Whisper Not: The Autobiography of Benny Golson

Whisper Not: The Autobiography of Benny Golson
Benny Golson and Jim Merod
Philadelphia:Temple University Press:
2016; 336+xvi pp.

Anyone who has had the pleasure of seeing the marvelous saxophonist and composer Benny Golson, has been treated to not simply marvelous music but also his storytelling in introducing the tunes performed, whether recollections about growing up with John Coltrane, or the origins of some of his classic compositions such as "Along Came Betty," "I Remember Clifford," "Stablemates," and so many more. Now, Benny has put some of these stories and more in this new volume that was written with Jim Merod.

This is not a usual autobiography where the person provides a chronicle of his life. Instead the book is more of a systematic organization of vignettes of the manner he would tell in performance, except perhaps he gets into more depth about some and a number of them are matters that would not normally come up unless he was being interviewed.

The book is organized into eight parts and it would give an overview of the contents to describe each of the parts and some of the contents of that part. After Merod's preface, which provides an overview of Golson's life and contribution, while his own introduction is an indication of the positive, as opposed to negative, messages he hopes to provide in detailing his story.

Part 1 is entitled John Coltrane and in its three chapters discusses his interactions with Coltrane including John and him meeting Bird and Diz and then being the musical dynamo. Part II is entitled "The 'Hood' and Youthful Reckonings" and includes some of his early musical adventures as well as his Uncle Robert and Benny's first visit to Minton's, early musical experiences and then hard times. Part 111, entitled "Great P People," takes us to his experiences with the likes of Bull Moose Jackson and Earl Bostic, Art Blakey, Tadd Dameron, Clifford Brown and Fats Navarro, Jimmy and Percy Heath, Betty Carter, Art Farmer, and others. as well as discussing going to Howard University and further matters. Part IV, "Hollywood," was a revelation for me as I was unaware he had left the jazz world to spend several years scoring for film and TV. Included are his recollections of what was musically involved along with his three years with the show, "M*A*S*H."

Part V, "Amazing Friendships," has his recollections of Quincy Jones, Harry 'Sweets' Edison, Dizzy Gillespie, Philly Joe Jones (who he went back with to his youth), Thelonious Monk, Max Roach, Dinah Washington and Curtis Fuller as well as tells the story of The Jazztet that he and Art Farmer co-led. Part VI, "Music and Writing," includes his discussion of how his approach to writing music developed along with discussions of "Stablemates," his first recorded song, "Along Came Betty," and "I Remember Clifford." He was (and still is) not happy with changes Miles Davis made in his composition in the first recording of "Stablemates" (which included John Coltrane in Davis' Band). Elsewhere he recalls very sad circumstances of learning of Clifford Brown's passing that led to one of his most famous compositions. The last chapter in this part, "The Ballad and 'Weight,'" is one of the most thought provoking, as Golson considers playing of ballads such a great factor in the music's art and the import of the ballad as almost a genre in itself while in playing ballads, emphasis is on the weight given to each specific note played.

Part VII, "Icons," has his recollections of persons he had met that stand apart from simply great musicians. Included is his recollections of Steven Spielberg and Tom Hanks, and performing in the film, "The Terminal." There are also recollections of Duke Ellington and Billy Strayhorn, Coleman Hawkins, Art Blakey, Kenny Dorham, Lee Morgan, Peggy Lee, Diana Ross, Sonny Rollins, Miles Davis, Milt Jackson, Charles Mingus, Benny Goodman, Gigi Gryce, Larry Young, Mickey Rooney, Redd Foxx, Jersey Joe Walcott, and Muhammad Ali amongst those disccussed. Part VIII, "Verses And A Coda," includes how he resumed his musical performing career after his Hollywood hiatus, the centrality of the blues and the Coda which is a brief discussion of his becoming a Jehovah Witness.

The text is clean and readily accessible as a Golson melody and a photo album includes a number of memorable images. Golson is such a positive person, and that is conveyed throughout his graceful telling of his story. This is an important addition to the body of jazz biographies and autobiographies.

I purchased this. Here is Benny talking about John Coltrane.

