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Yusef Abdul Lateef “William Emanuel Huddleston” “William Evans”

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Yusef Abdul Lateef “William Emanuel Huddleston” “William Evans” 1 The TENORSAX of YUSEF ABDUL LATEEF “WILLIAM EMANUEL HUDDLESTON” “WILLIAM EVANS” Solographer: Jan Evensmo Last update: Aug. 28, 2018 2 Born: Chattanooga, Tennessee, Oct. 9, 1920 Died: Dec. 23, 2013 Introduction: I remember it took us a long time to discover Yusef Lateef, we were all occupied with Sonny Rollins, Dexter Gordon and other flashing tenor saxophone players. Not until much later we discovered that he was one of the very greatest on this instrument, as well on flute and with a musical scope reaching far longer than most contemporaries. Early history: Grew up in Detroit, Michigan from 1925. Started on altosax but changed to tenorsax, influenced by Lester Young. Launched his professional career at the age of 18 and begin working and touring with Lucky Millinder, Hot Lips Page and Roy Eldridge, in New York from 1946. In 1949 was invited to tour with Dizzy Gillespie. Went back to Detroit in 1950 and began his studies in composition and flute at Wayne State University. Converted to Islam as a member of the Ahmadiyya Muslim Community. Numerous recording sessions from 1957. His ‘Eastern’ influence made him use many non-western instruments along with his flute and tenorsax (ref. Wikipedia). 3 YUSEF LATEEF TENORSAX SOLOGRAPHY EUGENE WRIGHT & HIS DUKES OF SWING / THE DOZIER BOYS & EUGENE WRIGHT Chi. Oct./Nov. 1948 Personnel believed earlier to be: Hobart Dotson, Gail Brockman (tp), John Avant (tb), Roy Grant, Frank Robinson (as), William “Yusef Lateef” Evans, Melvin Scott (ts), Van Kelly (bar), Herman "Sonny" "Sun Ra" Blount (p), Eugene Wright (b), Robert Henderson (dm), The Dozier Boys (vo - 9545,48). However, recent info states that YL had left the band before this recording session, and that Brockman and Grant also did not make it. Four titles were recorded for Aristocrat: UB9545 Big Time Baby Solo with orch 12 bars. (M) UB9546 Pork 'N Beans 4 bars duet 1/1 with (bar) in intro to 12 bars riffing with ens to break 4 bars to solo 24 bars. Solo 12 bars to coda. (M) UB9547 Dawn Mist Solo 12 bars to coda. (S) UB9548 Music Goes Round And Round Solo with orch 32 bars. (FM) Early version of the YL solography wrote: “A great and exciting orchestra, a terrible misfortune that it recorded only four sides of which only two have been available. Interesting soloing on piano, trumpet and baritonesax as well as fascinating arrangements, introducing a colourful, new modern tenorsax player!! "Pork ..." is an r&b item, but YL puts a lot of notable details into it, and in "Dawn ..." he takes a majestic slow chorus with a particularly beautiful opening. A very important chapter in modern jazz tenorsax history”. We are now in 2017, the Dozier Boys items have appeared with equally exciting tenorsax playing, rough but out of the ordinary in this genre. Who is it then, Melvin Scott? We have chosen to let the session remain here with these postscripts. Joined Dizzy Gillespie probably Jan. 9, 1949 at the Edgewater Beach Ballroom in San Francisco. DIZZY GILLESPIE & HIS ORCHESTRA LA. Jan. 12, 1949 Personnel probably similar to below. Date also given as Aug. 31, 1949. “Just Jazz” concert at the Shrine Auditorium. The following titles have tenorsax: Rhumbop Concerto Solo 16 bars. (M) Oop-Pop-A-Da (NC) Solo with orch and noise 6 choruses of 12 bars (NC). (FM) The rather light style of the tenorsax solo on “… Concerto” makes us doubt that this really is YL. Through all the noise on “Oop- …” however, YL’s tone and dynamic horn comes clearly through. same? Personnel similar to above. Date also given as Sept. 14, 1949, but the reference to Chano Pozo’s untimely death (Dec. 1948) makes this unlikely. “Just Jazz” concert from the Shrine Auditorium, but no tenorsax soli. DIZZY GILLESPIE & HIS ORCHESTRA NYC. April 14, 1949 Dizzy Gillespie, Willie Cook, Benny Harris, Elmon Wright (tp), Andy Dureya, Sam Hurt, Jesse Tarrant (tb), John Brown, Ernie Henry (as), Joe Gayles, Yusef Lateef (ts), Al Gibson (bar), James Forman (p), Al McKibbon (b), Teddy Stewart (dm), Willie "Babo" Guerra (cga), Johnny Hartmann, Joe Carroll (vo). Four titles were recorded for Victor, one has tenorsax: 472-1 St. Louis Blues Solo 24 bars. (FM) NYC. May 6, 1949 Same. Three titles were recorded for Victor, one has tenorsax: 1011-1 Jump Di-Le Ba Solo 24 bars. (FM) The tenorsax solo on "St. Louis ..." is in the background, but there is no doubt that a new modern interesting tenorsax star is entering the scene (confirmed by YL himself), although he seems afraid or too modest to express himself too strongly. 