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Home , Coleman Hawkins, Gene Ramey, Gus Johnson (basketball), Henri Renaud, Margaret Johnson, Norman Granz

1 Addis: The 'Baptist Beat' in Modern Modern in Beat' The 'Baptist Addis:

“The ‘Baptist Beat’ in Modern Jazz:

Texan in City & New York” Produced by The Berkeley Electronic Press, 2004 “The ‘Baptist Beat’ in Modern Jazz: 2 Texan Gene Ramey in Kansas City & New York” 9 When the school’s school’s the When 10 Page, who also played the Page, 12 The bass was new but had been broken broken been had but new was bass The 11

8 However, territories also could be “taken over” over” “taken be could also territories However, 7

9 At Kansas City’s 1932 Battle of the Bands, Ramey met Walter Walter met Ramey Bands, the of Battle 1932 City’s Kansas At Ramey had always planned on getting a college degree, but Many of these groups came to be known as “territory minstrel vaudeville, of out emerged generally bands Territory during a move. For seventeen dollars, Ramey repaired it and began studying and playing. later and Devils Blue the of leader half-brother), Lip’s (Hot Page Orchestra. bassist for ’s tuba, tutored Ramey on bass, teaching him how to restrain his sound and support soloists while working rather a straight line” to “run Ramey how showed withinsection. Page a rhythm than increasing and decreasing with the pace. orchestra’s Page Owners Booking Association) organization. As the westernmost westernmost the As organization. Association) Booking Owners groups of repository the was City Kansas circuit, TOBA’s on stop return to means the without stranded often there, disbanded who to from wherever they originated. As an important and economy agricultural the was , city’s able railheadto support of out formed band whose Basie, “Count” Bill musicians. these and the Moten’s Blue Devils, was the best known of the large of stranded these groups from that formed piano-led orchestras musicians. he 1932, In scene. music vibrant City’s Kansas to drawn was he moved north, hoping to use a modest musical scholarship to University, Western from degree engineering electrical an attain outskirts (near sneaked located Brown where John on the city’s considered Ramey 1850s). the in River Missouri the across slaves but music, school elementary teaching or journalism in majoring Within professionally. playing in interested more became soon he in performing still while group own his organized had he year, a Republican for truck flatbed a on played even He band. school the campaign. gubernatorial 1932 Landon’s Alf University’s Western to himself help to Ramey told director band storeroom of instruments, Ramey grabbed a and that would later become Conn tenor the same silver favorite. Young’s Lester Tyler but moved to Austin. Alphonso Trent’s concerts from the Trent’s but to Alphonso moved Austin. Tyler the over and, radio WFAA on played Dallas in Hotel Adolphus “society Band’s Waldman Herman the heard Ramey hour, noon Antonio. in San Hotel the Gunther from broadcast swing” bands,” because they normally played within a limited region, that or was “territory,” usually within a day During drive or of two’s a performed. regularly they which on station, radio “home” Kansas in congregated territorybands these of many 1920s, the Kansas. City, George E. Lee, the Benny Moten Orchestra, the among were Joy of Clouds Twelve Kirk’s Andy and Devils, Blue famous. most the groups the pitted that “battles” turf in another by band one from against each other. circuit vaudeville black The bands. dance and acts, carnival shows, of the early twentieth century centered (Theateron TOBA the

3 5 In addition, addition, In 2 To help make ends meet, To 4 Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 2, Art. Iss. 4 [2004], Vol. History, Music of Texas Journal His favorite Band group, Eddie and Sugar Lou’s 6 Eugene Glasco Ramey (1913-1984) came from a family family a from came (1913-1984) Ramey Glasco Eugene

generous generous to interviewers, such as , Ross Ramey’s Pearson, and Nathan Postif, Russell, François his return to Texas in 1976, he reminisced about the role role the about reminisced he 1976, in Texas to return his Always other. the to one from transition the in played he memories detail how modern jazz evolved in Kansas City and New York in the and 1940s. and 1930s the in York New and City ability to play two styles—swing and —and, after bebop—and, and styles—swing two play to ability his friendships with Parker and provide Young insight into the music and personalities of two of the greatest saxophonists and improvisers of the twentieth century. century. of the twentieth and improvisers saxophonists of Austin musicians who performed in Elgin, Taylor, Brackenridge Hospital now stands. His middle name and Bastrop, and sang at the Mansion Governor’s and the Stephen Austin F. and Driskill Hotels. Ramey was where Streets, River Red and 13th of corner the on born alongside such musical giants as , Lester came from his maternal grandparents: John Glasco, who Young, , , , and and fellow Texan, . Ramey had the rare

was half Comanche Indian, and Glasco’s wife, who came on a on came who wife, Glasco’s and Indian, Comanche half was on some of the most important music of the era, playing bass bass playing era, the of music important most the of some on Ramey never met his paternal grandfather Jack, but Ramey Jazz Jazz and abounded in Austin in the 1920s, as Ramey slave ship from east Africa (Madagascar) when she was five. when she was east Africa (Madagascar) ship from slave With roots in Texas gospel and blues, Ramey put his stamp Fort Worth.” Fort on the trumpet) originated Page in Lips” (featuring Oran “Hot groups groups also five impressed or the four youthful knew Ramey. “There we must And have Antonio. San in bands ten or eight been There must have been twenty bands in in Dallas and . band concerts held in a large park where Interstate 35 now cuts now 35 Interstate where park large a in concertsheld band and Calloway, Cab Armstrong, Louis Oliver, King town. through other prominent artists performed in the capital Regional city. Ramey mowed lawns, washed dishes, and shined shoes. Ramey mowed brass the missed never he summer, the During up. growing was the Moonlight Serenaders and George Corley’s Royal Aces. With With Aces. Royal Corley’s George and Serenaders Moonlight the with Tate, Buddy saxophonist tenor met Ramey group, Corley’s whom he often played in later years. the bench in football. Before and after graduating from Austin’s Austin’s from graduating after and Before football. in bench the Anderson High School in 1931, Ramey played tuba and sang in the performing choir, at clubs and dances with local groups in church and camp meetings and while picking cotton with his family. He was also an athlete (related to riding prizefighter frame, Jack wiry his with and, in excelling Johnson), who played banjo and sang, died when the boy was four. Ramey four. was boy the when died sang, and banjo played who a as trumpet and drum, snare blocks, temple ukulele, the played sang He teenager. a as sousaphone the to switching before child, patted his foot when he played the same way did Jack when he played the violin. father, a Ramey’s teamster and horse trainer http://ecommons.txstate.edu/jtmh/vol4/iss2/3 3

17 He 20 In between these gigs, he played dance-a-thons 19 Around this time, he also played with Oliver Todd’s Todd’s Oliver with played also he time, this Around 18 Ramey paired with drummer Gus Johnson, a fellow Texan, Texan, fellow a Johnson, Gus drummer with paired Ramey 21 Ramey finished classes in 1934 with a printer’s certificate Ramey’s big break came in 1938, when he joined the Jay the same African Methodist Episcopal Church choir (Ramey sang sang (Ramey choir Church Episcopal Methodist African same the beyond lasted that partnership long a began two the and tenor), the McShann era. Ramey also was instrumental in bringing a helped he and McShann, to over men Johnson’s Countess of lot and landed his first full-time gig in 1935 withMargaret pianist Tavern. Line State and Bar-La-Duc the at Johnson “Countess” then, By Ramey but was the married band and had a daughter, his at sleep on up caught Ramey night. the through played often boiler the stuffing and painting little a doing after job university coal. of full nephew, Moten’s (Benny Moten Bus and Barefield, Eddie band, Ira “Buster”). and skate-a-thons with a group called the Rink-A-Dinks. practiced with and Young another saxophonist, fellow student Webster. Ben McShann Orchestra, which included Charlie on “Bird” Parker sax. in a that onlookers duo compared to of Basie’s in singing from Ramey knew Johnson Jones. Jo and Page Walter Addis: The 'Baptist Beat' in Modern Jazz Modern in Beat' The 'Baptist Addis: Basie’s saxophonist, , Young, Lester saxophonist, Basie’s

16 13 Ramey also soon became popular among 14 Aside from becoming proficient on the bass, he was 15 Ramey converted more fully to playing bass in 1933, while he while 1933, in bass playing to fully more converted Ramey They became lifelong friends and renewed their collaboration in in collaboration their renewed and friends lifelong became They in the 1950s. York New also one of the few players who owned a which car, made him asset. valuable more even an befriended Ramey and invited him to play at the Sunset Club. he adapted quickly. area musicians who appreciated his warmth, intelligence, and humor. his fingers should be to play the various chords. The bass was an was bass The chords. various the play to be should fingers his could he and double-jointed were hands Ramey’s because fit, odd However, fingers. his of balls the on pressure much generate not continued to play tuba in Western University’s marching band. University’s continued to play tuba Western in where instrument chart showed the a that on pasted he first, At the drummer, if the drummer got off the beat. And if he sensed he if And beat. the off got drummer the if drummer, the wake to how Page from learned Ramey “dozing,” musicians other playing loudly. them up by sped up and “put some body into it” when the rest of the orchestra orchestra the of rest the when it” into body some “put and up sped kind some or beat” Latin a into “go to Ramey taught He slowed. for wait to and solo, piano a with interfere not did that accent of believed that the bassist should slow down slightly as the melody the as slightly down slow should bassist the that believed