Valery Ponomarev Big Band Our Father Who Art Blakey

Shortly after his arrival in the US in 1973 after leaving the Soviet Union, trumpeter Valery Ponomarev met Art Blakey, who would become his mentor and "jazz father." The years he spent as one of Blakey's Jazz Messengers left a firm imprint on him and now four decades later, with the Valery Ponomarev Big Band, recorded a tribute to Blakey, "Our Father Who Art Blakey" (Zoho), transforming a number of songs associated with the legendary drummer and his most famous ensemble into big band charts which were recorded at Dizzy's Coca Cola Club at Jazz at Lincoln Center and at the Zinc Bar. The booklet accompanying this CD did not include the members of the big band who are: Saxophones –Todd Bashore, Chris Hemingway, Peter Brainin, Steve Carrington, Anthony Nelson; Trombones – , Stafford Hunter, Alvin Walker, David Wight, Jack Jeffers; Trumpets – Rick Henly, Miki Hirose, Josh Evans, Waldron Ricks; Piano – Mamiko Watanabe; Bass – Ruslan Khain and Drums – Victor Jones. For the Zinc Bar, Andrew Gould replaced Brainin; Corey Wallace replaced White; Danny Hall replaced Walker and Ricks replaced Allen with Benny Golson appearing on the two numbers from this performance.

Ponomarev, discussing transforming Blakey's small group charts for a big band, suggests that it was not the challenge it might seem. He observes that if one listens to Blakey's music, it is already big band already and notes Blakey's own background in big bands. Ponomarev also states in his arrangements that he quotes some of the solos from the originals. Listening to this recording, one is impressed by how he has maintained so much of the feel of Blakey's music.

After a brief overture from the leader, the band launches into Bobby Timmons' classic "Moanin'" which features strong solos from Ponomarev and Golson and some nice scoring. The rhythm section of Watanabe, Khain and Jones is superb  in capturing the snap, crackle and pop of the original recording, and Watanabe's own solo is punctuated by riffs of the brass and reeds and Khain solos as well. Freddie Hubbard's "Crisis" features Josh Evans' trumpet which is thoughtful, imaginative and capable of considerable heat followed by a strong tenor solo from Carrington and fervent trombone from Hunter.

Ponomarev's rationale for including Duke Jordan's "Jordu" is based on Clifford Brown's association with Blakey as well as Brown being his main trumpet hero. The band arrangement is based on Brown's solo from the classic Clifford Brown & Max Roach recording, and provides the foundation for  solos from Rogers on trumpet and Brainin on tenor sax for this fresh interpretation of a jazz classic. Victor Jones helps lay the Latin rhythmic foundation for another Duke Jordan composition, "No Hay Problema," that Blakey performed for the film "Les Liaisons Dangereuses." Evans and Carrington both are afforded considerable solo space by the 56-bar form of the composition, and Evans (who I have seen with the Evans-Lacy Legacy Band) impresses with his mix of mellowness and fire. The leader's scoring of his horns is splendid.

Ponomarev's original "Gina's Cooking" post-dates his time with Blakey and the composition has a Mingus-like flavor with tempo changes. It showcases Anthony Nelson's take no prisoner's baritone and alto sax from Bashore before Jones takes a short solo as well as pushes the performance on.
The album concludes with Golson's classic "Blues March," which Golson recalled writing after Blakey mentioned he had never played a march. Jones sets the tone and groove before Ponomarev and Golson, the two Blakey alumni, each solo at length. Trombonist Wallace, alto saxophonist Bashore and pianist Watanabe also stretch out on the recording's longest performance.

"Our Father Who Art Blakey" is a real gem of a big band recording with classic compositions, superb arrangements and terrific ensemble playing in support of the marvelous solos that were enthusiastically received.

I received my review copy from a publicist. Here is the Band in performance.

Mid-Atlantic Jazz Festival Returns Standing Up For The Real Jazz

Christian McBride will be a featured performer

 at the 2014 Mid-Atlantic Jazz Festival

Presidents Day Weekend is always a reason for celebration for jazz-lovers in the Washington DC, Maryland and Virginia area as the annual Mid-Atlantic Jazz Festival returns. Standing up for real jazz, this year’s edition “will celebrate  the soulful side of Real Jazz, otherwise known as ‘Soul Jazz.”  Among those featured will be the legendary Les McCann who will lead a group that includes saxophonist Javon Jackson. But there is much more to be heard Friday Evening February 14 through Sunday night February 16 at the Hilton Washington DC/Rockville Hotel & Executive Meeting Center, 1750 Rockville Pike, Rockville, Maryland 20852.

