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Toots Sweet

AAJ Staff By

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When most people think of the harmonica, they usually picture Ackroyd and Belushi soulin' it up in black suits, southern fried wah-wah blues or a scene from within a jail cell at state prison. Now that's not jazz. But, one man managed to create something unique with the harmonica that no one could ever imagine in the complex world of Be Bop. That man is "Toots" Thielemans.

Toots' kaleidoscopic form can take you on a dreamy ride to faraway places, be it Paris, Brazil, New York or Brussels. Wherever you choose, it stirs your soul. His Be Bop can be playful and witty, but with a beautiful ballad, his haunting harmonica can bring you to tears in a heartbeat. It is said his music is somewhere between a smile and a tear and is to the harmonica, what Segovia's music is to the violin.

"It's like a painting with a lot of pastel colors," Toots says. "It's not red, it's not black. It's some of those tones in between. An A Minor 7th chord or Major 7th chord are not major or minor. They're in between. So between major and minor, between happy and not so happy, these are the notes," Toots explains. An example of this can be found on his arrangement of "You Don't Know What Love Is."

Incredibly, no one can reinvent the masterpiece of Be Bop played on harmonica. It belongs to Toots alone. All others are mere reproductions. "Because the phrasing of the instrument is difficult, trying to duplicate a Charlie Parker piece verbatim is impossible," says Toots. "Like C followed by D, you cannot bind them. You hear the break between each note," Toots says. "You have to absorb all the notes mentally, then squeeze them and put them into a harmonica blender and see what comes out," he laughs.

You need only hear Toots speak to understand why his harmonic timbre is so stirring. It is the sweetness, the tenderness of the spoken man that translates his deepness, his fullness for life into a weeping sorrowful melody, a warm Bossa or a sassy Be Bop.

As early as age three, Toots showed his love of music by playing a homemade accordion in his parents' Belgian pub. Larry Alder's pop harmonica was the inspiration that made Toots start to play the harmonica at age seventeen. Musicians told Toots to throw away the harmonica and play a "real" instrument if he wanted to be a good jazz musician. So, when a friend gave Toots a guitar, he put his harmonica away in his dresser drawer.

Listening to British radio broadcasts of the swing big bands, Toots was captivated with the intensity of Django Reinhardt. Toots said he never went to music school and what he learned was from the "horse's mouth, so to speak." Many jazz legends never took any formal training. Some couldn't even tell you in what key they were playing. Like Chet Baker, it was their passion for the art that compelled them to become self-taught geniuses of jazz.

During the World War II, American music was blacked out from coming into Europe. When Toots heard Dizzy Gillespie on the radio he was not unlike many European musicians who flipped for the new Be Bop sound. Toots' said his first Be Bop record he bought was a 78rpm with Dizzy on one side and Milt Jackson on the other. "Those were very fascinating years," said Toots. During that time, Toots played in many American GI clubs in Europe and in 1949, he shared the bandstand with Charlie Parker at the Paris Jazz Festival.

He began to develop his own Be Bop style on the guitar, but the day he put his old harmonica to his lips and played a few Charlie Parker licks, that was it! He never put his harmonica away again. Although his original reputation was made as a guitarist, it is his harmonica and whistling that have made him a legend in his own time.

Toots first came to the United States in the late forties. He met many jazz legends in New York and never missed an opportunity to play. When Benny Goodman heard Toots' arrangement of "Stardust," Benny asked Toots to join his tour in Europe in 1950. Toots was really making his mark, but to further develop his art, he wanted to go back to the United States where the jazz inspiration was foremost. "I had to wait six months before I could get a steady job, he said. "I went around to all the jazz clubs. There were those Monday nights at Birdland. I got up and checked myself out," Toots laughed.

When Toots played with his friend Charlie Parker in Philadelphia, he didn't know that George Shearing was in the audience. As things and time would have it, in 1953 George asked Toots to join his Quintet playing guitar and harmonica. "The Shearing sound was a beautiful sound," said Toots. "The vibraphone played the melody on top, the guitar played the same melody in unison an octave apart, and George made the block chords to make it a total sound with some very elegant harmony." After six years of the Shearing touch, Toots left the band in 1959 to do his own thing.



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