“The ‘Baptist Beat’ in Modern Jazz:

Texan Gene Ramey in Kansas City & New York” Produced by The Berkeley Electronic Press, 2004 “The ‘Baptist Beat’ in Modern Jazz: 4 Texan Gene Ramey in Kansas City & New York”

32 His style His 36

31 37 33 The rhythm section was the motor the was section rhythm The 35 For Ramey, “Eastern rhythms were like a like were rhythms “Eastern Ramey, For 38

34 The Baptist beat was conducive to the freedom and Ramey credited another genre as his main adolescent influence, influence, adolescent main his as genre another credited Ramey Kansas City rhythm sections were characterized by the same The musicians drew on a rich pool of regional influences. and unobtrusive . . . felt more often than heard . . . the pivot man man pivot the . . . heard than often more felt . . . unobtrusive and band pulse centered.” whom [McShann’s] around Kansas City sound. “gutbucket” that defined the improvisation Soloists would hang back a fraction behind the beat and catch Ramey sound. bluesy lazy, a it giving phrase, the of end the at up would he . . . sound spacey “very a had Young Lester that recalled in come he’d before beats three out lay maybe and phrase a play phrase.” another with to chance a you gave thing Western “that whereas metronome,” woogie” styles than did musicians from Missouri and Arkansas, Arkansas, and Missouri from musicians did than styles woogie” the all but pronounced, more were Dixieland and ragtime where region-wide. and were elements mixed namely the religious spirituals that constituted the core of his would often family his young, was Ramey When music. family’s “harmonize all the spirituals and all those hand-clapping style of Southern The call-and-response, songs.” old good church gospel music shaped Ramey’s sense of rhythm. Looking back on it later in life he that was jazz “persuaded was born at those reunions.” steady, but understated, beat. In contrast to the louder, more prominent rhythm section typical of Dixieland jazz bands, the soloists allowed sections rhythm City Kansas of beat subtle more beat,” greater“Baptist the prominence as to on referred instruments, he which suchstyle, this as carried the Ramey saxophone. McShann. with work his into give to background the into retreated it but band, the drove that horn soloists more room Ramey began to said, maneuver. “We to find out that the Kansas City style was that the drummer’s drumbass the . . . loud so wasn’t be to supposed never was foot called a supposed ‘big-foot to drummer’.” be . . . it’s “steady as bass Ramey’s characterize to Russell Ross writer jazz led Texas, Texas, and raised in Houston and Dallas. Walter Blue Page’s Devils formed in Oklahoma Holder, Torrance City. Tulsa leader of of out operated and Muskogee from was Joy, of Clouds the Their 1929. in over took Kirk Andy before City Oklahoma and was Work Texas. Sherman, from hailed Tate Buddy saxophonist not but always it steady, was seen as a stepping stone to bigger $2.00 around earn generally could Musicians things. better and for a 10 p.m. to 5 a.m. shift. Ramey recalled people that for Kansas City focal of kind a Southwest, the for city big “a was first the like was it . . . days those in center urban an for to go to was Chicago.” if they made it, The next stop, stop. Texan Scott Joplin had helped make were City Kansas Missouriin keyboardists early the of a many and ragtime, hotbed for of backbone the formed blues but tradition; that in up brought jazz, along with classic New Orleans Dixieland music. Texans in Kansas City tended more toward straight blues or “boogie-

25 The Pendergast Pendergast The 28

McShann was from 29 30 Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 2, Art. Iss. 4 [2004], Vol. History, Music of Texas Journal

Charlie Barnet’s all-white band 27 22 12th Street divided white and black black and white divided Street 12th 26

They played regularly at Martin’s-on-the- at regularly played They 23 24 magazine.

The phrase “Goin’ to Kansas City” soon was coined as a network network a as coined was soon City” Kansas to “Goin’ phrase The In exchange for votes and tolerance of Pendergast’s crude Depression-era Depression-era Kansas Missouri City, was known as “Tom’s Kansas City, Kansas, where Ramey lived at that time, was With Ramey on bass, McShann’s rhythm section quickly jelled, jelled, quickly section rhythm McShann’s bass, on Ramey With toward the town’s thriving nightclubs. Basie’s trombonist Eddie Eddie trombonist Basie’s nightclubs. thriving town’s the toward Durham was from San Marcos, Texas. Oklahoma, and Gus was Johnson, his Tyler, born drummer, in to earn a living doing what Ramey loved. of musicians from jazz-rich Texas and Oklahoma gravitated was once told he could “not quit” when he tried to move to another machine club. For went Pendergast’s Ramey, with the possible it made existence whose evil necessary a was it territory; partying in local clubs, thus providing ample employment for musicians, although they were denied Ramey union wages. example, Musicians For work. would they where and when told were his rackets helped shield the city from the extreme Depression-era Depression-era extreme the from city the shield helped rackets his also were these surprisingly, Not elsewhere. experienced poverty enjoyed mobsters Pendergast’s jazz. City Kansas of years peak the conviction for production or sale during Prohibition. or sale during Prohibition. conviction for production Consequently, shelter. and clothing, fuel, food, got citizens tactics, power and controlled the city’s wards. Gambling was ubiquitous, ubiquitous, was Gambling wards. city’s the controlled and power and bootlegging thrived under gangster Johny Lazia. Liquor enforcement was so lax, that there was not a single felony enterprise diversified,Tom and, health took when failed,Jim’s prostitution and construction, gambling, liquor, family’s the over businesses. had By bought the his Tom 1920s, way to political Town,” after its corrupt mayor Tom Pendergast. Tom mayor corrupt its after Town,” dynasty dated to the 1870s, whenolder Tom’s brother, Jim, loan-sharked and ran a gambling ring from his saloon. His played, played, were split down the middle with segregated bars, seats, and dance floors on each side. Street as a musical hotspot. musical a as Street Basie where Club, Reno the including bars, Some neighborhoods. around around Vine Street, between 12th and 18th streets, there were became Vine” and “18th 1930s. the during cabarets fifty least at analogous to New Orleans’s Basin Street or Memphis’s Beale dry, but the combination of a crime-driven economy and moral and economy crime-driven a of combination the but dry, unrestrained, more town of side Missouri the made permissiveness despite being more clearly segregated. In the neighborhood midnight; earlier in the evening, the band stuck to such tunes as tunes such to stuck band the evening, the in earlier midnight; the Rainbow.” over “Somewhere and Paradise” “Hawaiian in-a-basket the club promoted. Martin’s was in an upscale white upscale an in was Martin’s promoted. club the in-a-basket of type the control to laws zoning introduced that neighborhood music played. McShann were “Hot tunes” restricted until after and, in 1938, the band was voted “promising new players” in Beat Down chicken- the of honor in song a with up came Ramey where Plaza, wanted Ramey, but deflectedMcShann wanted theRamey, offer beforeBarnet spoke to Ramey. ever arrange arrange some of the music. http://ecommons.txstate.edu/jtmh/vol4/iss2/3 5

49

48 of the Basie Orchestra remembered the spook then wasn’t who could play better than somebody else . . . it was it . . . else somebody than better play could who wasn’t then a matter of contributing something and of experimentation.” Though light. competitive a in sessions the saw Ramey However, musicians bent over backwards to helpCity was eacha place other, where they Kansas loved to “battle each other with in the spotlight. unlike However, soloists, they had no chance to rest, since they had to provide the rhythm section on every song from start to finish.Numbers were from known sometimessuffer to to drummers and bassists causing hours, two over last word going, was session good a When fingers. chaffed and fatigue got out and musicians carried their instruments long distances, to take part. River, the Missouri sometimes across “They playing. of joy the by purely motivated being as breakfasts session jam the of idea the . . . contests or sessions cutting weren’t Riffs 46 42 Outsiders, Outsiders, 43 39 Addis: The 'Baptist Beat' in Modern Jazz Modern in Beat' The 'Baptist Addis: What counted was the ability to ability the was counted What 47