The Festival is organized under the leadership of saxophonist, composer and educator Paul Carr as a showcase and benefit for his Jazz Academy of Music. Performances along with workshops and educational programs characterize this event. Notable performers appearing this year include vocalists Giacoma Gates, Vanessa Rubin and Freddie Cole for Friday Night’s kickoff the Ronnie Wells Main Stage performance. Area vocalists Kristin Callahan and Heidi Martin will perform in the MAJF Club Room, while David Cole will play the blues in the Juke Joint.

Vocalist Sharon Clark

Saturday, February 15, there will be atrium performances by a variety of high school bands. At noon in the Main Stage, the Festival will present the first The Mid-Atlantic "Jazz Voice"--Vocal Competition. Next on the main stage will be three of the area’s preeminent vocalists, Sharon Clark, Dick Smith, and Lena Seikaly backed by the Chris Grasso Trio. The Ronnie Wells Main Stage that evening will present the Gary Bartz Quartet, a Trombone Summit with Delfeayo Marsalis, Frank Lacy and Steve Turre with the Christian McBride Trio closing the main stage. On Staurday, highlights of the Club Stage include Aaron Seeber Quartet (with saxophonist Tim Green); vocalists Janine Gilbert-Carter and Chad Carter; and Nadine Rae will be shouting her soulful blues in the Juke Joint.

Delfeayo Marsalis

Sunday, February 16 opens with saxophonist Bobby Watson and the Howard University Jazz Ensemble on the Main Stage. Vocalist Dee Daniels will be backed by the Eric Bryd Trio and then the legendary Benny Golson Quartet cones on. Starting the evening on the Main Stage will be trombonist Reginald Cyntje and his Group that includes steel pan player Victor Provost. Cyntje’s CD “Love” was one of the most impressive and moving new jazz releases by a Washington DC area artist in 2013. After Cyntje will be the pairing of Les McCann and Javon Jackson with the festival’s headline set. Paul Carr closes the Festival main stage with a tribute to the late pianist Mulgrew Miller with a group with Bruce Barth on piano and Steve Nelson on vibes. 

Gary Bartz

Performances in the MAJF Club sunday include the Kenny Rittenhouse Septet, The Jazz Academy Orchestra featuring Delfeayo Marsalis, and Leslie Sumney. Linwood Taylor will be playing in the Juke Joint. This night, like the other evenings, will conclude with a midnight jam in the club room led by Wes ‘Sugar’ Biles. For more information (including ticket packages and accommodations) and to support real jazz, visit the festival’s website, http://www.midatlanticjazzfestival.org.

All photos © Ron Weinstock

Benny Golson's Jazz Legacy Still Expanding

Highly honored over the past few years for his lengthy career (he received a Grammy Lifetime Achievement Award among other honors), and recently feted at the Kennedy Center in Washington, D.C. in celebration of his 80th Birthday, Benny Golson’s musical legacy is marked by two new releases on Concord Jazz. “The Best of Benny Golson” is a career spanning disc containing nine performances while “New Time, New ‘Tet” is his first new recording in five years with his new jazztet. Golson’s contributions probably are most noteworthy as a composer and arranger, but he has also been a distinctive saxophonist who has produced a strong body of recordings. Some of his compositions have become part of the jazz standard book including “I Remember Clifford,” ”Whisper Not,” “Along Came Betty,” and “Killer Joe.” One thing these carefully crafted compositions share is there memorable melodies that stay with the listener. Furthermore, there is a thoughtfulness in his tunes, arrangements and his playing. he eschews a hot extroverted music for a distinctive crafted work which is akin to the careful work of a jeweler cutting stones and crafting his rings, bracelets and charms. 
A career spanning decades can only be skimmed on a single disc, but “The Best of Benny Golson,” brings together nine performances that display the range and variety of his compositions as well as his playing. This compilation opens with an octet performing “Whisper Not,” with Art Farmer, Gigi Gryce, James Cleveland, and Sahib Shibab joining him for the front line with a muted, delicate sound to the arrangement effectively using Watkins’ French Horn, Shibab’s baritone sax and Farmer’s muted trumpet with solos from Gryce, Cleveland on trombone, Farmer playing open, and Golson himself. Gigi Gyrce’s “Reunion” is a sextet with J.J. Johnson on trombone and Kenny Dorham on trumpet as well as a rhythm section of Wynton Kelly, Paul Chambers and Max Roach, on a nice bop number with shifting tempos with Golson taking the lead solo, Chambers getting featured and the ensemble trading fours with Roach.

