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Thursday, May 1, 2014

Thom Pride - In Memoriam

My dear friend J. Thom Pride passed away today in William Beaumont Hospital, in Royal Oak, Michigan. Thom's first wife, Sharron; her sister, Denise; and his friend Ken Hansen were at his side when he died at 1:53PM. Thom had been my friend since the mid-1950s. Martinis and music won't be the same. Below is something that I wrote about Thom in October, 2012.

J. Thomas Pride
Something Very Hip Happened
In Highland Park
R. W. White
12 October 2012

This evening at 11:15 PM, October 12, 2012 I am thinking about Thom Pride.
Thom has leukemia. He was diagnosed with this awful, painful disease within the
last month. Because of his age–nearly 73 years old—there is little that the doctors
can do for him, except pain medication for his terrible pain that he experiences
around the clock. He cannot eat regular foods because of the intense pain that
eating brings with it. As a pre-teen, I witnessed my maternal grandparents suffer
from the intense pain that came with their cancers. Thinking about Thom’s present
painful life this evening, and feeling both his presence and the presences of Hobert
and Mamie Thomas; and considering Thom’s present pain and the past pains of my
grandparents, has disturbed me and upset my calm life—I can’t find the right music
this evening. So, I’m writing down these inadequate thoughts against the music—
it’s Bach’s Goldberg Variations playing now, previously it was Bobby Hackett with
Jackie Gleason’s Orchestra, before that it was Chopin, before Chopin it was Liszt.
Usually I cannot read while listening to music; but most often I can write while
listening to music. This evening I need music and I need to write about Thom Pride
and me. Gustav Leonhardt’s harpsichord and his Goldberg Variations sound awful
to these ears this evening. I’m afraid to try Lady Day; Billie Holiday would destroy
me I fear. Ah, let’s try James Moody—someone who Thom and I grew up with
(musically) in Highland Park—has to be hip doesn’t it?

This evening I’m thinking about my first vivid impression of Thom Pride—
T. Pride to some. The image that I keep coming back to concerns an afternoon,
lunchtime DJ program that Thom hosted in the auditorium of Highland Park High
School. (I’ve got Mr Moody’s “Flute N The Blues” with “Little” Johnny Coles nice
trumpet solo followed by “Birdland Story” with that fabulous vocal by Eddie Jefferson
helping me now.) This impression is from 1958. Thom was spinning Yusef Lateef’s
recent LP Jazz for Thinkers. During these halcyon days, days without mobile
phones, text messaging, email and associated bothers; we liked to think of ourselves
in soulful, knowing terms; we convened for weekly symposia on Fridays and Saturdays;
often these drinks parties filled with music, discussions, and lame hits on those
present—the objects of our desires—were held at my house at 124 Massachusetts.

Our Sunday evenings were often spent at Pieter Wiest’s Colorado address. These
Sunday symposia were held without drinks and without music. At Pieter’s house
on Sunday evenings we tried to get our stories of the previous Friday and Saturday
straight, going on about our lame or non-existent hits and surfeit misses with the
Misses. These were quiet beautiful times. Whether Thom was involved in all of these
weekend sets or get-togethers, I do not remember; but I feel today that his presence
was everywhere in Highland Park—he was indeed a “big man” on the HPHS campus.
After having been released from Highland Park High School (HPHS), Thom and
I ran the streets together—Twelfth Street, Hamilton Avenue, Boston and Chicago
Blvd.s; in the Chit-Chat Lounge talking to a couple of prostitutes just back from a
Baptist convention in Windsor, Ontario, Canada; staying out of sight in the Rage Bar
on Davidson when the nightly brawl was underway; trying to get next to sadity girls
on Boston and Chicago Blvd.s; attending “get-togethers” or “sets” in the company
of Percy Lyle, Floyd Bright, Frank Paritee, Ralph Cooper et al., in our three or four
button, three piece suits, button-down shirts, print ties looking like the Modern Jazz
Quartet or straight out of GQ. There were basement parties with very hip music—
rhythm and blues and Blue Note jazz (Brubeck’s Jazz Goes to College, especially
“Balcony Rock” recorded at Hill Auditorium in Ann Arbor thrilled us too).