40 The city was home to marathon after-hours 41 Monk later included Ramey in his first New York York New later included Ramey in his Monk first 45 Pianist Mary Lou Williams recalled how Thelonious how recalled Williams Lou Mary Pianist 44 In between was nothing but riffs [the short, mind you know? But it turned out that it was even help the publishing although business it better, didn’t . . hire . somebody they’d to copy it down and make arrangements. rhythmically marked phrases or two to four bars] . . . this guy sets a riff over there and their this one in sets of a thought riff they things Just on. so and here over Improvisation was the key to success at spook breakfasts. The breakfasts. at spook to key the was success Improvisation Ramey recalled seeing and Young “duel” The social atmosphere of Kansas City’s clubs matched the Music in Basie’s and McShann’s bands was rarely written down. down. written rarely was bands McShann’s and Basie’s in Music ideas without “turning them inside out,” his turn was up not and were Ramey, as such men, Rhythm in. stepped else someone carried a melody that could be expanded upon, and everyone heart. by melodies these knew another’s used or himself repeated player a If ideas. fresh generate trio in the late 1940s. horn.” your with something “say was City Kansas in adage an evangelist or a and medicine jammed show,” every night in played only was it because music” “zombie called he that style a after hours. these sessions to be the most remarkable trait of Kansas City nightlife. either “with 1930s, the in teenager a as town through came Monk musically through the night at the Cherry Blossom until noon the the noon until Blossom Cherry the at night the through musically Louis. St. in date a miss to “Hawk” causing day, next such as and agent John Hammond, found night. Clubs also opened after midnight on “dry” Sundays, not night. Sundays, Clubs also opened after midnight on “dry” Monday.” closing until the afternoon hours of “Blue jam sessions that followed the evening’s regular performance. After clubs closed around 2 a.m., musicians stayed behind for “spook breakfasts,” so named because they lasted late into the music’s freedom. music’s The Baptist beat was conducive to the Kansas City sound. defined the “gutbucket” freedom and improvisation that only the first and last chorus agreed on beforehand. chorusonly the first and last agreed all around . . . it’s something you’re bound to feel.” something you’re . . . it’s all around with structure loose a on relied songs the that remembered Ramey that “churchy feeling” as being “like a camp meeting completely meeting camp a “like being as feeling” “churchy that preacher the where meetings, revival those of one from imitated happenings there’s and living, that all singing, are people the and relax.” Harkening back to his religious upbringing, he described described he upbringing, religious his to back Harkening relax.”

“The ‘Baptist Beat’ in Modern Jazz:

Texan Gene Ramey in Kansas City & New York” Produced by The Berkeley Electronic Press, 2004 “The ‘Baptist Beat’ in Modern Jazz: 6 Texan Gene Ramey in Kansas City & New York” 57 56 55 I found that this is the only thing that I could do to do could I that thing only the is this that found I Bird was a most receptive being. He got into his keep him from doing the thing, you know? . . . I’d get I’d . . . know? you thing, the doing from him keep his eye, I say man, go let’s somewhere and jam. He’d say I got some ideas. forget about it right away . . . I’d enough just was it but him, for ideas any have didn’t I to get him away and he would jam . . jam . day we’d and night. music all the sounds right around him—the swish of the hum of wind as it a a car highway, speeding down goes through the leaves . . . everything had a musical say would he bark, dog a heard he If him. for message the dog was speaking. Sometimes on the dance floor, while he was playing, women would perform in front would faces their gestures, their attitudes, Their him. of awaken in him an emotional shock that musically in his solos. express he would Ramey credited Parker for McShann’s band being able to spend spend to able being band McShann’s for Parker credited Ramey The factors that gave Kansas City its musical vitality—loose Ramey’s account also highlights Parker’s creative process. creative account also highlights Parker’s Ramey’s almost all of its spare time rehearsing. “We used to jam on trains and and trains on jam to used “We rehearsing. time spare its of somebody’s all find to almost try we’d town, into got we as soon as and buses; Bird, by inspired was this All session. a hold could we everybody where house made band the to bringing was he ideas new the because parks city in play used would they band the us; times, other bothered At play.” to seldom anxious very “Cops night. the of middle the in to come out there to enjoy the music themselves.” arrangements featuring horn soloists and the competitive stress distracted by the need for a fix, Ramey used music to get his mind mind his get to music used Ramey fix, a for need the by distracted off of it. As Ramey said, was a worrier whose natural instinct was to help keep Parker on Parker keep was to help instinct natural whose was a worrier characterized that bitterness the of Much narrow. and straight the to always inability from Ramey’s stemmed friendship later their In many nightlife. addiction. drug to Parker’s in relation do so, especially City Kansas of worst and best the embodied Parker ways, Aside from being a center for transportation, wheat, and cattle, Kansas City was also the Southern Plains’ hub for morphine, and cocaine, Byheroin traffic. a assuming role as , burden of keeping Parker clean enough to maintain himself as a professional musician fell on Ramey’s shoulders. When Bird was , Kansas City

52 They remained friends until friends remained They Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 2, Art. Iss. 4 [2004], Vol. History, Music of Texas Journal 53 Accounts of subsequent episodes in 51 Experienced musicians tried to throw off newcomers newcomers off throw to tried musicians Experienced

50 54

Ramey thought Parker’s personality problems resulted from The gonging incident was typical of Ramey’s paternalism One of who the ritehis failed newcomers was firstinitiation the trade.” his mother’s coddling him as her only child. Ramey, meanwhile, Ramey and Charlie Parker were opposites in almost every respect. respect. every almost in opposites were Parker Charlie and Ramey looked and spectacles wore who man young skinny a was Ramey like a divinity student . . . the temperament seemed to go with I was their chaperon.” Ross Russell contrasted the personalities of of personalities the contrasted Russell Ross chaperon.” their was I to analogous as Ramey self-contained” “resolute, the and Parker “Gene man. rhythm and soloist of roles musical respective their for support in the same way that Lester and Young later would. and Ramey time, the recalled at that children Parker and two fellow like McShann “were Jackson John saxophonist played with Lawrence “88” Keyes. “88” Lawrence with played not was relationship their but 1955, in in death Parker’s one of leaned Parker mutual on dependency. the stable Ramey toward Parker. Ramey first met Bird when he was twenty-one and and twenty-one was he when Bird met first Ramey Parker. toward was Parker fourteen, a year married before Parker and dropped out of high school. Ramey was with and Oliver Todd, Parker which Parker made rival bands “look like a troop of Boy Scouts” Scouts” Boy of troop a like “look bands rival made Parker which to document here. too voluminous are complimented him on what he had done right, and encouraged and right, done had he what on him complimented him to “not let it get under [his] skin.” Parker vowed to come fixback those“and cats.” when the inexperienced saxophonist was “gonged off” “gonged was stage the saxophonist inexperienced the when embarrassed the gave and Parker by stood Ramey up. screwing for teenager encouragement. Instead of saying “I told you so,” he One night Ramey accompanied Parker to the Reno Club for a spook a for Club Reno the to Parker accompanied Ramey night One in dramatized incident, a famous became ensued What breakfast. numerous books and in Robert Altman’s 1996 film Lucy sound,” after the muscatel and white port favored favored port white and muscatel California the after sound,” Lucy flask.” the “playing noise the called sometimes Ramey winos. local by little promise in the young Parker. Ramey recalled his first meeting meeting first his recalled Ramey Parker. young the in promise little noise awful an described and kid,” spoiled “evil, the with 1934 in Sweet it “that called Ramey horn. “Bird’s” out of young coming such as double time and scrambled harmonic schemes. Ramey saw saw Ramey schemes. harmonic scrambled and time double as such Parker was a precocious teen full of strange ideas, and scrambled harmonic such schemes. Ramey saw as little promise in the young double time Charlie Parker. Parker was a precocious teen full of strange ideas, ideas, strange of full teen a precocious was Parker Parker. Charlie tempo beyond the point at which a blower could fit his notes into the bars. rites and called the elimination cycle of jams tests “constant of manhood.” the increasing or unex-pectedly keys difficult into transposing by all guns blazing.” He likened the sessions to tribal initiation http://ecommons.txstate.edu/jtmh/vol4/iss2/3 7 McShann McShann 62

