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Oral History Center University of California The Bancroft Library Berkeley, California Gildo Mahones Gildo Mahones: Innovative Pianist and Composer in the Heyday of Modern Jazz Interviews conducted by Caroline C. Crawford in 2015 Copyright © 2016 by The Regents of the University of California ii Since 1954 the Oral History Center of the Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Gildo Mahones and Mary Mahones dated January 23, 2015. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. Excerpts up to 1000 words from this interview may be quoted for publication without seeking permission as long as the use is non-commercial and properly cited. Requests for permission to quote for publication should be addressed to The Bancroft Library, Head of Public Services, Mail Code 6000, University of California, Berkeley, 94720-6000, and should follow instructions available online at http://bancroft.berkeley.edu/ROHO/collections/cite.html It is recommended that this oral history be cited as follows: Gildo Mahones, “Gildo Mahones: Innovative Pianist and Composer in the Heyday of Modern Jazz” conducted by Caroline C. Crawford in 2015, Oral History Center, The Bancroft Library, University of California, Berkeley, 2016. iii Gildo Mahones iv Table of Contents—Gildo Mahones Interview History vi Interview 1: January 23, 2015 Audio File 1 1 Early years in New York City, family and music: 1929-1940 — Remembering Harlem: Living behind the Apollo Theater on 126th Street — Joining a band: The Young Dukes of Rhythm — From Louis Jordan’s Tympany Five to bebop: Playing at Minton’s Playhouse with Eddie “Lockjaw” Davis — Touring the South and witnessing racism with trumpeter Joe Morris:, 1948 — Returning to Minton’s and performing with Percy Heath and Kenny Clarke: 1949-1951 — U.S. Army service during the Korean War, 1951-1953 — Impressions of 52nd Street: Bud Powell, Thelonious Monk and others Interview 2: February 12, 2015 Audio File 2 16 Music in the Pentecostal Church — More about Kenny Clarke and Percy Heath — Leaders in Bebop: Bud Powell — Expanding the Minton’s trio to include Milt Jackson, Sonny Rollins, Jesse Drakes — The Milt Jackson Quartet and the evolution of the Modern Jazz Quartet — Drug use and jazz; bebop as protest — Performing with Lester Young at Birdland: 1953-1956 — Remembering Billie Holiday — Young in rehearsal and performance — Paul Quinichette — Lester Young and the Jazz Philharmonic Interview 3: February 19, 2015 Audio File 3 31 Performing with and composing for the Jazz Modes: 1956-1959 — Julius Watkins, French horn, and Charlie Rouse, tenor saxophone — Rouse leaves with Monk; Mahones goes with Bennie Green, 1959 — Performing with Lambert, Hendricks & Ross, 1959- 1965, setting words to jazz music — Newport Jazz Festival, 1961 — Meeting Mary Mahones — Playing with the Count Basie and Duke Ellington bands — “Jazz for Moderns” tour in Mexico with Lambert, Hendricks & Ross , 1961 — Lambert’s death and the end of Lambert, Hendricks & Ross, 1966 — Jon Hendricks’ Evolution of the Blues Song, with Jimmy Witherspoon, Hannah Dean and Ben Webster — Working with Ike Isaacs and O.C. Smith in Los Angeles, the late 1960s Audio File 4 49 Dave Brubeck’s The Real Ambassadors in rehearsal, the Monterey Jazz Festival, 1961 — Recording for Norgran, Columbia, Prestige, Blue Note and others, “Shooting High” — A birthday party with Carmen McRae, Sarah Vaughan and Esther Phillips — Performing with Harry “Sweets” Edison — More about Lester Young — On style and influence — v Moving to Los Angeles, 1966 — Touring Japan and Europe with the versatile Benny Carter and others — Living in Oakland with a daughter and grandson — More about Harlem and the Apollo and highlights of a long career — Lester Young: Another Chitlin’ Circuit tour in the 1950s — Reflections on racism [End of Interview] vi Gildo Mahones: Innovative Pianist and Composer in the Heyday of Modern Jazz Gildo Mahones, a bop-based pianist who grew up in Harlem in the 1930s and 40s and played with virtually all the jazz greats during the 1950s and 60s, agreed to be interviewed for the jazz oral history project at UC Berkeley’s Bancroft Library early in 2015 at the suggestion