Then there were other nights when Thom heard that something was going on at
a cousin’s crib. So we’d fall by cousin X’s. Even in our formative, post-HPHS days,
Thom knew everyone—I’ve rarely been anyplace with Thom when we didn’t run into
someone who Thom knew. There were occasions when Thom and I actually did get
next to a couple of young women. On one of these occasions Thom was paired with
Miss Y and I was paired with Miss Z, or so I believed. Thom had another idea. He
called me to inquire about a trade , his Miss X for my Miss Z. He claimed that he
had done a survey and his proposed substitution of X for Z would be best. So long
as I was next to either X or Z it didn’t matter to me. And in fact the subsequent
arrangement was quite satisfactory for me.

When we were in high school, “Frantic” Ernie Durham was our disc-jockey. Our
DJ used to call on a woman who lived in the Willard Elementary School neighbor-
hood. Ernie-D’s creep occurred at a precise time each weekday night—around 11:30
PM, I think. Our gang would sit on the overpass at Davidson and Hamilton and
wait for Ernie-D’s Cadillac convertible (I recall that D’s ride was white, similar
to “Doc” Greene’s). When “Frantic” Ernie drove by we’d shout “Frantic, Frantic,
Frantic . . . ”. Highland Park “creeps” seldom went unnoticed.

Thom Pride conferred massive displays of kindness and generosity toward me
throughout much of my life. When Maria and I were married in 1965, Thom and
Ralph Cooper gave a large reception and party for us at the Pontchartrain Hotel in
downtown Detroit. He got me a job at J. Walter Thompson. And he gave me a job
with his company, JTP and Associates when I didn’t have a job—I did produce an
ad in The New Yorker for Turnbull’s Mustard while at JTP.

I imagine that Thom’s regard for me and my fortunes were among the reasons that
my mother, Joyce Lorraine (White) Kilpatrick regarded Thom so highly. It was also
because of my mother’s high regard that Thom regarded me as his brother.
Thom showed my mother and my stepfather, James Kilpatrick, a lot of love in return.
Thom was a very good athlete, especially in tennis and golf. After I was married,
I took up tennis - I was never very good; I thought I was good because I could serve
and return serve; but before and after serve and return of serve, I couldn’t “ball”,
as they say today. Thom and I used to play on Sunday mornings at Palmer Park.
Thom would appear sometimes with a tennis-ball canister of martinis, having been
up into the early morning hours enjoying, among other things, martini-like items. I
didn’t have a chance at beating Thom at tennis.

I never played golf with Thom; I wouldn’t have dared.
. . .
As Amiri Baraka wrote of the pianist Walter Davis, Jr., I’m sure that:
Wherever [Thom] is, something very hip is happening!

Sunday, April 27, 2014

Silence of the Damned

Too many things to get back to - among which . . . .

I've been working on a blog-post the title of which is Spike Lee Runs Woody Allen Down - recall "Miles Runs the Voodoo Down"? In the mean time take a look at Allen's Manhattan and Lee's 25th Hour. In order to avoid finishing the Allen-Lee piece, among other things, I listened to Phil Schaap's broadcast on Don Redman (WKCR Internet Stream), watched some basketball (Allen and Lee's Knicks nowhere to be seen); right now as I'm writing this Apology for Not Writing/Posting, I'm listening to Johnny Hodges' Hodge Podge recording, a posting on Facebook of Duke Ellington's '29 recording of "Rent Party Blues" led me to Hodges' Podge (is that Duke on piano on "Finesse"?)....

David Schiff, author of these essential works The Music of Elliott Carter, Gershwin, and The Ellington Century runs this and that music down, doesn't leave any important creators or important creations out of his accounts of the music. The musics of Carter, Ellington, Schönberg and Gershwin are continous, are best regarded side by side. When I get to Woody Allen and Spike Lee in my forthcoming blog post, I hope that we'll understand these matters.

Don't really like movies, but . . . .

I enjoyed what I saw of Choose Me (soundtrack by Luther Vandross with Teddy Pendergrass and Archie Shepp. What?) Mike Figgis' Hotel is an astonishing film. I was informed by, and totally enjoyed Iceberg Slim, the documentary about the life of author Robert Beck.

I wonder what WKCR has in store for us today at 2PM EST? Dig into it and see/listen. Ah! Charlie Christian, guitarist - transition from swing to bebop. 

Sunday, March 23, 2014

"All The Things You Are" - Barry Harris

I have tended to believe (feel) that what matters doesn't matter; that the sanctity of heretofore private spaces and places have been violated; that a "space of reasons" (Wilfrid Sellars' notion) is a vanishing (vanished) point, an abstraction.

Then there's Barry Harris's music and basketball.