66 Local musicians, such as Gillespie Gillespie as such musicians, Local 65 Swing relied on the sale of dance records and records dance of sale the on relied Swing 67 Parker had been in New York before, had failing Parker been to in York New 63 64 However, while However, bop in flourished the early 1940s, the swing McShann McShann faced off against the Savoy Sultans, Cecil Scott, “Confessin’” gave manager John Tumino the leverage to book to leverage the Tumino John manager gave “Confessin’” at KFBI radio, and the toured country in 1940-41. Theater and toured New England, the Atlantic seaboard, and experienced and stolen money had twice band the where South, frightening run-ins racist police. with wave broke for other reasons. Whereas small groups played bop, during service the to members lost that bands big on relied swing record of suspension the caused also effort war The II. War World years two for Musicians of Federation American the by production vinyl. conserve to proved to be longer and more difficult, they arrived at the Savoy Savoy the at arrived they difficult, more and longer be to proved they still raised the roof in a rather ragged condition. However, who had taunted them in of front bandleader Millinder, Lucky back you send to going “We’re read, that postcard a with earlier to the sticks.” him gave Orchestra McShann the time, this but, heard, get really a vehicle to get noticed. With Bird leading the the way, band on national broadcasts. became a hot item, playing regularly Erskine Hawkins, and the Chick Webb Orchestra, Boy of bunch “a reducingagain) (once to counterparts overmatched their Scouts.” They were not undefeated, though. Ramey described against bands the of battle a winning “single-handedly Calloway McShann with an athletic display of somersaults and chair- singing.” while all vaulting, later (who Hibbler Al blind With band. the with in sat sometimes joined ) on vocals, played McShann the Apollo and his group played the Regal Theater also in They Coast. Chicago, West Paradise the down and up and Detroit, in Theater do recordings The 1941. in Dallas in Records Decca for recorded Decca because however, range, true orchestra’s the represent not vocalist with numbers blues their preferred Kapp Dave co-owner Walter Brown over their jazz instrumentals. Nonetheless, the band scored a big hit from these sessions with the “Confessin’ Blues,” which sold over half a million 78s with “Hootie Blues” on the B-side. By at McShann the City. famous Ballroom Savoy in York New settled in the Big were and his group 1942, McShann February Apple playing famous halls and searching for a more lucrative recording contract. On the way east, Ramey drove McShann’s Pennsylvania the on of instead mountains the over directly Buick route this When shortcut. a discovered had he thinking Turnpike,

60 Addis: The 'Baptist Beat' in Modern Jazz Modern in Beat' The 'Baptist Addis: The real problem was that the 61 Jazz educator and composer Ahmad 58

59 However, McShann’s However, band McShann’s thrived in Kansas City, even as was the hub of York the jazz New world by 1940. Basie In the meantime, artists living in New York, including In In the 1930s, artists in the Basie and McShann Orchestras the local situation deteriorated. The band was headquartered in Kansas City and Wichita, where it made its first recordings “Union Station Massacre” of four policemen by Pretty Boy Floyd Floyd Boy Pretty by policemen four of Massacre” Station “Union had as crime, organized city’s the to attention drawn had 1933 in rigged elections in 1936. of Joy followed Basie to New York. After Mayor Pendergast’s 1938 imprisonment for income-tax evasion, musicians could no longer rely on the employment crime bosses The provided. was breathing down our backs so had hard. to We get out and move over and let this cat in.” Clouds the and up, drying was music City Kansas of age golden left for the East Coast in 1936, later commenting, glad “I’m I McShann] [Jay because did, I as fast as City] [Kansas of out got keep clubs up first with the the of faster one pace of Street, bop. 52nd Clarke on and Monk began Minton’s at regularly playing in which bop flourished. and kicked him out of the band. Drummer Clarke was moving was moving and kicked him out of Clarke the band. Drummer the main beat to the cymbals in order to free up the and tom-toms for accents, partly because his foot could barely made use of discordance, both traits of bop music. As Calloway’s Calloway’s As music. bop of traits both discordance, of use made trumpeter,“Chinese” music Gillespie his labeled was Calloway experimentingCab that radical so with phrasing harmony and Goodman Goodman Sextet, removed syncopation from his rhythms and Parker left for good in October, 1942, by then, Ramey’s relationship with Bird Bird with relationship Ramey’s then, by 1942, October, in good for left Parker Parker go. to the point at which Ramey was glad to see had soured Thelonius Monk, , , and Charlie Christian Benny the were with layingguitarist electric their Christian, own groundworkTexas-born for revolution. the bebop “running out of key,” but in Ramey’s estimation, “he but out “running [was] in of the Ramey’s key,” first one that started what they later called bebop.” that time Ramey called “Red” not “Pres” or “Prez,” used to play to used “Prez,” or “Pres” not “Red” called Ramey time that through progressing cycles,” his “running Young with hours for different key signatures in the middle of a They song. called it considered their style to be dance music, or what became known known became what or music, dance be to style their considered “bopping” were Parker and Young though, retrospect, In swing. as at who, Young, and he how recalled Ramey date. early this at even visited there “to find the energy or spiritual force” that nourished nourished that force” spiritual or energy the find “to there visited and others. Parker key birthplace of bebop. Alaadeen recalled that , , and Miles and jazz, modern behind force the as City Kansas viewed Davis on individuality showcased by all-night sessions—made it a

“The ‘Baptist Beat’ in Modern Jazz:

Texan Gene Ramey in Kansas City & New York” Produced by The Berkeley Electronic Press, 2004 “The ‘Baptist Beat’ in Modern Jazz: 8 Texan Gene Ramey in Kansas City & New York” Swing was in relative relative in was Swing W h e n returned Mafter the cwar, S h a West n the to n relocated he influx the where Coast, of black migrants to and San Francisco established new centers for jazz he loved. rootsy the decline by the end of World War II anyway, giving way newer sounds to coming the out of Bird’s Parker’s horn.brilliance had brought McShannnational exposure,but his subsequentfame overshadowed the band’s reputation. Monk and Clarke Kenny heard about in the late 1940s and beyond, but the classic incarnation broke up at this point. most For toured Ramey 1944, of with bandleader Louis Russell, whose outfit accompanied singers, such as the Ink Spots and .

69 According to Clarke, “Bird was playing stuff playing was “Bird Clarke, to According 71 New versions of the McShann group resurfaced resurfaced group McShann the of versions New 70 The knifing had also turned some members against Ramey, and and Ramey, against members some turned also had knifing The invited him to Minton’s. At this point, Ramey served informally served Ramey point, this At Minton’s. to him invited invented agent. I’d Parker’s as thought I figures into was He before. heard never we’d for drums . . . was Bird running the same way we were, but he was ahead of us. think I he don’t was aware of the changes he Parker that wrote Collier Lincoln James Historian created.” had and Gillespie simultaneously made changes that the playing “were were in They the anyway.” about come have would and air, same style of chromatic chord movements that revolutionized Parker, who Parker, was then at Clark Uptown Monroe’s House, and without Jay around, Ramey could not make himself direct a band band a direct himself make not could Ramey around, Jay without Brown. that headlined how realized he after really engagements guys other into drifted “those gradually he out found He had. now he enemies” “silent many hated my guts,” even though he had helped many of them get band. the into Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 2, Art. Iss. 4 [2004], Vol. History, Music of Texas Journal 68

There also were notes, but nasal Brown’s singing grated on his nerves. Ramey but, McShann satisfy to Brown with up put to willing been had music,” disrespected him as a heroin junkie (a worse “far dope voice. Ramey loved addict and than disliked Bird”), his “nasty” the all hit could and smooth were that Sinatra’s Frank like voices McShann gone and changed the title to “Walter Brown and his and Brown “Walter to title the changed and gone McShann band, under the direction of Gene problem Ramey.” Ramey’s was that he despised Brown, thought he “knew nothing about McShann and his band, band, his and McShann under Brown, the direction featuring of [vocalist] Walter Gene with misleading too was that decided Tumino However, Ramey.” the band lost direction. direction. lost band the The original idea was to call the band “Jay McShann joined But theyear. that later army with McShann gone, group shortly thereafter thereafter shortly group in Chicago and served as its director when to play bass for a living. a for bass play to knifeless), (and Contrite Ramey rejoined the at the railroad station. There he realized how privileged he had been returned to KansasCity to work first in a packing plant, then Shaken, Ramey quit the band in 1943 and m a n n e r e d knifed R a m him, e y cuttinghim from ear to chin. Merrill Merrill threatened him with a glass pitcher,the normally mild- beyond Parker’s beyond antics. Parker’s When intoxicatedband member Bob Parker go. Parker tensions in the group was gaining recognition, it was coming apart, and Parker left relationship with for 1942. good By then, in Ramey’s October, Bird had soured to the point at which Ramey was glad to see rationing. Parker rationing. was Parker the but talk he of was York, New on and off again with the band after being caught stealing five dollars from singer wife. Walter Brown’s Just as orchestra McShann’s consequently consequently suffered more than bop from the two-year vinyl http://ecommons.txstate.edu/jtmh/vol4/iss2/3 9 78 These sessions are are sessions These 81 The Genius The of Genius Modern Some of his best recordings 82

