JamesJazz

I'll admit to a certain fondness for H. Alan Stein's notes (blurbs, really) on Savoy.

Jackson is on the 10/31/49 Walter Brown session, and the McShann b'cast c.1943.

Saw Jackie only once, a mid-1980s reunion with Donald Byrd, in Detroit. Wish it had been recorded. Easy, relaxed gig, both men in fine form, if memory serves they had not worked together for quite some time. They kept playin' the dozens, some of the quips were hilarious, stuff like "Donald didn't learn how to tie his shoes until he came to New York" etc. Back and forth...you know Donald doesn't let someone else get in the last word...

It's true Roy had mental health issues, but he was a strong part of the Detroit music community and spent much time teaching youngsters how to play, behave, appreciate the strength and power of music. So many folks focus on his health issues but it was his CREATIVITY that drew people to him... Bassist Marion Hayden told me about spending days in Roy's basement, it was a gathering place for neighborhood children, and M'Jumbe taught them about music, and about life. The man was a griot. Check out his "Duet In Detroit"...

Have heard Regina over the years with several different groups. Most of the time she was really good. Think it depends in part on the company she keeps. She has fire and passion when she's inspired. I'd invest.

Hey, Wiggy...we should get together soon.... Abe Woodley died at least twenty years ago, don't have the exact year to hand. Wig is right, Walden's CDs are really good. Donald's an Associate Prof at U of M and occasionally leads groups around town, absolutely worth hearing. He had a group at Baker's last year was one of the most exciting nights I can remember, Rick Roe, Ralphe Armstrong, Sean Dobbins. Pure post-bop madness. Dan, the "Donald Waldon" associated with Mir-A-Don records isn't "Donald Walden" ("another imposter!" was Donald's comment...)

Dan, It's actually 'Walden' not 'Waldon'. I'll ask him.

Hey was a pleasure to meet Greg, Paul and of course the guys what play in the band... You sounded really good. Sound varied from the 'classic' Jimmy Smith beefy grease to a minimalist sound...very 'today' it was. Drew is a fine drummer, not many opportunities these days to hear him play. Glad Frank liked your sound, he was much impressed.

We will hold four seats as long as possible from 815 onwards. Tell John or Arnold you are with me.

PS - Lars and I have a history of Baker's on our website - www.detroitmusichistory.com

I'll try and hold seats....if I know how many are coming....but they tend to vaporize (the seats, not the people...). Jim, I will certainly introduce myself. Meant to make your last gig but had a conflict...

Right you are, Greg...Baker's is NOT in a 'rough area' of town. Suggest arriving before 830, the place does fill up quickly. I'll be there for dinner around 8 or so - if you want to meet up, let me know. Peter, don't rely on public transport - get a car. You don't need to stay in Ann Arbor, the Hilton Garden Inn downtown is really nice, only about 10-15 mins from Baker's. And there are several good record stores in and around Detroit.

Didn't know "Round Midnight" was originally "11:45"...or that there was a Monk version recorded by Frozenpants...dare I ask if it still exists? Interestingly, Howard McGhee recorded "11:45 Swing"...was there something special about 11:45? And nobody better suggest it is special because it's .... AROUND MIDNIGHT.

First, thanks to Allen Lowe for expressing his viewpoint - prompted me to listen to more Dex! And I (think) I hear what Allen's talking about. Interesting. My favorite Dexter material are the Dials, Blue Notes and some of his later things. I love his sound, phrasing, drive and spirit...to me those qualities overwhelm any glibness or superficiality (laziness?) that surfaces occasionally.

First, thanks to Allen Lowe for expressing his viewpoint - prompted me to listen to more Dex! And I (think) I hear what Allen's talking about. Interesting. My favorite Dexter material are the Dials, Blue Notes and some of his later things. I love his sound, phrasing, drive and spirit...to me those qualities overwhelm any glibness or superficiality (laziness?) that surfaces occasionally.

Rodney Richardson

I interviewed Terry a few years ago - he's a 'dream interview' - interesting stories, sense of humor, loves to talk, didn't mind listening to his early recs. I really enjoyed his book, too.

Wow, an embarassment of riches! Start with Louis, end with Fats! Thanks so much.

Would ya check 6/15/50? Thanks!

I doubt that John Coltrane played an insincere note in his life - his music (esp. his later works) is infused with spirituality, at least to my ears. One may debate the motive behind his explorations, but to characterize his music as evil? Or call it the 'devils music'? Ever hear the interview he did with Nat Hentoff in which he tells the surprise and dismay he felt when his music was characterized as 'hatefull' or 'anti-jazz'? How often did he speak of love, or peace, or greater understanding, or helping humankind...does anyone here really believe 'Trane's later stuff is evil or hatefull or the devils music?? Maybe I'm missing something...perhaps his music, when placed in social context, isn't so different....remember the Liberation music Orchestra? Ornette Coleman? Sun Ra? These artists reflected the social zeitgeist. BTW, just a useless piece of information...Joe Brazil was a legendary figure (around Detroit, anyway) who hosted amazing jam sessions at his house 24/7....Trane participated whenever he was in town.

Perhaps I overeacted - in fact, I've never met a junkie whose goal was to get folks strung-out. More the opposite is true. And if you use dope for any length of time, you'll end up sellin' that stuff and the bigger your habit, the more you'll sell...and the more desperate you will become. I never met PC but have spoken to musicians who knew him pretty well during his early years in Detroit, and Paul had some problems. I also am wary of the impact of the internet - immediate and pervasive. And I guess I get defensive, sometimes, about musicians. How many times have we read about Billie's dope habit, her deathbed scene, etc? And people who don't give a rats ass about jazz pick that shit up and run with it. Anyway, Troyk, welcome and please don't allow my knee-jerk reaction spoil for you what is a very informative forum...