Monday, February 24, 2014

Private verses Public Works - On Being Marginalized

I have since the Christmas holidays spent most of my waking hours in my library. My television viewing has for the most part resided in looking in on ESPN's morning First Take program - I'd rather get my sports second hand, it's more entertaining, there are certainly individuals who can ball, but few teams who ball; and watching Martin Lawrence and Alfred Hitchcock reruns.
   Given the cable television situation with Comcast, Time-Warner, Netflix, Amazon and the rest, my mission is clear: get rid of cable and ball with my books and music. But a strange thing has happened. I've been overdosing on movies that my wife and I had collected on our cable box. Last Saturday my wife and I watched Jean-Charles Tacchella's Cousin Cousine (1975) and Claude Lelouch's A Man and A woman (1966) with the very beautiful Anouk Aimée and Jean-Louis Trintignant; after which I watched Patrice Leconte's Intimate Strangers (2004) with Sandrine Bonnaire, Fabrice Luchini, and Anne Brochet.
   This morning, on my way to watch my usual dose of back to back half hour Alfred Hitchcock segments, I discovered the Ron Shelton's truly wonderful (one-star) film Play It To The Bone (1999). The actors are Woody Harrelson, Antonio Banderas, Lolita Davidovich and Lucy Liu. This film cost $24 million to make and grossed about $3,000 the first week. The actor's are superb, the script is tight and very funny. One problem with the film was most likely its initial release. It premiered on Christmas day. Although Harrelson's character has visions of Jesus Christ - among other visions; it's not exactly everywoman's A Christmas Carol. Because it was released on Christmas day and because it's such an intelligent film, it's my personal choice to be featured with Woody Allen's Hannah and Her Sisters (pace my being down on Mr. Allen, isn't everyone?) as the Christmas Holiday doublebill. Watching Play It To The Bone it was hard for me to imagine that this film was made in America. It also joins the ranks of my British favorite films - Snatch, Lock Stock and Two Smoking Barrels and Layer Cake. It also joins the very dark French comedy(?) Crime d‘ Amour by the late Alain Corneau on my faves list.
   I'm sure I'll get over not having cable tv when we cut it loose. Television, radio, roads, electrical power, public transportation, symphony orchestras, museums, health care, cities were at one time reckoned to be for the public good - so were elections. Nations have been subsumed by corporations - Washington has been paid-off big time.
   "Power to the corporation!"   

Thursday, February 13, 2014

"We Almost Lost Detroit"

I watched the Gil Scott-Heron documentary that aired on TV-One yesterday. I knew his music, his poetry, and his story. Sitting in front of my 'idiot's lantern', taking in the spectacle of Gil Scott-Heron's stardom, his music, and his American life; I began to wonder about the powerlessness of an individual to shape a decent life even when one has talent, and thereby is, presumably, afforded something of a 'head-start' in life.
   I wonder what power music, poetry, art, or philosophy holds for the assumed consumers of these arts. Scott-Heron's music, poetry, and philosophy (his Art) has influenced a number of hip-hop artists. The power of hip-hop seems to be almost entirely economic for the few 'artists' who have made it. Sampling is everywhere: ours is a remote-control, MP3 culture. We flip real estate, cities, channels, tunes, nations, cultures - all sorts of stuff. Yet an artist - Gil Scott-heron was an artist - rarely has control over the byproducts of her art - not even Lady Day, Mingus, or Stockhausen.
  Sometimes it's best to stay underground and away from the Clive Davis's of the culture industry.
  The Last Poets and Kip Hanrahan, whether by choice or chance, manage to stay underground. I return to Kip Hanaran's music-collages quite often. I'm sure it's because of the heavy-weight musicians that Hanaran employs - If you want to know who they are, buy his CDs.
   "We Almost Lost Detroit" is a nuclear-power-danger protest song that Gil Scott-Heron wrote. It didn't take a nuclear power plant melt-down to loose Detroit, did it? We remain at a loss to formulate the proper questions. As a nation we are quite adept at providing answers - "crime", "terrorism", "sloth" - before asking the proper questions. "Power to the people!"
   Thanks to Walter Kim Heron.