Thelonius Monk recognized Ramey’s 80 Ramey bridged that gap, working closely with swing masters and boppers, and in Revival. Orleans the New versatility and made him part of his first trio, along with drummer Art During Blakey.the formative preferred periodhis was of Monk’s Ramey 1947-1952, career, bassist. His steady beat was the perfect complement for for Monk’s opportunity challenging meanderingexcursions—a manner the in line” straight a “run to him taught him. critic However, did not find the trio interesting, placing part of the blame on either the traditional or modern camp. Consequently, as dance music and Dixieland Dixieland and music dance as Consequently, 79 (1947) is the most important on. Ramey played all of them, Monk and Diz [Gillespie] and all of them, of all and [Gillespie] Diz and Monk them, of all player strong player, needed a heavy bass because they to carry the beat while the drummer was . . . carrying on, you know, so [Dillon] Curly [Russell] and I, we club to another. one managed to go from Ramey enjoyed working with artists who straddled different Texas Texas jazz historian Dave Oliphant was more sympathetic, Thus, Ramey played in numerous small combos during the era so The narrowly firstdefined. volume of Music styles. With “Messie Bessie,” the purchased Czechoslovakianin New Wilson York, he backedTeddy bass native up Austin hefellow Door, and Miles Famous Billiethe at Holiday Minton’s, at Davis “Lockjaw” Eddie saxophonist Ember’s, at Davis at Birdland, and swung with his old friend and at the Minton’s Onyx Club. Ramey’s “plunky bass.” “plunky Ramey’s writing that Ramey was “able to anticipate Monk was heading and preciselyto supply the perfect where note that would complement melodic the lines, pianist’s his decorative runs, or his ringing note cluster he . feeds in . Monk Paris”] . [in “April from back him leading . . . hear to wants obviously he notes the melody.” original the to explorations jazz his be even can Monk if bop, of fan any for while the worth indeed that saw the birth of “modern jazz.” Collier was right for the most most the for right was Collier jazz.” “modern of birth the saw that Few tobop. swing from oftransitioning difficulty the about part because of the era big play simply swing in could band musicians the emerging revolution the on out lost sidemen Many style. new not reconcile could Others groups. and by was smaller played bebop frantic between fluctuates which bop, of rhythms different the slow paces, and swing, which maintains a steady beat aimed at a audience. dancing survived into the 1940s, most musicians found themselves in

72 Addis: The 'Baptist Beat' in Modern Jazz Modern in Beat' The 'Baptist Addis: His 75

76

77 73 Ramey was experienced in playing playing in experienced was Ramey When Max [Roach] and them developed, that’s really really that’s developed, them and [Roach] Max When 74 how we managed to stick in there as long as I did with did I as long as there in stick to managed we how In In addition, the speed of some bop forced rhythm sections Austin writer John Bustin points out that that out points Bustin John writer Austin However, Collier However, was not entirely correct in his assessment. For Collier, the real innovations of bop were rhythmic. Parker Parker rhythmic. were bop of innovations real the Collier, For to solo, they relied more than ever on bassists to keep the beat. that Ramey recalled to turn to the bass rather than the drums or piano as the center of the rhythm section, and the bass got more popular with the began drummers When 1940s. late the in amplification of advent them, so when we hit I New York, had all those bop numbers cold.” down Robert Bergman, calls orchestra McShann’s an “incubator to through run had I and [Parker] “He explained, Ramey As bop.” those changes for months before anybody else had ever heard in both worlds by virtue of having started off as a ‘swing man’ but now possessing a key to the dissonant harmonies of bebop through his association with Charlie Parker.” Another writer, Ramey “was right in the middle of it all, foot a with stand to able being of position unique the occupying familiarized him with varying rhythms and and rhythms varying with him familiarized how to handle moving from the to “on” the “off” beat. with both saxophonists, and he was attuned attuned was he and saxophonists, both with to the subtle shifts in bop phrasing. gospel and jazz territorial with background Kansas City to New York musicians, as did Ramey’s friendships with Young and Parker. Street. Street. Ramey’s teenage idol, “Hot Lips” Page, provided him with a bridge from transition from swing to bop, and McShann’s McShann’s and bop, to swing from transition work to opportunity the him gave breakup full-time with other artists around 52nd trouble.” Ramey possessed traits that allowed him to make that difficult and Gillespie and . Gillespie . . so profound did the appear bop at revolution the time that not one established swing player ever succeeded in playing bop. And it was mainly this shift which caused the of a measure, to the “off” beats, the second and fourth. Collier wrote that, “although many younger listeners Parker do of not that from find different the much Young and Hawkins of music that phrases created passages that “leap into the sky, for a moment moment a for sky, the into “leap that passages created phrases that among phrasing The beat.” down the of pull gravity the escaping beats third and first the beat, “on” the from shifted often boppers more systematic use of simple chord replacements. simple chord systematic use of more mixed triplet figures witheighths and sixteenths in such away classical music in the nineteenth century, as well as making a

“The ‘Baptist Beat’ in Modern Jazz:

Texan Gene Ramey in Kansas City & New York” Produced by The Berkeley Electronic Press, 2004 “The ‘Baptist Beat’ in Modern Jazz: Texan Gene Ramey in Kansas City & New York” 10

88 86

89 87 The tension is 90 (1956), where Ramey 85 However, Ramey never Musician’s New Musician’s York chapter for Ramey blamed 802) (Local suspected he and breakup, their that they conspired to end his as a soloist. work thrived on soloing anyway, remarking once, appreciate the “Iguys who want never the bass fiddle to stand out all section.” rhythm the in alone He wanted it known that he if limelight the into step could he so desired, though. Ramey bassists, such as Pettiford Oscar as such bassists, and , now soloing, and wereRamey was not comfortable as a soloist. Because of Ramey’s problems band leading after McShann’s service, the into induction Jay’s the American Federation of Volume One Volume Jazz that is too modern has lost [its] evangelical side in in side evangelical [its] lost has modern too is that Jazz favor of a cold and cerebral pursuit. This direction is not not is direction This pursuit. cerebral and cold a of that favor normal is it but speaking, musically interest, without Likewise, Ramey could handle the speed of bop but did not Musically, Ramey could play with boppers, but he was Musically, never lot of difficulty getting anythingreally going.” evident on Sonny Rollins’s enjoy enjoy it. He disliked the or “metronome” beat “machine-gun” of bop. “Now take [drummer] . I know Max well and we’ve played together many times, but we always have a to. to. Ramey lamented that they would never “play an imitation of a hog grunt,” and that saxophonists on heroin strayed from “growling” their horn. Ramey sensed that drugs were socially divisive, separating drinkers from “the doping crowd.” Ramey ostracized himself found now but youth his in marijuana smoked Eldridge, Roy drinkers fellow with along musicians, younger from Hawkins. and Coleman Webster, Ben that was problem the of Part jazz. modern with home at completely and Roach interview work 1962 together one more In effectively tunes. on faster the the slower than and pieces medium-paced this for blacks) insulted indirectly (and whites implicated Ramey turn of events: recalled how he “tore up” Pettiford once back in the Midwest, but but Midwest, the in back once Pettiford up” “tore he how recalled Apparently, soloing. not for him you taunted get bassist to vengeful going the now I’m . . . play can’t you “Man saying, kept Pettiford “I finally until player,” bass no ain’t you . . . shit! got ain’t you . . . couldn’t and drunk got he bad so up him tore and there up went . . . I had to finish the night for him.” play anymore Cattin’ Cattin’ Ramey worked worked Ramey 84 Birdlanders Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 2, Art. Iss. 4 [2004], Vol. History, Music of Texas Journal , recorded in , 1952 recorded and 1957, is a

(1953). Their work can Trio: Trio: Silver Horace 83

The 1950s were rewarding but difficult years for Ramey, both Ramey, for years difficult but rewarding were 1950s The Opportunities came Ramey’s Ramey’s came Opportunities musically and socially. He thought heroin was changing called he what toward the trumpeters,particular, steering in music, used was he “buzz” the than rather sound” symphonic “straight a based jazz. The 1995 re-release features Ramey and Johnson on Johnson and Ramey features re-release 1995 The jazz. based numbers. the last three again with Quinichette when recording with Coltrane. and with Quinichette Coltrane swing- “mainstream” as known be to came what of example good Cohn, and drummer . Ramey worked briefly with Count Basie in 1952-53, reuniting him with and Gus Johnson Quinichette. Paul saxophonist McShann former Birdland Birdland with Blakey, , , Sonny Stitt, and J.J. Johnson, and later recorded on the in a quartet pianist with Henri Renaud, saxophonist French Al , Lennie Eddie Tristano, Condon, , , , George Shearing, Jimmyand Houston native Forrest, . In 1948, CozyRamey opened Cole, Vaughan, Dexter Gordon, Lou Lou Gordon, Dexter Vaughan, Eartha Rich, Buddy Donegan, Dorothy Hines, Earl Donaldson, Quebec, Ike Grimes, Tony Rushing, Jimmy Catlett, Sid Big Kitt, Getz, and bothRamey playedDavises, with Sonny Rollins, , Sarah Besides Besides Monk, Silver, Blakey, Navarro, Holiday, Wilson, Webster, Gillespie, Hawkins, The list of luminaries Ramey played with in this reads periodlike a jazz hall-of-fame. way, way, because of his versatility, and dependability, reputation for being easy to work with. be found on found be on Drums Spotlight Horace Silver just prior the formation Jazz of toBlakey’s Messengers. in the harder bop vein came with Texas trumpeter Kenny Dorham, Blakey, and pianist Miles Miles Davis and Gil Evans, and its funkier counterpart—hard sort the of gospel and blues combined postbop—which or bop, work best His sounds. modern more with on reared was Ramey made him a likely prospect to team with Ramey more had he not died young of tuberculosis in 1950. Ramey worked both within the smooth “” movement fostered by from the late 1940s come from his work with Lockjaw, trumpeter trumpeter Lockjaw, with work his from come 1940s late the from with up came Navarro Dameron. Todd pianist and Navarro, Fats Andy Kirk, and his background in territory swing would have http://ecommons.txstate.edu/jtmh/vol4/iss2/3 11 93

