Maybe she looks a little looney here because this photo was cribbed from a video of her jazz-buying spree in DC last year. Kamala Harris and her husband are big jazz fans, as some of you may know. Husband Doug Emhoff was written up in The Atlantic last month:
The second gentleman, who might also be called the first jazz fan, is such a devotee that he named his children, Ella and Cole, for Ella Fitzgerald and John Coltrane, two of his favorite musicians. . . .He said, “Jazz isn’t constructed. It’s a little messy, like democracy can be at times.”
Anyhow, Kamala calls Mingus “really one of the greatest jazz performers ever.” Well, who is going to argue with that?
The fact that she bought Mingus’s most ambitious (and his favorite) album, Let My Children Hear Music, impresses me. She has good taste. The music is a little messy and a little disciplined, like democracy. Here is the opening number from the album, which has an almost classical feel to much of it, despite the title―“The Shoes of the Fisherman’s Wife Are Some Jive Ass Slippers.”
To accompany the album Mingus wrote a strong extended essay, which got some notoriety. Here’s part of what he said:
I think the music on this record is serious in every sense. I say, let my children have music. I said it earlier. For God’s sake, rid this society of some of the noise so that those who have ears will be able to use them some place listening to good music. When I say good I don’t mean that today’s music is bad because it is loud. I mean the structures have paid no attention to the past history of music. Nothing is simple. It’s as if people came to Manhattan and acted like it was still full of trees and grass and Indians instead of concrete and tall buildings. It’s like a tailor cutting clothes without knowing the design. . . .
Sy Johnson―my good friend, now deceased―orchestrated, arranged and conducted much of the Children album. You can find his comments throughout my book Mingus Speaks. Here’s one such: Mingus’s “music is just full of earth and it’s always got its feet in the dirt. I mean it’s jazz, it has human cries in it, and it’s full of humanity.”
I’d like to think that may be what appealed to Kamala. Her humanity is the foundation of her appeal. It’s what people tune in to. And it’s more important than all the money she’s raised and all the memes that have taken hold online. That is what will beat Trump.
When great jazz musicians die, those of us who loved their music mourn their loss by remembering their sound. We don’t rehearse and recast their lives; that’s for the obit writers to do. When I wrote about Wayne Shorter’s passing a couple of months ago, I complained that jazz’s “great practitioners often get more notice when they die than when they lived.”
That is certainly true with the recent death of Ahmad Jamal whom the unwashed would accuse of playing cocktail music and tinkle-tinkle piano. Now at least some writers have recognized that he created a wholly new sound for jazz—not only with his rhythmic displacements (which Miles Davis often acknowledged) but with his left-hand vamping approach.
That, as pianist Benny Green noted, “laid the template for the essential approach that’s been universally applied by influential pioneers such as Red Garland, Wynton Kelly, Bill Evans, McCoy Tyner, Herbie Hancock, and Chick Corea.” Add to that roster Keith Jarrett.
Ahmad also made marvelous resurrections of old sentimental yet rich pop and show tunes, a practice Bill Evans and others took up. His 1958 hit, “Poinciana,” made him popular and well-off. About that time I was studying graduate English at the University of Chicago, and friends and I would venture to the Pershing Hotel frequently to meet the man and hear his novel music.
The Pershing was just west of Hyde Park and the University, at 64th and Cottage Grove Avenue, a solid black middle-class neighborhood. The hotel’s lounge hosted many jazz greats. Ahmad was young, approachable, and played piano like no one else. I have a number of his albums from those days when he played with the great Israel Crosby (bass) and Vernel Fournier (drums).
Another 1958 success was his version and subsequent album “But Not for Me.”
After his “Poinciana” triumph Jamal went on to greater acceptance though recently, I think, was somewhat passed over as a member of the jazz pantheon. His music changed but was always strong and involving. Here’s what he did some years ago (1970) with Herbie Hancock’s “Dolphin Dance.”
Ahmad left us at age 92. For me there seems something magical and strange about dying at that age. My two good jazz friends, Sue Mingus and Sy Johnson, both died last year, also at 92. I keep wondering how and if I’ll catch up with them—and now with Ahmad Jamal.
