Julius Watkins and the Evolution of the Jazz French Horn Genre
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JULIUS WATKINS AND THE EVOLUTION OF THE JAZZ FRENCH HORN GENRE By PATRICK GREGORY SMITH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Patrick Gregory Smith This dissertation is dedicated to the memory of Donald A. Carlson (1948-2001). ACKNOWLEDGMENTS In my efforts to “channel Julius” I have had support and guidance from numerous individuals who deserve my heartfelt thanks and personal gratitude. I cannot overstate my appreciation for my degree supervisor, Dr. David Z. Kushner. With his enthusiasm, teachings, and inspiration, he has helped to increase my passion for music history and, in turn, made me a more competent educator. Throughout my dissertation writing period, he provided support, sound advice, good company and plentiful commentary. I would have been lost without him. I would like to thank Dr. Paul Basler for his guidance, mentorship, empathy and musicality. His encouragement for the performance of non-traditional repertoire for our instrument has caused a significant broadening in my own musical tastes. He has been a teacher and a colleague, and because of him, I am a better horn player and, ultimately, a better person. I would like to thank the other members of my supervisory committee, Dr. Art Jennings, Dr. Leslie Odom, and Dr. Eldon Turner, for their individual help and insightful teachings over the previous semesters. I am grateful to Dr. John Duff whose endless encouragement and generosity in supporting my musicological endeavors has been most appreciated. I am also indebted to Dr. David Waybright, who has been unwavering in his dedication to help me become more adequately prepared for a career in higher education and the professional music world. iv I would like to thank all of those in New York who offered assistance with this endeavor. I thank Tom Varner for his endless encouragement and unquenchable enthusiasm of this project, “WIS” Smith and Vincent Chancey for their openness in sharing memories of Julius with a total stranger, Peter Hirsch and Mark Taylor for their valuable insights, and Dolores Beck-Schwartz for her love and support to ensure that Julius’ story was finally told. Also, I would like to offer my sincere thanks to Linda Aginian and Philip Zoellner, registrars in the admissions office at the Manhattan School of Music, for their cooperation and assistance. I am eternally grateful for the love and support of my parents who have been at my side through every tumultuous step over the past year. Their financial assistance, compassion, encouragement and (brotherly) love have been integral items which have helped to propel me forward along this journey. I thank my entire family, aunts, uncles, cousins, grandparents, and especially my son, Riley, for endless prayers, patience and understanding. Finally, I thank my own “Harriette Davison,” Kristin, who has not only been literally at my side through the course of my research, but more importantly has been the wind in my sails, my lifesaver, and a living example of unconditional love. Over the past eighteen months, I have immersed myself in the life details of Julius Burton Watkins. At times, I have felt as though he was with me on this journey; guiding me to seek answers to the countless questions surrounding his mysterious time spent on Earth. I feel as though something or someone, perhaps Julius himself, guided me to the Woody Home for Services to meet director John Lee, to the Manhattan School of Music Admissions Office and to the United Memorial Gardens outside of Detroit. The presence which I felt at Julius’ grave in Plymouth, Michigan, remains to this day one of the most v unforgettable moments of my life. I would like to thank Julius posthumously for breaking new ground in the world of music, promoting awareness for new styles of musical appreciation, and inspiring me to become a better human being. vi TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES ........................................................................................................... ix ABSTRACT....................................................................................................................... xi CHAPTER 1 INTRODUCTION ........................................................................................................1 Purpose of Study...........................................................................................................2 Methodology.................................................................................................................3 Review of Literature.....................................................................................................3 2 THE MAN BEHIND THE MUSIC............................................................................30 3 THE MUSIC BEHIND THE MAN............................................................................61 4 THE EVOLUTION OF THE JAZZ FRENCH HORN GENRE SINCE 1977 ..........75 5 SUMMARY AND CONCLUSIONS.........................................................................99 APPENDIX A CHRONOLOGICAL DISCOGRAPHY OF ALL ALBUMS FEATURING JULIUS WATKINS..................................................................................................104 B A RECORDED INTERVIEW OF JULIUS WATKINS AND CHARLES ROUSE, CO-LEADERS OF THE JAZZ MODES, BY GARY KRAMER OF ATLANTIC RECORDS...........................................................................................159 C A RECORDED INTERVIEW OF WARREN “WIS” SMITH, PERCUSSIONIST, AND FRIEND OF JULIUS WATKINS, BY PATRICK SMITH, RECORDED ON MARCH 11, 2004..............................................................................................165 D A RECORDED INTERVIEW OF TOM VARNER, JAZZ HORN PLAYER AND STUDENT OF JULIUS WATKINS, BY PATRICK SMITH, RECORDED ON MARCH 11, 2004..............................................................................................184 vii E EXCERPTS FROM A RECORDED INTERVIEW OF PETER HIRSCH, JOURNALIST, HORN PLAYER AND COLLEAGUE OF JULIUS WATKINS, BY PATRICK SMITH, RECORDED ON MARCH 11, 2004 ................................198 LIST OF REFERENCES.................................................................................................206 Articles......................................................................................................................206 Books ........................................................................................................................208 Electronic Sources ....................................................................................................209 Interviews .................................................................................................................210 Liner Notes ...............................................................................................................210 Photographs ..............................................................................................................211 BIOGRAPHICAL SKETCH ...........................................................................................213 viii LIST OF FIGURES Figure page 2-1 Cass Technical High School ....................................................................................33 2-2 Julius Watkins, from his Sextet vol. 2 session, March 20, 1955. Photo taken from Blue Note Jazz Photography of Francis Wolff, p. 145, .................................41 2-3 Undated photograph of Julius Watkins and Charlie Rouse......................................44 2-4 Quincy Jones’ Big Band on the set of Free and Easy at the Paris Alhambra, 1959..........................................................................................................................50 2-5 Apartment of Julius and Harriette Watkins, 136 Lincoln Street #A-10, Montclair, NJ............................................................................................................54 2-6 Home of Julius and Harriette Watkins, 20 Nishuane Road, Montclair, NJ .............55 2-7 Headstone of Julius Burton Watkins with horn of Patrick G. Smith .......................58 2-8 Undated photo of Julius Watkins with his Miraphone brand French horn ..............59 3-1 Julius Watkins and Les Spann during the 1960 Gemini recording session. ............63 3-2 Julius Watkins performing on his Miraphone French horn. Note the extra-large bell and body of the instrument................................................................................71 3-3 Examples of Julius Watkins’ embouchure in live performances ............................72 4-1 Photo of Tom Bacon, courtesy of the artist and his photographer, Michael Schwartz...................................................................................................................76 4-2 New York based jazz horn player, Vince Chancey..................................................79 4-3 Pictured from left to right are jazz horn players Marshall Sealy, Tom Varner and Vince Chancey .........................................................................................................84 4-4 Contemporary jazz horn soloist Tom Varner...........................................................85 4-5 Ken Wiley (right) with Jim Patterson, Eldon Matlick and Bill Bernatis .................89 4-6 Russian jazz horn player, Arkady Shilkloper, performing