95 However, for Ramey, quality was not ultimately based ultimately not was quality Ramey, for However, 94 me it gave the impression of a fierce battle in the jungle, jungle, the in battle fierce a of impression the gave it me like all the animals are stampeding. frantic It’s and it there’s than other saying, it is what but moving, be can torment in the world? Speaking of bop (and perhaps of Ornette Coleman and Johny Griffin), Ramey also said, “Guys now want to run all the changes changes the all run to want now “Guys said, also Ramey Griffin), and important they are don’t care Spaces if spaces. it any swings leave or don’t not. they They and just want notes, to jillion hit a jazz.” in much as City) Kansas as (such region or race, style, specific a on as it came from “the soul . . . [where] true jazz is sanctified.” most vivid of impression York that spirit came in New Ramey’s playing him see would I “Often Jackson. Milt with playing City almost concentrating, church, at been had he if as vibraphone the praying.”

91 the band, with Addis: The 'Baptist Beat' in Modern Jazz Modern in Beat' The 'Baptist Addis: Ramey loved Coltrane’s saxophone early early saxophone Coltrane’s loved Ramey 92 .” nothing He could blow when he first started with Miles Davis, Davis, Miles with started first he when blow could He but he started playing this avant-garde or whatever. To To whatever. or avant-garde this playing started he but in order to survive, jazz must stay an art of the people. the black American people, the in of the people, search of something the American black extensions any introduced not have heart, opinion, the my from In intellectual. too been have that movement Developments in the horn section upset him too, but here he here but too, him upset section horn the in Developments go for acrobatics on a horn. I call it calisthenics. All notes—and All calisthenics. it call I horn. a on acrobatics for go saying they’re for it. lost his affection on, but, eventually, while Bird and “Well, soloed, Young they individualism. still swung overt of guilty were soloists modern whereas I have got to say it again that I love Kansas City music. I don’t pointed the finger at African Americans. Ramey believed that, , courtesy Records. of Storyville Herman, Woody

“The ‘Baptist Beat’ in Modern Jazz:

Texan Gene Ramey in Kansas City & New York” Produced by The Berkeley Electronic Press, 2004 “The ‘Baptist Beat’ in Modern Jazz: Texan Gene Ramey in Kansas City & New York” 12

Ramey had 110 , recorded in Ramey saw a 107 104 Ramey recalled that recalled Ramey 105 , and they are featured Olympia Olympia Concert 106

He continued performing with Wilson and and Wilson with performing continued He 103 109 A Swiss television station captured the group group the captured station television Swiss A Buck All-Stars 108 111 After left Parker McShann, Ramey remembers 102 Clayton Clayton and Tate’s recordings from 1960-61 capture the In the 1950s, Ramey grieved the deaths of many of his closest his of many of deaths the grieved Ramey 1950s, the In the By early 1960s, Ramey was separated from his third wife Ramey also resented the lack of respect Parker showed Young, Young, showed Parker respect of lack the resented also Ramey his two daughters. two his Basie veterans, Buddy and Tate trumpeter Buck Clayton, and Hucko, Peanuts Rushing, Jimmy with Dixieland played Ramey Bailey. and Buster Wellstood, Dick Spanier, Mugsy and Johnson era Ramey City with of the Kansas spirit swinging inEurope toured combos Their section. rhythm the in reuniting 1961. and 1958 on a video titled on singer ’s note that conditioned the rest of the phrase, the rest of the solo of the phrase, the rest note that conditioned the rest of phrasing the in idea this discovered he me told never He even. am I but it, of conscious was he if know even don’t I and Lester, up picked he that Prez of records the to listening was it that sure to lot a owed style Parker’s thought Ramey playing.” of way this Parker taught Young that but Smith, Buster altoist Moten-Basie the music.” to “attack the at pallbearer a as served he 1960, and 1954 Between friends. Page. Hot and Lips Walter Holiday, funerals Parker, of Young, and Page his old also rival passed Pettiford away. no intention of dying early or letting his children come under the influence of the bebop lifestyle.Once a following dinner at home, Thelonius Monk Ramey’s pulled out a marijuana joint, but Ramey insisted that he not smoke it in front of Ramey’s son. Monk persisted, remarking that “the sometime.” boy’s Ramey gottasaid that he learncan learn it outside the home then, not inside. and decided to secure himself financially working as a guard at opportunity the offered was he Chase Bank. He point, also trained other guards decided in about one At Ramey but branches. Armstrong, different Louis forty idol, childhood his with play to raise helping continue could he so Manhattan, Chase with stay to he often was. coming Parker into his dressing room begging “He for money. looked like an unmade bed. It was six degrees below zero and Bird was wearing a T-shirt, no socks, and an placating recalls expensive Ramey death, black Parker’s before Shortly overcoat.” him as he stood drunk over a frightened stage manager with a hand. ax in his fire whom Parker never credited as an influence. Aftergonged Jo the Jones teenaged Parker off the stage, Parker touredOzarks with George orchestra. When E. returned, Parker Lee’s the he could play solos all Young’s note for note. clear line of progression from to and Young, Holiday. Billie and Parker to Young from “Lester would always start off on a beautiful note in harmony” and that he got that idea from Armstrong and passed it on to picked Parker up Holiday. that trait, searching “always for this

99 Jazz Jazz Giants Ramey and and Ramey 97 Prez Prez and Teddy,

98 To Ramey, Parker was a was Parker Ramey, To 101 Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 2, Art. Iss. 4 [2004], Vol. History, Music of Texas Journal

100 Both musicians played in other combos, other in played musicians Both 96

Parker was sliding downhill even faster than Young, and Young’s health deteriorated in the 1950s, due to alcohol Young’s and In In January 1956, Ramey and Young recorded Young wanted no acrobatics whatsoever from the rhythm section section rhythm the from whatsoever acrobatics no wanted Young Ramey shared these sentiments with Lester Young, which leaning on Ramey too much, and the older musician told him to “not call upon in me serious unless trouble,” [you’re] which of the McShann Orchestra bestowed on him. in Parker, turn, to mouth the in you punch gonna I’m “Gene, Ramey, told once get too you was much off Parker like of my me; daddy.” you’re now now soaking his reed in Benzedrine to wake himself out of his played. he when stupor drug-induced members fellow that esteem and love the on traded who artist con much of an inconvenience.” was Parker York. New in worsened him with relationship Ramey’s musically, Ramey noticed that Young began to “take shortcuts to shortcuts “take to began Young that noticed Ramey musically, apologetically confidence, losing also was Young holes.” of out get “asking other musicians if he could join them, if it too wasn’t they drank. The “disciplinary barracks blues,” as he liked to call to liked he as blues,” barracks “disciplinary The drank. they them, combined with intoxicants to coordination sap Young’s and, food for taste his lost had he mid-1950s, the By speed. and in disciplinary barracks during his army to duty in The by Alabama. stopping wife white Young’s appreciate not did there guards when head” his on practice “target take routinely would and visit drug abuse, and epilepsy, an old head injury. He also thought up beaten being from damage brain permanent suffered had he years. years. On both albums, Ramey is at the top of his game with a these to pointed He well. knew he musicians swing-era of group memory. recording as his favorite sessions “fantastic” guitar, and Jo Jones on drums. Young, Wilson, Ramey, and Jones Jones and Ramey, Wilson, Young, drums. on Jones Jo and guitar, cut another record of standards the next day, earlier of Young creative and vibrant the recaptures better which on Granz’s Verve label Verve on with Granz’s Vic Dickinson on trombone, Roy on Green Freddy piano, on Wilson Teddy trumpet, on Eldridge with ’s Jazz at Jazz the Philharmonic, which exposed with Granz’s Norman them to different venues than the smoky clubs and dancehalls accustomed to playing. in which they were him out” when he “ran out of key,” but not dominate his playing. his dominate not but key,” of out “ran he when out” him eat.” me let and food, some me “Give it, put Prez As Young played in various combinations and part of every year that might interfere with his soloing. He just wanted the drums to to drums the wanted just He soloing. his with interfere might that the in me put you’ll or . . . all “straighten that’s to tinkdee-boom, was some me job “give whose bassists, for went same The basement.” but Ramey’s most consistent work from 1951 to 1956 came with with came 1956 to 1951 from work consistent most Ramey’s but all of 1951. together for They toured Young. Young’s kids when he was out of town. Ramey even consoled the consoled even Ramey town. of out was he when kids Young’s the out jumped “Symphony” cat his when saxophonist distraught death. his to window made him an excellent fit to accompany “the President.” Ramey President.” “the accompany to fit excellent an him made over watched and 1946 in wedding Young’s at man best the was http://ecommons.txstate.edu/jtmh/vol4/iss2/3 13