Death is the ultimate fact of life, notwithstanding all the trite stuff that’s been written about it. And of course it’s not all trite. I recently reread T.S. Eliot’s “The Waste Land,” surely the ultimate poem about this subject. It brought forth strong feelings about recent losses of people in my life:
“I had not thought death had undone so many,” says the narrator.
My son Ethan died in July from a fall in his apartment. He was fifty-two. Mentally ill for many years, his death ended a sorely troubled life and yet was so undeserved. We knew it might end this way; still, the shock of it jolted the family beyond words.
Two friends of mine from the music world recently passed—Sy Johnson in July and Charles’s wife Sue Mingus last month. I interviewed Sy in the early 1970s for my book Mingus Speaks (for which he provided photos of Charles and Sue). My reflections on Sy are here and here. We continued our friendship long after Mingus’s death from ALS (another horror story).
Sue and I had several engaging sessions of talk in the Mingus apartment—about Charles, the book and our life connections in Chicago/Milwaukee. We connected again more recently at gigs of the Mingus Big Band at the Jazz Standard in NYC. Sue managed the band and the other Mingus aggregations, attending every session and personally dishing out checks to the musicians at the evening’s end.
For many of us the dead are in suspended animation, a presence forever. Roger Angell, a fine writer/editor for The New Yorker, wrote an affecting piece in 2014 about the ongoing power of remembrance of those passed. I loved his stuff. He died in 2022, aged a hundred and one.
We geezers carry about a bulging directory of dead husbands or wives, children, parents, lovers, brothers and sisters, dentists and shrinks, office sidekicks, summer neighbors, classmates, and bosses, all once entirely familiar to us and seen as part of the safe landscape of the day. It’s no wonder we’re a bit bent. . . . The dead have departed, but gestures and glances and tones of voice of theirs, even scraps of clothing—that pale-yellow Saks scarf—reappear unexpectedly, along with accompanying touches of sweetness or irritation.
The dead maintain their presence in so many ways. Memories agitate or sustain us, fill out our lives with joy and grief. It’s like watching old shows on black-and-white TV.
I wrote recently about my associations with Sy Johnson, jazz’s Renaissance man. Now, in a slightly overdue but well-crafted obit, the New York Times pays its respects. All jazz fans should take notice. Sy and I had many conversations about doing a possible book together, and I’ve transcribed a few excerpts below.
SJ: I was trying to be an avant-garde player, like Monk and Cecil Taylor, but I could play perfectly conventional piano too. But then I could not stop myself from being Monk or Cecil Taylor. There were also times when I couldn’t make a mistake. Which brings me to something we should talk about—it’s the zone, suddenly you surrender control of your mind and hands and they behave like they are somebody else’s. And you’re amazed at the music coming out. It’s a really, really profound thing. Playing with Gary Peacock, my onetime roommate, we would hit the first chord and immediately we’re playing things we never thought of, never heard before. . . .
First weekend I was in NY I resolved to go to the Museum of Modern Art, very important and high on my list, and I turned a corner and was confronted by Jackson Pollock’s Abstraction No. 5, or whatever, and it was a revelation. Because it confirmed that the things I was trying to do as a jazz musician entered into other abstract forms of art. I had lots of recording sessions, hanging out with Paul Bley, later with Ornette Coleman, and wanted to find my way into that kind of music. It was a confirmation that, yes, not only could I do that, but other people had gone there before.
Later, we were sitting in Sy’s apartment listening to some CDs I had brought for him to comment on. One was a 1954 Thelonious Monk version of the classic “Smoke Gets in Your Eyes.”
SJ: Monk’s solo piano playing was very much out of the stride piano tradition. Secondly, his arrangements never vary far from the melody. Furthermore, once he made an arrangement it was the same in every rendition of the tune–like Art Tatum playing “Tea for Two.” You hear pretty much the same solo all through. Monk loved to play solos, and I would steal from them; I used to play with the same kind of attack he had, couldn’t stop myself. So I was playing pretty strange stuff in jam sessions. What becomes distinctive is the idiosyncratic parts of a Monk solo, that’s what’s interesting. It doesn’t sound like anybody else. You suspend your feelings about what a conventional romantic ballad might be, how it might be played because it’s Monk and he’s a genius and it’s inimitable and also a key to understanding Monk playing his own tunes. You hear tritones and flatted fifth kinds of fills he plays in the middle of things, whole tone runs. And he doesn’t do a lot of that in the standard songs. And when he has something more complex to play, he stops his left hand. Plays it in the right and then picks up the oom-pah thing in the left. He loved to play standards and played them all day long, 8 hours a day.