Wednesday, February 12, 2014

Teddy Wilson, "Jumpin' For Joy" 10 CD set, and Do The Math

I've been working my way aurally through Teddy Wilson's magical 10CD set, entitled Jump For Joy. There are no personnel groupings provided with these discs. The trio and solo performances aren't troubling from a discographical point of view. The small groups are another matter. Admittedly the recordings that Teddy Wilson made with Billie Holiday are easy to put together in terms of personnel groupings, since we have documented recordings under Lady Day's name - these are the recordings that I blogged on about under the rubric Jam Session Aesthetic. In listening to Wilson's CD10, I re-discovered the Sarah Vaughan sides with Teddy Wilson - "Penthouse Serenade (When You're Alone)", "Don't Worry 'Bout Me", "Time After Time", and "September Song". When I write that I rediscovered the Vaughan-Wilson sides, I mean that I knew about them (in a previous life, perhaps); but I had never heard them - don't recall hearing them.
   Needless to say the early Divine One's performances are 'heavenly'. A couple of other surprises reside in the bopish arrangements of "I Want To Be Happy" and "Just One Of Those Things". I guess I'll have to examine the 65 page Teddy Wilson Discography to find out exactly who created the wonderful music captured in these 10 discs.
   I urge you again to look in on Ethan Iverson's blog Do The Math: http://dothemath.typepad.com/
 
P. S. I forgot to note that there are three amazing tracks featuring Teddy Wilson, piano; Harry James, trumpet; Red Norvo, marimba; and John Simmons, bass that knocked me out. "Ain't Misibehavin'", "Honeysuckle Rose", and "Just A Mood (Blue Mood) (Part 1 & 2)" reminded me of the Don Ellis (t) recording, New Ideas (OJC 431), with Jacki Byard (p); Al Francis (vib); Ron Carter (b); and Charlie Persip (d). I am now reminded of Arthur Blythe's recordings with marimba and percussion. I love the dark sounds in the marimba's wood.


Monday, February 10, 2014

Mr. Roy Eldridge, Messrs. Hank Mobley and Amiri Baraka

Among my favorite recordings by trumpet-man and master musician Roy Eldridge is his circa 1956 recording on Savoy with the British pianist Ronnie Ball. Mr. Ball was at one time a house pianist at Savoy - Mr. Hank Jones was the Savoy house pianist; the trio recordings with Jones and Messrs. Wendell Marshall, bass and Kenny Clarke, drums are a delight. Ronnie Ball was way back in the day a student of the pianist Lennie Tristano. Roy Eldridge was very highly regarded by Mr. Tristano. Hang on! It gets thicker. Ronnie Ball is the pianist on the wonderful 1956 Hank Mobley Savoy recordings. Also, on Mr. Mobley's recordings are some of Detroit's finest musicians: Mr. Donald Byrd; trumpet; Mr. Barry Harris, piano; and Mr. Doug Watkins, bass. What a tremendously strong bassist was Doug Watkins - no wonder Mr. Charles Mingus called on him. In addition to being a fine tenor saxophonist, Hank Mobley was a composer of many post-bop/hard-bop standards. His "Funk in Deep Freeze" is one of my favorite Mobley tunes - a very hip title.
   Roy Eldridge was from Pittsburg, Pa., as were Art Blakley, Erroll Garner, and Mr. B, Billy Eckstein. Hank Mobley was from Newark, N. J., as were Sarah Vaughan, Wayne Shorter, Woody Shaw, and Walter Davis, Jr.
   The poet and much else Amiri Baraka was of Newark. Mr. Baraka passed on, joining all of those mentioned above - except Barry Harris who is still with us. He died on January 9 of this year at the age of 79. I return often to Amiri Baraka's 1996 book Eulogies. As I noted in previous blog-posts, I had the great fortune to have been spellbound by the music and artistry of Miss Sarah Vaughan, Mr. Billy Eckstein, and Mr. Baraka, the music-poet.
   This evening as I write this, I'm listening to discs from the Hank Mobley10-CD set Kind of Mobley. The playing and the musicianship on these recordings is so strong. Art Farmer, Lee Morgan, Jackie McLean, Horace Silver, Donald Byrd, Art Blakey, Kenny Clarke, Doug Watkins, and Milt Jackson said what they had to say musically - no tricks and no footnotes required; just like Roy Eldridge and Amiri Baraka. Fetch Baraka's India Navigation recording with David Murray and Steve McCall - if you've hung with me up to this point, you know who these musicians are, what their respective horns were &c.
   Those who know and who desire to know suggest that immortality resides in the good that one has contributed and set out during one's lifetime. My bet is that those who I've mentioned herein are immortal because of the work that they've done, because of the music they've created, because of their compositions, poetry, and plays.
   Just listen to Messrs. Eldridge, Mobley and Baraka's music-poetry - no footnotes required.

http://www.youtube.com/watch?v=FJnSpL2Y-gk

http://www.nydailynews.com/new-york/uptown/amiri-baraka-honored-posthumously-harlem-article-1.1605063