I grabbed this book after reading Allen Lowe's recommendation on the Jazz Research list and he's right - it's brilliant...horrific, beautiful, indeed a work of art. I know a woman who grew up in similar circumstances and I'm thinking about getting her a copy.

Scuse me, akanalog, I think the question here is if Troyk has 'solid knowledge' about PCs drug habits, not whether ValerieB does. What is the point of spreading gossip about the music/musicians we love?

Thanks for your kind words, I'm revamping Roy's bio and adding more details, will post it here since people are interested, and may also post it on our website. Lars Bjorn and I interviewed Roy in 1999, not long before he was arrested and sent to prison. I have many memories of Roy. Aside from his stellar talents, Roy was a kind and decent human being with a keen appreciation of history and a strong sense of community. More's the pity his disorder wasn't adequately treated. Jim www.detroitmusichistory.com

I know this is kinda long, I wrote it a few years ago when we had a benefit for Roy so's he would have some $$$ when he got out of prison. “When I saw Bird as a youngster, I made up my mind that all I would ever do is play music. Hopefully, music will flourish so the community will see musicians and want to be like them.” --Roy Brooks “Roy Brooks is a helluva drummer. He's got soul and fire and that extra something that all good drummers have. You've got to play, with Roy Brooks kicking you in the behind." --Horace Silver Roy Brooks: Master Drummer – Drummist – Drumologist Wit, Poetry In Motion, Link to Earlier Jazz Drummers Powerful Creative Force, Talent Nurturer Creative Soul with a Unique Perspective Mystical Afronaut, Wordsmith Michigan Jazz Master Performance Artist Artistic Truth Hip Verbalist Griot Pisces Basketball Star A Founder of M.U.S.I.C. Founder Member of M’Boom Aboriginal Percussion Choir-master B Natural with an F# Moon & C Rising Master Percussionist and C Sawman for Mingus Born in Detroit, March 9, 1938, to Roy and Katie Brooks. Roy’s childhood friends included Alice McLeod and Charles McPherson. His early mentors were Elvin Jones and Frank Gant, both of whom Roy met while hanging around the Blue Bird Inn. Brooks was also a star Basketball player in high school; despite his average height he was a fine dribbler and had a good aim. Roy began working professionally at age 12 and by the time he joined Horace Silver at age 21 he was a seasoned musician, having worked at the Blue Bird Inn with Lamonte Hamilton, Beans Bowles, Abe Woodley and BuBu Turner. Another memorable gig for the then nineteen-year old Brooks was at the Hajji Baba in a group led by Conga player / Vocalist Cuban Pete. Included in the band were Wilbur Harden, Will Davis and Beans Richardson. After a Las Vegas trip with Beans Bowles’ quartet and the 4 Tops, Brooks moved to New York City. Detroit musicians who were already established in Manhattan befriended him. He joined Horace Silver’s group in September 1959, and the way Roy got the gig is a classic jazz story: Fellow Detroiter Louis Hayes recommended Brooks, but Lex Humphries was also a contender. Roy’s first night with the band didn’t go very well; he was confused by Silver’s challenging music and didn’t hit all of the tempo changes or capture the nuances of the material. Things improved after a week, but one night Brooks came to work and the other musicians kept their backs to Roy when he got on the stand. “I thought, damn, cats don’t even want to talk to me, I’m playing so bogue,” he said. “Then Horace came up to me and said, ‘Miles wants to talk to you.’ So, we went over to the table and sat down. And Miles didn’t say NOTHIN’. Horace says, ‘Miles say if I don’t hire you he’ll hire you and have two drummers.’ Miles didn’t say NOTHIN’. So that’s how I got the gig.” Brooks remained with Silver until 1964. Over the next ten years Brooks kept busy on the competitive NY scene. He worked and/or recorded with musicians like Chet Baker, Sonny Stitt, Dollar Brand and Yusef Lateef. Roy was asked by Charles Mingus to join Mingus’ band in 1972; Danny Richmond left Mingus to work with the Mark-Almond Band, and Charles was looking for a replacement. He’d considered Joe Chambers, but didn’t like his playing – Mingus thought he “played like a girl.” Brooks and Mingus lived in the same apartment building, and he was familiar with Brooks’ work with Horace Silver. It was a good musical match. Both musicians have a slightly off-center vision of the world, and both have amazing talent. They’re also strong personalities who enjoyed each other’s company and imagination. The partnership lasted nearly three years. He came home in 1975 and started a firestorm of activity: he led a trio that backed up visiting musicians, recorded as both leader and sideman and shared his wealth of knowledge through M.U.S.I.C. [Musicians United to Save Indigenous Culture], which he founded with Marcus Belgrave and Harold McKinney. Brooks’ Aboriginal Percussion Choir offered younger musicians a chance to learn, and produced fresh sounds that delighted Detroit audiences. He was in Max Roach’s M’boom percussion ensemble. During the 1990s Brooks moved further into the realm of ‘Performance Art’ – he used the stage as a pallet, and non-musical paraphernalia to create sound- and sightscapes that fused street scenes with jazz rhythms. I remember a radio performance where Roy employed a tap dancer, a tape of a Joe Louis fight, a drum machine and several musicians in addition to his ‘normal’ drum kit. Roy Brooks always has a wealth of ideas, a unique perspective that often yielded startling results. As we go about our lives, let us remember and pray for our friend, our brother, our valued community member ROY BROOKS.