Jymie Merritt: Dedication Personified

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JYMIE MERRITTJymie Merritt came up in Philadelphia during the evolution of bebop and hard bop, when the town was a hotbed of musical activity. Players like John Coltrane
John Coltrane
John Coltrane
1926 - 1967
saxophone
, Benny Golson
Benny Golson
Benny Golson
b.1929
sax, tenor
, and Philly Joe Jones
Philly Joe Jones
Philly Joe Jones
1923 - 1985
drums
were getting started there, and musicians like Charlie Parker
Charlie Parker
Charlie Parker
1920 - 1955
sax, alto
, J.J. Johnson
J.J. Johnson
J.J. Johnson
1924 - 2001
trombone
, Dizzy Gillespie
Dizzy Gillespie
Dizzy Gillespie
1917 - 1993
trumpet
and Miles Davis
Miles Davis
Miles Davis
1926 - 1991
trumpet
would come to the city to perform and to mentor them.

Merritt soon spread his "on the road" wings with Art Blakey

Art Blakey
Art Blakey
1919 - 1990
drums
and the Jazz Messengers, including some memorable recording dates, and then did seminal work with Max Roach
Max Roach
Max Roach
1925 - 2007
drums
, also playing with many other groups during that career-expanding period. During his extended stays in his home town, Merritt established workshops called "Forerunners," playing a major role in keeping the Philly jazz scene alive and well. He continues to do the workshops at age 83, still going strong as a musician, composer and mentor.

On July 12th, 2009, at the Jazz Fair produced by pianist and University of the Arts Division Head of Graduate Jazz Studies Don Glanden and sponsored by the university and the Philadelphia Jazz Heritage Project, Merritt, along with keyboardist Trudy Pitts, received an award for lifetime achievement.

That occasion prompted the following interview with him, which is filled with memories and perspectives that only a totally immersed and committed musician such as Merritt could bring with him to a conversation. As will be apparent in the interview, his love of the music is matched only by his personal warmth and introspective intelligence.

Chapter Index

  1. Favorites and beginnings
  2. Jazz Messengers and the Max Roach Group
  3. A struggle with cancer
  4. What keeps him going


Favorites and beginnings

AAJ: Who are some of your favorite musicians to listen to?



JM: OK. I like Duke Ellington

Duke Ellington
Duke Ellington
1899 - 1974
piano
, Miles Davis, Oscar Pettiford
Oscar Pettiford
Oscar Pettiford
1922 - 1960
bass
.

AAJ: Who are your favorite bassists?

JM: I would say Oscar Pettiford and Ray Brown

Ray Brown
Ray Brown
1926 - 2002
bass, acoustic
.

AAJ: What about some favorite recordings?

JM: Well, Charlie Parker—just about everything he did with Miles Davis and Dizzy Gillespie also comes to mind.

AAJ: You came up in the bebop era, right?

JM: Actually, before then. My favorites back then and now included Count Basie

Count Basie
Count Basie
1904 - 1984
piano
, Lester Young
Lester Young
Lester Young
1909 - 1959
saxophone
, Coleman Hawkins
Coleman Hawkins
Coleman Hawkins
1904 - 1969
sax, tenor
, Art Tatum
Art Tatum
Art Tatum
1909 - 1956
piano
, and Benny Goodman
Benny Goodman
Benny Goodman
1909 - 1986
clarinet
. That's early on. I started listening to jazz in the early thirties. I also listened to recordings from before that period, such as Louis Armstrong
Louis Armstrong
Louis Armstrong
1901 - 1971
trumpet
, Bix Beiderbecke
Bix Beiderbecke
Bix Beiderbecke
1903 - 1931
cornet
, and Duke Ellington in particular.

AAJ: What made you choose the bass as an instrument?

JM: I guess my main influences were John Kirby

John Kirby
1908 - 1942
bass, acoustic
, who had a radio broadcast, and Duke Ellington's bassist, Jimmy Blanton
Jimmy Blanton
Jimmy Blanton
1918 - 1942
bass, acoustic
. And then with the Basie band, there was Walter Page
Walter Page
Walter Page
1900 - 1957
bass, acoustic
and his 4/4 approach. And of course, Slam Stewart
Slam Stewart
Slam Stewart
1914 - 1987
bass
.

AAJ: You and Trudy Pitts

Trudy Pitts
Trudy Pitts
1932 - 2010
organ, Hammond B3
are going to receive the Philadelphia Jazz Heritage Project awards for your respective lifetime contributions to jazz in Philadelphia. What are your thoughts about receiving this award?

JM: I'm sort of flabbergasted. Last year, I received the Don Redman

Don Redman
Don Redman
1900 - 1964
arranger
Heritage Award at Harpers Ferry, W. Va. But that was a different sort of award. I was kind of surprised about the local Philly response, because I was never active in later years in Philadelphia other than the workshops I ran at various churches in the '60s.

AAJ: Could you just tell us a bit about the Harpers Ferry award?

