The date: October 12, 1931. A sixteen year-old white male from Austin High School in Texas, who in later years would help shape the future of the United States, bought a ticket to see "Louis Armstrong, King of the Trumpet, and His Orchestra" at the old Driskill Hotel. He knew nothing about jazz or this "King," he recalled many years later, but did predict that a lot of girls would be at the dance. So, of course, he figured he should attend. What he heard and saw astounded him.
"Steamwhistle power, lyric grace, alternated at will, even blended," he recalled. "Louis played mostly with his eyes closed; just before he closed them they seemed to have ceased to look outward, to have turned inward, to the world out of which the music was to flow."
Armstrong was 31 years old at the time. He had already changed the world of American music with his Hot Fives and Hot Sevens records and was spreading the gospel of jazz with a big band. A few weeks after this concert, Armstrong would record versions of "Stardust" so instrumentally stunning and vocally different from the original as to be placed in the category of the avant-garde. "Pops" was at a peak of creative power.
The young man, named Charles, was a freshman at Austin High studying Greek classics. Charles had cordial relations with black folks, and liked most he knew, especially an elder named Buck Green. Green was born and raised enslaved. When Charles was 10 years old, Green, then 75, taught him how to play harmonica. Yet, overall, whites in Austin, Texas mainly saw American Negroes in a servant's capacity. Charles later realized that black professionals and intellectuals were there too, but those sorts of "colored" folk were invisible, simply because people refused to see them.
So nothing prepared Charles for what Louis Armstrong represented: "He was the first genius I had ever seen...The moment of first being, and knowing oneself to be, in the presence of genius, is a solemn moment; it is perhaps the moment of final and indelible perception of man's utter transcendence of all else created. It is impossible to overstate the significance of a sixteen-year-old Southern boy's seeing genius, for the first time, in a black."
Charles, by the time of these reflections in 1979, had already made his mark on history, and was an old lion reflecting on his life. He recalled that back in those Depression-era days some black folk "were honored and venerated, in that paradoxical white-Southern way" but as for genius"fine control over total power, all height and depth, forever and ever? It had simply never entered my mind, for confirming or denying in conjecture, that I would see this for the first time in a black man. You don't get over that."
That night, Charles was standing in the crowd with "a 'good old boy' from Austin High. We listened together for a long time. Then he turned to me, shook his head as if clearing itas I'm sure he wasof an unacceptable though vague thought, and pronounced the judgment of the time and place: 'After all, he's nothing but a God damn nigger!'
"The good old boy did not await, perhaps fearing [a] reply. He walked one way and I the other. Through many years now, I have felt that it was just then that I started walking toward the Brown case, where I belonged. I realized what it was that was being denied and rejected in the utterance I have quoted, and I realized, repeatedly and with growingly solid conviction through the next few years, that the rejection was inevitable, if the premises of my childhood world were to be seen as right, and that, for me, this must mean that those premises were wrong, because I could not and would not make the rejection. Every person of decency in the South of those days must have had some doubts about racism, and I had mine even thenperhaps more that most others. But Louis opened my eyes wide, and put to me a choice. Blacks, the saying went, were 'all right in their place.' What was the 'place' of such a man, and of the people from which he sprang?"
Charles didn't deny the blinding, Saul-on-the-road-to-Damascus-become-Paul experience that transformed him that night. He accepted what he heard and felt and what he knew he saw. When brought face-to-face with an "other" who, in society, represents all equated with "inferior," yet that other is the total opposite of society's judgmentis not only "superior" but geniusyou have a choice to make. Charles had to make a moral choice whether to go against the social norms about "race" in his Southern white upbringing. He eventually became, according to that upbringing, a traitor to his race and his class, what the redneck "good old boys" would later call an unrepentant "nigger-lover."
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.