125 122 124 123 , Vol. 1, 1947 Vol. , , 1940-44

, which ended up turning up ended which , 121 , 1941-43 th , 1947 Early Bird Early Shea emphasized the fact that Ramey Ramey that fact the emphasized Shea Cedar Street. was thriving bothmusically at personallythe time of his death. and He had played with B.B. King at the Chicago Blues Festival that summer, and was scheduled to play a fundraiser on Antone’s at famine Ethiopian the for 9 December into an impromptu tribute to Ramey’s He life never got and around career. to write to going was he autobiography the with John Bustin, or the reunion with Blakey’s Messengers on PBS. He was, made an honoraryhowever, admiral in and, Texas loved Ramey Navy. Texas the that remarked life, his of end the toward ■ , 1947

Genius of Modern Music of Modern Genius Dexter Blues from Kansas City from Blues Nostalgia (Decca/MCA/GRD 614) (Decca/MCA/GRD 120) 542/Spotlite Records (Stash 781510-11) Note (Blue 0120) (Savoy Ramey will be remembered as an important figure in jazz Ramey’s diverse musical background afforded him the (arranged chronologically): (arranged McShann, Jay with McShann, Charlie Parker Thelonius Monk, Gordon, Dexter Navarro, Fats history. He history. was neither a famous soloist nor an but innovator, he was an accomplished musician who over for overcame bassist the jazz leading double- a become to fingers his of jointedness his expressed Bell, Aaron bassists, Ellington’s of One years. thirty his among him counting drive,” and “fire Ramey’s for admiration favorites. Stanley Dance called Ramey “one of the swingingest favorite. Clayton’s and he was Buck bassists in jazz history,” experience necessary to bridge the difficult gap between swing and bop when he moved to New York. That versatility, and his connections to jazz were the nobility, keys to his longevity. the in remained players bass “Good that, remarked Russell Ross background, buried in the rhythm section, charged with the unglamorous but exacting job of keeping time, the dependable the was trade in stock Their organization. jazz the of officers petty changes.” smooth-running and beat, remorseless the sound, big Given this profile,Texas the fit timekeeper the from bill. Both personally and Ramey musically, remained in the City, background Kansas of nightlife jazz the in officer steady a as worked and and Austin. York, New Ramey Discography Gene Selected he was “an Austinite that got transplanted for a few years.” Austinite he was “an

118 Ramey later 115 Addis: The 'Baptist Beat' in Modern Jazz Modern in Beat' The 'Baptist Addis: 114

116 He He 112 He toured At the Village Village the At 113 . Gradually, though, he found his way 117

120 , 1963), but Ramey did not did Ramey but 1963), , While the farm in Round Rock may have suffered, (1965). Ramey crossed over 119 Fiddler Fiddler on the Roof Keeping the lessons of Parker and others in mind, Ramey During Ramey’s During firstRamey’s year Texas, back he in kept out of the However, However, by his own admission, Ramey was drinking too Freewheelin’ Fred on Fred December 8, 1984 and, when he failed band to show, 1605 at home his in attack heart a of dead him found members Doug Shea, remarked on the unassuming energized way younger thatplayers, Rameybecoming a “unifying force in an Chez at expected was He scene.” jazz disjointed otherwisefairly never never allowed junkies to sit in with time, the younger at agent His players Theater. when Park he Hyde Austin’s at performed Antonio. Chez at appearances regular Ramey’s with rejuvenated was Austin and Piggy’s. Fred by by touring Europe again with McShann in 1977 and 1979. jazz Texas the into life pumping was Ramey 1980s, early the By San in Hall Herb with and Jr., Cullum, Jim with playing scene, back on stage and evolved into the godfather of Austin jazz. In where guys some find know, you to, like would “I said, he 1977, I can just jam, and keep my fingers in shape.”He followed up public eye, partly because he considered Austin “jazz-locked” (as in land-locked). commented that coming home “dropped his 60 blood commented pressure that coming home “dropped and porch the on “sit just to hoped initially he that and points,” behind the hills.” watch the sun go down back to Texas. He returned to Austin for good in 1976 to escape to 1976 in good for Austin to returned He Texas. to back the nightlife and to run a small farm near Round Rock. “I was running away from he whiskey,” said candidly. vice that drove him from New York. His wake-up Scotch much too to due 1969 in out callgave liver came Hawkins’s when In whiskey. the early 1970s, Ramey began considering a move “Cleanhead” Vinton, and . and John Vinton, “Cleanhead” much Hawkins, with and Webster, Eldridge, and that was the a purveyor of mainstream Ramey jazz,toured Eddie and Gunther, France,Paul Webster, Belgium, included that outfit an with Spain and in 1963 and the reunitedOrchestra McShannin 1969. Around this time, McShann’s reputation was revived as Village Stompers for their performancestheir for Stompers Village of Europe again with Clayton’s All-Stars care generally for what he saw as monotonous role in rock. bassist’s the found time to go to Toronto with the into folk rock backing up on Think “Don’t Twice it’s All Right” ( Paris Paris in 1961. Johnson and Ramey also Hines’s Earl pianist on excel Vanguard

“The ‘Baptist Beat’ in Modern Jazz:

Texan Gene Ramey in Kansas City & New York” Produced by The Berkeley Electronic Press, 2004 “The ‘Baptist Beat’ in Modern Jazz: Texan Gene Ramey in Kansas City & New York” 14 , The 1951- , 1959 , 1958 , 1961 , 1965 , 1955-62 , 1959 , 1977-80 Buck Buck and Buddy Blow the Blues for editorial suggestions. All the Gin is Gone the Gin All All about Memphis All (1961) Olympia Concert Olympia (1979) Fiddler’s Dream Fiddler’s Rushing Lullabies Rushing The New Tristano The New Flying Flying The Home: Years, Best of Verve the (1973) (1978) At the Village the At The author would like to thank John Bustin, Doug Shea, Rick Rick Shea, Doug Bustin, John thank to like would author The Jazz Smithsonian Ramey, Gene with Interview Dance Stanley (Verve 521644-2) (Verve (Columbia 1401) 404) (Delmark 36006) (Steeplechase 850) (Swingville/OJC Legacy 7014) City/Vogue/Jazz (Inner R2 71595) (Rhino/Atlantic (Columbia 462401) 135) (Classic Jazz (Master Jazz Recordings 8125) Recordings Jazz (Master Last of the Blue Devils Last of the Blue NOTES 1. in Ramey of memories their discussing for Trachtenburg Jay and Lawn, at History American for Center the at guidance for Wheat John 1994, at Austin, Dawn Allen for translating François Texas of the University and 1962 the articlePostif’s anonymous reviewer at from French, History Music Texas of Journal 2. Oral History Project (September, 1978), John Cotton Dana Library, Endowment and Jr. Rutgers Howard Pearson, Institute of Smithsonian/National Jazz Studies; W. Nathan Ramey, Gene with Interview Litwack The Kansas City 9, January 1977), Texas, (Austin, for the Humanities 58 Rushing, Jimmy Quintet, Forrest Jimmy , 1959 Clayton All-Stars, Buck Buck Clayton-, 1961 Witherspoon, Jimmy Tristano, Lennie , Williams, Claude Ramey appears: Gene in which Films Clayton All-Stars Buck Born to Swing Blues Hootie Quartet, Bailey Buster Illinois Jacquet, , , 1952 , 1957 , 1952-53 Mainstream , 1956 , 8 Vols., 1952- , 1951-56 , 1956 126 , 1950 Pres & Teddy & Pres , 1953 Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 2, Art. Iss. 4 [2004], Vol. History, Music of Texas Journal , Vols. 1-2, 1954 Vols. , , 1949-50 , 1956 , 1955 , 1953 , 1950-52 Jazz Quintets Jazz

, 1947-49 Complete Verve Complete Verve Recordings So Rare Lou Donaldson Quartet, Quintet, Sextet Quartet, Quintet, Lou Donaldson 127 The Birdlanders Cattin’ with Coltrane and Quinichette with Coltrane Cattin’ Sonny Rollins: Volume One Volume Sonny Rollins: Horace Silver Trio: Spotlight on Drums Spotlight Trio: Silver Horace The Jazz Giants The Jazz Masters of Jazz: Lester Young Lester of Jazz: Masters New Year at Birdland Year New J.J. Johnson’s Birdland Days Birdland The Mighty Braff The Mighty Hooray for Blakey Hooray Stan Getz’ Quartets Getz’ Stan