4 Better then is "Jump ..." with several interesting details, placing YL immediately in the "new star" category. It is now quite probable that the Victor recordings are the first YL items. DIZZY GILLESPIE & HIS ORCHESTRA NYC. June 1, 1949 Same/similar. Broadcast from the Apollo Theatre. One title, “Cool Breeze” not available. NYC. June 22, 1949 Same/similar. Same location. Three titles, “Ray’s Idea”, “Ow!” and “Cool Breeze”, not available. DIZZY GILLESPIE & HIS ORCHESTRA NYC. July 6, 1949 Same, except Charles Greenlee, J. J. Johnson (tb) replace Dureya and Tarrant. Four titles were recorded for Victor, one has tenorsax: 1793-1 Hey Pete, Let's Eat Mo' Meat! Solo 8 bars. (M) Compared to "St. Louis ...", we are not quite sure this solo without modern phrasing really is played by YL. DIZZY GILLESPIE & HIS ORCHESTRA Hollywood, possibly Oct. 1949 Personnel probably as July 6. Date has been suggested to be June/July. AFRS Jubilee No. 357 and 359. One title has tenorsax: Ray's Idea Solo 64 bars. (F) The "... Idea" has a somewhat defect start, but otherwise this solo is modern and quite personal. YL is introduced before the number starts, so no identification problems here.. Left Dizzy Gillespie in Oct./Nov. 1949 and went back to Detroit. CHARLES JOHNSON ORCHESTRA Detroit, ca. 1949-52 Personnel including Bill Evans (ts), Park Adams (bar), Willie Anderson (p) among others according to label. Two titles were recorded for Prize, not available. KENNY BURRELL AND THE FOUR SHARPS Detroit, ca. 1953 Probable personnel: Yusef Lateef (fl-“Funny ...”, ts-“... Sound”), Tommy Flanagan (p, vib?), Kenny Burrell (g), Billy Burrell or Al Jackson (b), Elvin Jones or Hindel Butts (dm). Two titles were recorded for J-V-B, (fl) ‘only’ on “Funny Valentine” but: Kenny’s Sound Solo 16 bars. (FM) A very interesting item recently made available with YL allotted half a chorus after a full guitar chorus. No problem of identifying him, his sound is already the same ripe and personal one we enjoy so much in later years. Good playing also! DONALD BYRD SEXTET Detroit, Aug. 23, 1955 Donald Byrd (tp), Bernard McKinney (euph), Yusef Lateef (ts), Barry Harris (p), Alvin Jackson (b), Frank Grans (dm). Seven titles were recorded live for Transition by the New Music Society at the World Stage, issued as ”First Flight”: Parisian Thoroughfare Solo 64 bars. (F) Yusef Solo 64 bars to very long coda. (S) Shaw ‘Nuff Solo 64 bars. (FM) Blues Solo 6 choruses of 12 bars. Soli 4 and 4 bars. (FM) Torsion Level Solo 64 bars. (FM) Woody’n You Soli 8 and 32 bars. (M) Dancing In The Dark Break to solo 64 bars. (M) At last, YL is back!! After demonstrating his competence with a few examples of his tenorsax playing in the late forties, he has been incommunicado in Detroit for half-a-decade. Luckily the Byrd group got the opportunity to record in concert, and right away YL tells us that he belongs to the most important of contemporary modern tenorsax performers. His feature number, the slow “Yusef” is a true masterpiece, ‘one of the most moving tenorsax soli in this book’ (written in the 5 tenorsax volume 1955-59)!! If YL never had recorded anything but this simple, slow, emotional item, he still would have been a legend. Only Dexter Gordon’s best slow ballads may be compared to this!! The remaining four items are in medium and up, all featuring strong, dynamic and charismatic tenorsax performances of a quality few of his mates could match. The “Blues” is played with strong feeling and confidence, and the remaining four standards are of the same high quality. Note in particular “Woody’n …” and above all the romantic “… Dark”, vow!! We look forward to more YL in the future!!! YUSEF LATEEF QUINTET NYC. April 5, 1957 Curtis Fuller (tb), Yusef Lateef (ts, argol, gourd), Hugh Lawson (p), Ernie Farrow (b, rebab), Louis Hayes (dm, perc), Doug Watkins (fingercymbals, perc). Seven titles were recorded for Savoy: 70005 Beauregard Soli 64, 4 and 4 bars. (F) 70006 O’Blues Solo 6 choruses of 12 bars. (SM) 70007 Happyology Soli 8, 64, 8 and 64 bars. (FM) 70008 Midday Soli 64 and 8 bars. (SM) 70009 Polarity Solo 64 bars. (M) 70010 Ameena Soli 64 and 16 bars to long coda. (S) 70011 Space Solo 2 choruses of 36 bars. (M) Another 1 ½ years pass until YL gets his real breakthrough with his first Savoy recording sessions! And let it be stated right away; not one day too early. With YL the tenorsax community of the late fifties gets another star, an artist of extreme importance, one of the most inventive and creative jazz performers. He seems to have it all, playing a variety of instruments, although he concentrates on his main one, the tenorsax, here and always has with him exciting coperformers. The rather unusual trombone/tenorsax sound sounds beautiful here! Few contemporaries can play the slow tempo as loaded with emotion as YL, note “Ameena” as a masterly example! “Space” represents a typical example of his original concepts, an AABA- tune with A=8, B=12, and with such a swinging tenorsax solo1 “Happyology” is, as stated by Michael Cuscuna’s liner notes: “The most unusual selection here … opens with Afro-Latin percussion and African styled vocals … This piece is illustrative of his happiness, humor and cross-culturalization”.
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