People would walk in and find him playing the piano at home and he’d talk while he was still playing. So what we just heard is a very conservative representation of the Jerome Kern classic song. Another thing I noticed is that he doesn’t really hit the bridge right. I mean the bridge changes key, what’s called a common-tone modulation, and it’s about the third bar here before you really do hear the modulation. Not a clean break into the new key, sort of muffed a bit. But this is a classic performance of a great American songbook song, and it’s inimitable.
JG: What can I say? . . . A couple of things: I love that record, think that for all the reasons you stated it’s a classic, conservative piece—and it represents the essence of Monk.
SG: Because it’s not a Monk composition you don’t have to figure out where the song is going next, you’re dealing with a song that you know. It’s part of your inheritance, you’ve heard it forever, and so you can begin to see Monk’s style in context. Because you’re looking at it as a known landscape, like the lake in Central Park. You also remember that Central Park was a very different place when they hung all those orange banners up; it was fascinating what Cristo did, both man and wife, the park was transformed. The landscape had its molecules changed in a way that you could see, transformed in winter. The banners weren’t significant in themselves, they were a means to an end, ingenious as an engineering problem, very well thought out.
But none of Monk’s tune here is really an improvisation—he never takes off from the chord changes or theme—you’re hearing an arrangement, decorated with Monkisms. No rhapsodic effects, no sentimental baggage. He takes it clinically, strips it of all the Broadway schmaltz. I see this as one of the bridging songs from the tradition of Sigmund Romberg, who was a brilliant melodist but part of the florid operetta tradition. Before Monk got his hands on it Jerome Kern had taken that tradition and made it into very characteristic compositions of his own. Kern was a different kind of composer, far more lyical, bordering on the ecstatic. His songs are romantic but modern in development.
We began to talk about “All the Things You Are,” perhaps Kern’s greatest creation. Sy sat down at the piano to illustrate its chord changes and then played a tune he wrote based on them. Maybe an audio clip of that soon.
Some people get under your skin and stay there. So it was with Sy Johnson, the person connected with Mingus to whom I was closest in the jazz world. We met years ago when I was doing interviews for Mingus Speaks. Sy was a great talker, and after maybe a half hour I realized to my utter dismay that the batteries on my tape recorder had died. Sy said, “Jesus, I feel like I’ve been making love to a mattress!” And so we started over and soon got to be friends.
His comments were an invaluable addition to my book and to my thinking about music. And, since he was a dedicated photographer, I got him to contribute a whole series of Mingus photos to the book. When my publisher and I arranged for a book party at the Jazz Standard, Alex Foster, the dork who was leading the great Mingus Orchestra that night, called out Sy as the author. My nephew, who is a big guy, leaped out of his chair and was about to charge the stage. Cooler heads intervened, including Sy’s, and the evening went on to be a success.
We had many subsequent meetings, breakfasts and drinks in New York. I taped a whole series of our conversations, and soon I’ll try to go through them. Besides music they touched on culture, sports, quantum theory, and more. The best times were when I joined him and Lois, his better half, at the Jazz Standard for Monday nights with the Mingus Big Band. He was still writing for them and the other Mingus aggregations. His charts adorn most of their recordings.
Mingus gave JohnsonLet My Children Hear Music to arrange, which featured two Mingus pieces, “Shoes of the Fisherman’s Wife (Are Some Jiveass Slippers)” and “Don’t Be Afraid, the Clowns Afraid Too”. The album’s emergence was heralded with a live concert, Mingus And Friends At Philharmonic Hall, also arranged by Johnson and released as an album. Johnson continued to work with Mingus until his death from Lou Gehrig’s disease in 1979. Mingus recorded two of Johnson’s compositions, “Wee” and “For Harry Carney”, and nominated Johnson for a Guggenheim Award following his own in jazz composition.
Sy spoke fondly about being part of the last Mingus session with Joni Mitchell. He wrote for many jazz greats ranging from Ben Webster to Benny Goodman, even Frank Sinatra. There’s a good short bio from the Mingus website here.
Sy passed on last week. He was 92. My son Ethan died at 52 the previous week, also in New York, after a long mental illness. For convergences like that there are no words.