of Nadine Wilmot, a former interviewer in the oral history office. Mahones was born to Puerto Rican parents in the Spanish section of East Harlem in 1929. In 1940 the family moved to an apartment behind the Apollo Theatre on 126th Street, and many of the jazz greats he heard there as a teenager, including Duke Ellington and Count Basie, he eventually performed with in the 1950s. Mahones played piano and other percussion instruments in his parents’ Pentecostal Church in his early years, and during high school he formed an ensemble called The Young Dukes of Rhythm, modeled on Louis Jordan’s Tympani Five. The group played frequently during the open houses at Minton’s Playhouse, where Mahones would later be hired to play in a trio with Kenny Clarke and Percy Heath. In 1948 Mahones went on the road with trumpeter Joe Morris in the South and experienced for the first time racial segregation, something he had not seen in New York. In 1949 he was hired to perform at Minton’s Playhouse in a trio that soon expanded to include Milt Jackson, Sonny Rollins and Jesse Drakes. He left Minton’s to serve in the military and in 1953, at the suggestion of Jesse Drakes, became the pianist for Lester Young’s band at Birdland. He wrote dozens of songs, many of which were recorded with Young. “A dream might blossom into a song,” he said when asked about composing. In the oral history Mahones describes Young’s theory of playing, his particular use of language with his musicians, and his relationship with Billie Holiday. Because Lester Young was on the road a lot, Mahones left Young in 1956 to join Charlie Rouse and Julius Watkins and the Jazz Modes quintet, performing on the side with Coleman Hawkins, Sonny Stitt, and “all the saxophone players,” as he recalls. After the group disbanded in 1959, he performed with trombonist Bennie Green for a short time and then from 1959 to 1964 was part of the trio that backed the genre-bending popular vocalese group Lambert, Hendricks & Ross, performing with them at the Newport and Monterey jazz festivals and on tour in Europe. Mahones moved to Los Angeles in 1965 to perform with Joe Williams and Harry “Sweets” Edison at the Pied Piper club, and worked with vocalists O.C. Smith, Lou Rawls, James Moody, Big Joe Turner, and Lorez Alexandria, with whom he recorded several albums. In the 1970s he was sought after as a sideman in Southern California clubs and toured Japan and Europe with Benny Carter and with his own band. He and Mary, his wife of 45 years, eventually moved to Oakland to be near their daughter and grandson. He practices most days and performs at local clubs and galleries. vii The interviews were held in the Bancroft Library and in the Mahones home in Oakland. Mary Mahones took part in some of the interviews and talked animatedly about her encounters with such great jazz figures as Count Basie. Mahones addressed a wide range of issues around jazz: growing up in Harlem, the advent of bebop and its luminaries, jazz vocalism, racism. He speaks in an easy, laid-back fashion that is as effortless as his playing style. The text was read and approved with little editing. Caroline Crawford Music Historian, Oral History Center The Bancroft Library UC Berkeley August, 2016 1 Interview 1: January 23, 2015 Audio File 1 Crawford: January 23, 2015, interview number one with Gildo Mahones, for the oral history office, University of California. Let’s talk about your early years. 01-00:01:11 Mahones: I was born in New York in 1929, and then I went back to Puerto Rico, and stayed in Puerto Rico for two years. And then we came back here and stayed in the States. Then my mother married. My stepfather was from Venezuela and that’s how I ended up in the States. We lived there, and work was very slow for my parents. So they had these parties, called house rent parties. They would hire musicians. I remember when I was about four or five, I got to go onstage. There would be a guitar player, a drummer—bongos, congas, that type of thing. Crawford: Could you talk about the various instruments that you remember hearing? 01-00:02:35 Mahones: I heard the conga and bongos, the guitar, and I think it was the clarinet.

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