while the giant Diz is alive and swinging. That simplifies the task considerably . . .

Or take another example: the task of selecting someone to represent the main­stream of jazz drumming. Who should it be? Jo Jones, Buddy Rich, the late Dave Tough, Shelly Manne? In the end, it has to be Gene Krupa. Go back, if you can, to the old Krupa band recording of No Name Jive and listen how Gene builds the band unbelievably, while never losing sight of the basic roll with which he started out. Krupa has always had and still has a sense of form and clarity of pattern that any drummer alive can learn from. All things passed through Gene: he was the gatherer of what went before and the harbinger of what was to come. Therefore, it had to be Krupa . . .

In a sense, therefore, though the selec­tion of material for this disc was difficult, most choices had a certain inevitability. These are the selections:

SIDE A

YOUR RED WAGON — Ella Fitzgerald, with Lou Levy, piano; Max Bennett, bass; Gus Johnson, drums; Dick Hyman, electric organ. This is the hard-swinging Ella, rather than the gentle Ella of balladry. One of the uncontested greats, Ella punches her way through this old classic with a backing that demonstrates the gutsy propensities of electric organ.

GENE'S SOLO FLIGHT - Gene Krupa Quartet, with Eddie Shu, tenor saxophone, Wendell Marshall, bass; Dave McKenna, piano. A good deal having been said al­ready about Gene's genius, it is well to draw attention to Shu's facile tenor in the Lester Young tradition, and to McKenna's distinc­tive piano.

HANID—Coleman Hawkins and Roy Eldridge, with Hank Jones, piano; Mickey Sheen, drums; George Duvivier, bass. Here two giants of the swing era blow in a hard bebop groove. Little Jazz barges in with a tense, rasped and swinging solo. Listen to the wild thing that happens when the mute comes out. Hawk comes in low and virile enough to sound as if he's blowing bari­tone. The tasteful Mr. Jones demonstrates why he is one of the favorite pianists of Oscar Peterson, among others. The tune, the title of which you might try reading backwards, is a Hawkins original.

DEBUT — Oscar Peterson, with Ray Brown, bass. This track, recorded in New York, recalls the days of the Oscar Peterson Duo—and Canadian pianist Peterson's first tremendous impact on the U.S. public. This was the formative Oscar, and it is fascinat­ing to look at his roots.

LAIRD BAIRD - Charlie Parker, with Hank Jones, piano; Max Roach, drums; Teddy Kotick, bass. Life! From the open­ing phrase, the uncomplimentable Bird shows the ferocious lust for it that he had, despite all the talk of his self-destructive-ness. Recorded in 1953, the tune js an orig­inal whose title refers to Parker's son, Laird.

ANITA'S BLUES — Anita O'Day, with John Poole, drums; Bud Lavin, piano; Monty Budwig, bass. Anita, one of the handful of great singers in jazz, dryly (and brilliantly) reworks the timeless fabric of the blues.

SIDE B

TRIO BLUES — Art Tatum, with Jo Jones, drums; Red Callender, bass. Callender was the favorite bass player of the late Art Tatum. Whenever Tatum was on the West Coast, Callender was first on call to work with him; which is how Callender, a busy studio musician, happened to be on this date, done in January, 1956, in Holly­wood. Modern jazz forerunner Tatum was in excellent form the date this was recorded.

DOWN BEAT-Stan Getz, with Jerry Se­gal, drums; Mose Allison, piano; Addison Farmer, bass. Woody Herman tells a story about Stan Getz. When Getz joined Her­man in 1946, he played the band's book through once on the stand and, so far as Woody knows, never looked at it again; he had it memorized. Such was—and is—the musicianship of this remarkable tenor saxo­phonist. Derived from Lester Young, Getz became the fountainhead of a whole new concept of tenor playing. Today, he is in the odd position of being an immortal who is only 32 years old.

MAGIC—Count Basic and his Orchestra. Personnel: Reunald Jones, Harold Baker, Thad Jones, Wendell Culley, Joe Newman, trumpets; Benny Powell, Bill Hughes, Henry Coker, trombones; Frank Foster, Frank Wess, Marshall Royal, Bill Graham, Charlie Fowlkes, saxophones; Freddie Greene, guitar; Ed Jones, bass; Sonny Payne, drums; Basic, piano. As it happens, Count Basic has been a bandleader exactly as long as Down Beat has been in business: 25 years. (He took over the remnants of the Bennie Moten band in 1934). Though this track was recorded in 1956, the Basic per­sonnel is pretty much the same today. Thus, the track represents not only one of the most important bands in jazz history, but one that is generally conceded to be the most exciting on the scene today.

DRUMMER'S HOLIDAY—Louis Bellson and his orchestra. Personnel: Frank Beach, Don Fagerquist, Mel Moore, Bob Fowler, trumpets; Dick Noel, Juan Tizol, Nick Di Mao, George Roberts, trombones; Bill Green, Buddy Collette, Chuck Gentry, Mah-lon Clark, saxes; Geoff Clarkson, piano; Tony Rizzi, guitar; Joe Mondragon, bass; Milt Holland, drums. One of the deftest of technicians, Louis Bellson is one of the great big band drummers. Working with another gifted drummer, Milt Holland, he leads — and pushes — this band (made up mostly of top Hollywood studio muscians) into its tremendous swing.

LESTER SWINGS -Lester Young, with Gene Ramey, bass, Jo Jones, drums, John Lewis, piano. The title of this tune (try humming Exactly Like You along with it) is superfluous; when didn't Lester swing? The Father of the Cool, and perhaps the most influential saxophonist of them all, Pres is heard here in a 1951 session that was truly historic. Among its other points of interest: the driving playing of John Lewis in the days when the Modern Jazz Quartet wasn't even a gleam in John's con­templative eye.

EARLY MORNING ROCK - Johnny Hodges and orchestra. Personnel: Ray Nance, Clark Terry, Harold Baker, trum­pets; Quentin Jackson, trombone; Jimmy Hamilton, Russell Procope, Harry Carney, Hodges, saxophones; Billy Strayhorn, pi­ano; Jimmy Woode, bass; Sam Woodyard, drums. This is the perfect track to wind up this disc: Duke Ellington isn't here in the flesh, but his spirit is all through this performance by some of his boys. Thus the track is a tribute to the man who has con­tributed most over the longest time to the growth of jazz.

POSTLUDE—Three of the men heard on this record are gone now: Art Tatum, Charlie Parker, and Lester Young. In the quarter century of Down Beat's existence, these were primary innovators. There are no replacements for their individual geniuses.

But young talents keep turning up. Per­haps a giant like Parker will be among them. One can only guess at the direction —or directions—jazz will take. During the next 25 years, Down Beat will go on looking for and reporting on the great talents— as it has in the last quarter century.

—The Editors

1959”