Jon Hendricks: Still Creative, Still Outspoken

Jon Hendricks: Still Creative, Still Outspoken
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Jon Hendricks is still swinging madly and looking forward to upcoming projects—not only in New York, but all over Europe. Having interviewed the creator of vocalese once before, he was the first name I thought of when considering the maiden edition of this Jazz on the 90th Floor column (the name comes from the lyric to Cole Porter
Cole Porter
Cole Porter
1891 - 1964
composer/conductor
's "Down in the Depths" by the way). When I realized Hendricks is 90 years old, the match was too much to resist. During the course of our two conversations, Hendricks opened up about a variety of topics that reveal his fond memories, keen humor, enduring professionalism, and a willingness to challenge the very history of jazz as it is usually taught. He would sometimes deviate the conversation from my original question, but when the man talking is as fascinating as Jon Hendricks, you just go where the flow takes you.

All About Jazz: Tell me about your gig coming up at Dizzy's Club Coca-Cola, at Jazz at Lincoln Center.

Jon Hendricks: I'm going to be a guest of [singer] Sachal Vasandani
Sachal Vasandani
Sachal Vasandani

vocalist
.

AAJ: How did that come about?

JH: We worked together before. I did a guest on his album, so we'll do at least those two tunes ["One Mint Julep" and "Hi Fly," from Hi-Fly (Mack Avenue, 2011)].

AAJ: This Dizzy's gig is several nights back to back and that's unusual compared to most jazz gigs these days.

JH: Yeah, but that's because of Sasha.

AAJ: The last time we spoke you told me about a concert in England to debut a Miles Davis
Miles Davis
Miles Davis
1926 - 1991
trumpet
piece.

JH: I'll put it on this November. It's the Miles Ahead (Columbia, 1957) album in vocalese. The choir is from the Royal Academy of Music. After England, it will go all over Europe. I wrote lyrics to what Miles and the band did together and that's what we sing. It's going to be like the orchestra, but instead of the instruments, they'll be voices, and I wrote words for everything. I'll be singing Miles' solos.

AAJ: How do you think Miles would feel about that?

JH: He liked me singin' his solos. When I wrote the words to "Four," he said [imitating Davis' raspy voice], "Yeah, Jon."

AAJ: How do you reproduce Miles playing with a mute?

JH: Just sing softer and maybe put your hands over your mouth.

AAJ: Tell me about your vocal group at the University of Toledo. How does it work that you are the director but live in New York?

JH: Well, since I am a distinguished professor and you can't fire distinguished professors, if I need to take off days for my work here or in the world, then I can do that. They don't much like it, but I do [laughs].

AAJ: Following up on a topic I know you have strong feelings about, tell me more about who you think wrote "Stardust."

JH: Luckey Roberts
Luckey Roberts
Luckey Roberts
1887 - 1968
piano
. His family was West Indian and they named him Luckeyeth, but that got shortened to Luckey. He was a great stride pianist who hung around James P. Johnson
James P. Johnson
James P. Johnson
1894 - 1955
piano
and Fats Waller
Fats Waller
Fats Waller
1904 - 1943
piano
. Lucky Roberts wrote "Stardust" and sold it for 25 bucks. A lot of songs were written by black people, like "I Can't Give You Anything But Love" has white songwriters listed but the black people sold it. That was the only way they could make money 'cause ASCAP wouldn't let them in. That's one of the disgraceful aspects of American history. And these great songs like "Stardust" get written by Luckeyth Roberts and sold for 25 dollars to Hoagy Carmichael
Hoagy Carmichael
Hoagy Carmichael
1899 - 1981
piano
. If you hear Hoagy play, you know he never could have written that song. Mitchell Parish, who wrote the lyric, I played him Louis Armstrong
Louis Armstrong
Louis Armstrong
1901 - 1971
trumpet
's "Stardust," where he sings the verse:

Luckey Roberts way;

Over and over and over and over and over 'til it's the end of the day.

When Lucky plays, everybody sings;

If it's Lucky's tune, you know it swings.


I invited Mr. Parish out to lunch with Phoebe Jacobs as a witness and I played that for him. He turned to her and said, "How the hell did he know that?" He proved it.

AAJ: There are people who will question that.

JH: Well, you question it if you want, but I don't have to question it because I know what the answer is.

AAJ: Were there songs you wrote that you never got credit for?

JH: Well, "Watermelon Man." That was my lyric, but Herbie Hancock
Herbie Hancock
Herbie Hancock
b.1940
piano
decided to forget that he asked me to write it, so he didn't pay me anything. And it was a worldwide seller too. He was a real good businessman, but I wouldn't recommend you doin' any business with him [laughs].

That's happened a lot, that I didn't get credit. I used to stand on a street corner with Quincy Jones
Quincy Jones
Quincy Jones
b.1933
producer
in front of the Brill Building and we'd try to get our tunes published. I was always hanging out down there. Frank Loesser had a song factory up on the fifth floor where he had young writers writing tunes, but he'd put his name on them. Two guys who did that for him were Adler and Ross. Adler wrote the words and Ross the tunes. They used to come out for lunch and us guys on the corner would say, "Here come Adler and Ross: the two evils of Loesser" [laughs].

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