“Are You Real,” a quintet performance with Curtis Fuller and a rhythm of Barry Harris, Jymie Merritt and Philly Joe Jones has some gusty playing from Golson before Fuller and Harris take the spotlight. Another date with Fuller brings the stunning “Blues After Dark,” another strong Golson melody, with its loping tempo and marvelous solos by both Fuller and Golson, both who employ an almost whispering attack at the beginning of their solos. Art Blakey joins Fuller on Golson on a delightful reading of Rodgers & Hart’s “I Didn’t Know What Time It Is,” while his ballad playing on “April in Paris,” evokes Ben Webster, in the use of space as well as tone on a superb performance although without Webster's heavy vibrato. A live rendition of “Along Came Betty” is from a Jazztet dated co-led with Art Farmer and with Curtis Fuller.

A 1997 recording of his “Five Spot After Dark,” has Ron Blake on tenor and John Swana on trumpet, both a bit more extroverted in their playing than Golson. Eddie Henderson is present on the closing track, a nice 2004 rendition of “Killer Joe.” Lacking familiarity with all the source albums for these tracks, I cannot vouch whether this is in fact the best of Benny Golson, but the music here is darn good indeed (to use a bit of understatement).

“New Time. New ‘Tet” (Concord Jazz) releases an August 2008 session with Eddie Henderson, trumpet-flugelhorn; Steve Davis, trombone; Mike Ledonne, piano, Buster Williams, bass, and Carl Allen drums. All but Davis were on the 2004 rendition “Killer Joe,” from “The Best of Benny Golson.” In the liner notes, Jim Merod has these interesting words to describe this contemporary Jazztet in that it “incorporates virtually all the elements of the pensive, sometimes sentimental,consistently philosophical and always gregarious.” Trombonist Davis' “Grove’s Groove,” opens this set with a relaxed groove and his at times blustery tone contrasts with Golson’s more reserved sounding attack. Next up is Sonny Rollins’ “Airegin,” with Henderson brassy solo a highlight along with Buster Williams’s walking solo and pianist Ledonne’s sparkling playing.

Golson’s “From Dream to Dream” is an apty titled ballad with a languorous feel. Davis takes a lengthy, low-key solo while Henderson and Golson add soft embellishments around. The tempo struts a bit quicker as Al Jarreau adds a vocal to this new rendition of “Whisper Not,” with Henderson using his mute on his solo, followed by Ledonne adding a bit of barrelhouse to his bop piano. Monk’s “Epistrophy” opens with a blast from the horns before Henderson takes the lead on the melody as Davis and Golson adding their voices before Henderson opens his solo in an extroverted vein, on a number where everyone solos with Ledonne’s bouncy handling of Monk’s angular lines a delight and his chords punctuate Williams solo.

Golson rearranges a couple of songs from the Western Classical musical tradition, Chopin’s “L’Adieu,” with marvelous muted playing on this ballad from Henderson, and “Verdi’s Voice,” with the jazztet evoking a classical quartet. An unusual contemporary ballad, El DeBarge’s “Love Me in a Special Way,” showcases Davis’ gruff lyricism before Golson takes over for his romantic reading of the number. “Gypsy Jingle-Jangle,” is a pretty lively tempoed number with shifting tempos that lead one on a musical ride, more like the tilt-a-whirl than a roller coaster, but energizing indeed. The closing “Uptown Afterburn,” is another energetic musical jaunt with Williams, who solos here, anchors with his forceful playing.

This recording illustrates that age has not slowed down Benny Golson down, and with the latest Jazztet, continues to provide us with jazz that remains thoughtful, soulful, contemplative, fiery and passionate.


This look back and look forward at Benny Golson originally appeared in the March 2009 Jazz & Blues Report (Issue 314) at pages 8-9. The issue can be downloaded at jazz-blues.com. Review copies of the CD were provided me from the publication.