JM: They have a jazz festival each summer at the site of the John Brown memorial. The award was related to some of the recordings I've made. These were recordings with prominent groups. I've never recorded with my own group, and people have been asking me to do so.

AAJ: Are you starting a group of your own now?

JM: I've had my own group since the '60s. We've been playing together locally, but we haven't recorded. I just took a year off to write some new music, which we haven't played before and we're going to record that. So the music is complete, I have a new band-book, and we're getting together to rehearse it.

AAJ: What kind of group is it?

JM: Right now it's only five pieces. On keyboard, we have Colmore Duncan. On drums, there's Alan Nelson. Terry Lawson is on tenor sax. And Warren McLendon is the second keyboardist. Warren is actually a percussionist and we're using the keyboard in a different way. Of course, I'm the bassist.

AAJ: Would it be accurate to say that you've lived in Philadelphia most of your life?

JM: I was born here in 1926. I joined the Army in 1943 and returned to Philadelphia in 1946. Then, I went on the road in 1949 and ended up in New York City. For 12 years, I lived between NYC and Philly. I returned permanently to Philly in the 1970s and have been working here ever since.

AAJ: Having lived here for a good deal of your life, what is your take on jazz in Philadelphia? Do you like the younger generations of musicians here? Do you think there's enough opportunity to play jazz here? What are your views on the Philadelphia jazz scene as it is today?

JM: I think there was a time when there was more of a scene here that led to a proliferation of music because there were many places to perform and the musicians could develop their skills right here. I was just talking to my friend the drummer Charlie Rice—he's a little older than I am—and we were reflecting that nowadays there aren't many places to play.

And so people have to figure out ingenious ways to get their music performed and heard. In the past, there were times when there were quite a few places and you could keep working. And there was an ongoing network scene, with an exchange of information, and I remember that time vividly because there were a number of music schools, and all the guys were studying: Trane, Philly Joe Jones, and so on. So, everyone was studying and playing.

AAJ: You're talking about one of the most fruitful periods in the history of jazz, and especially in Philadelphia. I understand that Charlie Parker would come down here, Miles Davis, and so on.

JM: Yes, they would come over almost weekly at one time.

AAJ: From what I understand, there were two general gathering places. One was in various homes for rehearsals. I think McCoy Tyner

McCoy Tyner
McCoy Tyner
b.1938
piano
had people over to his mother's hair salon. The family of vocalist Miss Justine used to have musicians at their house. That's an amazing phenomenon—hasn't happened that often, that groups were often rehearsing in their homes, and you had guys like Trane, Benny Golson and Red Garland
Red Garland
Red Garland
1923 - 1984
piano
around. I suppose that was the equivalent of the more recent rock bands rehearsing in people's garages and basements.

JM: We'd often rehearse at my house. Jimmy Heath

Jimmy Heath
Jimmy Heath
b.1926
sax, tenor
's big band would come around.

AAJ: A big band rehearsal in your house?

JM: We had a very large house. When we'd finish a gig, everyone would still want to play, so we'd go to my house. We got together regularly on Sunday afternoons for quite a few years. We'd serve some fried chicken. And we'd just blow.

AAJ: That sounds like great fun and very productive at the same time. Another general location at around the same time, as I understand it, was on Columbia Avenue [now Cecil B. Moore Boulevard- eds.] in North Philadelphia near Temple University. There was a restaurant called Linton's.

JM: Oh, yeah. Right on Broad Street off Columbia Avenue.

AAJ: Yes, exactly. And were you involved with the guys who used to gather there?

JM: Yeah. I used to eat there. And when we'd finish eating, we'd leave a tip. And then Philly Joe would go around and collect the money for himself as we went out the door. [laughter]

AAJ: So he'd keep the tips!

JM: He was really ingenious.

AAJ: Who else was there besides Philly Joe?

JM: I remember tenor saxophonist Jimmy Oliver. He was playing at a place called The Downbeat at 11th and Ludlow. You could actually hear him when you got off the El train at 11th and Market. He was such a celebrity that he did very well in Philadelphia. He drove around in a super-charged car, I think an Austin or something. When he'd step out of that car, people would gather around him around the block—and that would continue for years. Wherever Jimmy Oliver was, you'd find Red Garland, Philly Joe, and most of the top players. He would also work at a place at the end of Ridge Avenue called the Point. And down from there was the Zanzibar, where they brought in mainstream players like Charlie Ventura, Coleman Hawkins, Bird and Bud Powell.

AAJ: What an exciting time that was! Did Oliver make any recordings?

JM: He did a thing locally called "Oliver's Twist." That was back in the '40s and he anticipated the dance by that name. He didn't record much, never left Philly. He played a Lester Young-style horn. He was very original, maybe the most original player I ever heard in Philadelphia. I think he was a natural, largely self-taught on the instrument.

AAJ: Guys like him are sometimes flamboyant, but they inspire and motivate their peers.

JM: They all loved him. The other musicians followed him around like the Pied Piper. And there was the Woodbine Club, the primary club in Philly, and everyone would play there on Sundays when the regular bar was closed. That happened often, so there was playing goin' on most of the time back then.


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