(Atlantic 1303) (Atlantic (Mosaic 8-173) (Mosaic (P 7158/OJC 460/Dcc 1995) (Blue Note B21Y-81542-2) Note (Blue 4107) (Storyville 825 672-2) (Verve 831270) (Verve (Affinity 757) (Blue Note 80906) Note (Blue 110) (Session [Japan] 30142) (Tokuma 1930-1 2) (Fantasy/OJC (Fresh Sound 124/Charly Le Jazz 23) Le Jazz 124/Charly Sound (Fresh 1537) Note (Blue (Savoy 0123) (Savoy 1117) (Proper/Savoy Classics 121) Jazz (Original 0151) (Savoy & & Their All-Stars, 1958 Coltrane, John Wilson Teddy Trio, 57 Lester Young, Young, Lester Quartet, Wilson Young-Teddy Lester Young, Lester Ruby Braff, Braff, Ruby Rollins, Sonny Artists, Various , Art Blakey, Count Basie, Horace Silver, Silver, Horace Lou Donaldson, J.J. Johnson, J.J. Johnson, Davis, Miles Getz, Stan Shearing, George Woody Herman, courtesy Records. of Storyville Herman, Woody http://ecommons.txstate.edu/jtmh/vol4/iss2/3 15

; 48 Goin’ Goin’ Goin’ Goin’ Goin’ Goin’ , 267. (New (New Melody Melody Melody Melody (Berkeley: (Berkeley: . , 72. , 44 , 293. Melody Melody Maker Jay McShann: Kansas Kansas McShann: Jay (EPM/Jazz Archives, (EPM/Jazz Hear Me Talkin’ To Ya: Ya: To Talkin’ Hear Me 30 (May 1, 1954), 12. 1, 1954), 30 (May Bird Lives! Bird World of Count Basie World , xvi. , 254. (New York: Rinehart & Co., Co., & Rinehart York: (New (Stash Records, 1940-44). Records, (Stash , 83. , 26. Southwestern Southwestern Historical Quarterly Jay Jay McShann: Kansas City Bounce Melody Maker Melody Hear Me Talkin’ To Ya To Talkin’ Me Hear , 276-277. ’s drummer, drummer, Millinder’s Lucky 276-277. , Bird: The Legend of Charlie Parker Charlie of Legend The Bird: Early Bird Early You Just Fight for Your Life Your for Fight Just You , 27. , 83-85. , 116. , 57-58. Bird Lives! Bird , 43. Good examples include Young’s “Lester Young’s include examples Good 43. , Jazz Jazz Style in Kansas City and the Southwest , 111. Goin’ to Kansas City to Kansas Goin’ Bird Lives! The High Life and Hard Times of Charlie Times The High Life and Hard Lives! Bird Bird Lives! Bird Lives! Bird Lives! Bird Bird Lives! Bird The World of Count Basie World The of Count Basie World The (New York: Charterhouse, 1973), 110. York: (New The Birth of Bop: A Social and Musical History Musical and Social A Bop: of Birth The Jay McShann: Jay Kansas City Bounce , 187. , 118; Russell, , 118; Russell, , 3. , 116. . Dance, Dance, These recordings are included on Charlie Parker with Jay Dance, 4, 42. Reel Ramey Interview, Dance, Dance, Ramey Interview, Reel 4, 42-48 and Reel 5, 3-4; In Natchez, Mississippi, Walter Brown and Charlie Parker According According to Ramey the term “spook breakfasts” was not Interview), Williams Lou (Mary Words” own her “In Pearson & Litwack Interview with 45-48; Ramey, Pearson, Nate Hentoff and Nat Shapiro eds., 2, 34. Reel Ramey Interview, Dance, Dance, Interview with ; quoted in Møller, Russell, Shapiro, and Hentoff Pearson, 49; Ramey, with Interview Litwack & Pearson Russell, to Notes Liner see account, such one For 21. Ramey,” “Gene Postif, 23; Russell, Ramey,” “Gene Postif, Can Adrian Bank Hope, “You on Gene,” Russell, ed., Reisner Robert Interview), Williams Lou (Mary Words” own her “In 4. of Dreams,” Street Vine: “18th & Haddix, Pearson, 59; Ramey, with Interview Litwack & Pearson Pearson, Pearson, 20. & Litwack Interview with Ramey, Pearson and Glenn Lunceford’s also contributed to Jimmie Durham Pearson, 16; Ramey, with Interview Litwack & Pearson Ross Russell, Turner Joe Big shouter” “blues of home the was City Kansas 20. Ramey,” “Gene Postif, Author Interview with Rick April Lawn, 27, Texas, Austin, Pearson, 52; Ramey, with Interview Litwack & Pearson Russell, in Møller, Quoted 4, 15-20. Reel Ramey Interview, Dance, Russell, Ramey played in various clubs, including The Greenleaf The World of Count Basie Count of World The 30 (May 1-8, 1954), 12-13; Dance, 1-8, 1954), 12-13; Dance, 30 (May 22, 1954), 14. 30 (May to Kansas City 61. 62. Orchestra, and His McShann 63. 64. 65. Dance, described Francis, Panama how was McShann still bringing down the house at 3:00 a.m. Liner Notes to DeVeaux, Scott 1997), 181. of California Press, University 66. were jailed for smoking on the screened porch of the rooming house Mayfair, Bar-Le-Duc, Street’s Ballroom, Paseo Park and, in the summer, summer, the in and, Park Paseo Ballroom, Street’s Bar-Le-Duc, Waterhouse), Mayfair, Joyce by French from (transl. Buzelin Jean Park. Fairyland Research Humanities 3, Liner to Notes Folder 14, Box Papers, Russell Ross 1940-1949); Texas. Austin, Center, 42. dark the in began they that fact the from derived but motivated, racially Ramey, with Interview Litwack & Pearson morning. early the of hours of Dreams,” see Haddix, Street “18th Vine: Mondays, & Blue 49. For 1-2. 43. Maker 44. to Kansas City Goin’ 45. It Made Who Men the by Jazz of Story The 1955), 311. Inc., 46. 47. Life Your for Fight Just You O’Clock Jump.” “One and Basie’s Leaps In” 48. 49. 50. to Kansas City 51. 52. Bounce City 53. 54. 55. 1972), 50. 6, (May 56. 57. 1977), 186. Capo Paperback, A Da York: 58. Maker 59. 60. (Mary Lou Williams Interview), Williams (Mary Lou 28. 29. 30. the and Durham “Eddie Oliphant, Dave composer. a as bands Miller’s Contribution History,” to Jazz Texas 1993), 491-525. 96 (April, 31. to Kansas City 32. 1971), 53-64. of California Press, University (Berkeley: 33. and piano player Pete Johnson, credited as originators of the boogie- woogie style. Kansas City was thus influentialnot only in the history Project. Music Experience Seattle of jazz, but also Rock’n’Roll. 34. 35. 1994. 36. to Kansas City 37. Parker (Yardbird) 38. 39. 40. 41. Gardens, Century Ballroom, Casa Fiesta, The College Inn, Tootie’s,

, 13, The , 169; 169; , Down Down (New Journal- Artlog The Biographical of Duke Ellington technical writer and and writer technical Addis: The 'Baptist Beat' in Modern Jazz Modern in Beat' The 'Baptist Addis: #174 (March, 1962), Goin’ to Kansas City Kansas to Goin’ , 272. The World World The (Austin: Texas State Historical Historical State Texas (Austin: Jazz , 265-266. , 262. Down Beat’s Down You Just Fight for Your Life: The Story Story The Life: Your for Fight Just You 30 (May 22, 1954), 13. 30 (May Jazz: Jazz: New on Perspectives the History , 272. The Jazz The Story: the Jazz From ‘90s to the ‘60s (Urbana: University of Illinois Press, 1987), (New York: Da Capo Press, 1980), 257-261; Melody Maker Melody piece led to a six-week engagement for McShann piece led to a engagement six-week for McShann (New York: Oxford University Press, 1999), (New York: 546; The World of Count Basie World The World of Count Basie World World of Count Basie World Handbook of Texas Music Texas of Handbook (Westport, Ct.: Praeger, 1990), 42; “In her own Words” Words” own her “In 42; 1990), Praeger, Ct.: (Westport, Dance, Ramey Interview, Reel 3, 3-16. Reel Ramey Interview, Dance, Dreams,” of Street Vine: & “18th Haddix, Chuck Büchmann-Møller, Frank Two Two of Ramey’s numbers, “Say Forward I’ll March” (later Dance, The band later dedicated a song, “Dexter Blues,” to Dance, Ramey Interview, Reel 3, 35-37. Reel Ramey Interview, Dance, Jr., Dave E. Dexter, 6, 5. Reel Ramey Interview, Dance, Margaret Johnson was reputedly Lester Young’s lover for Dance, Moines, Des outside town small a in up grew who Barefield, over ran bus 23. Ramey,” “Gene Postif, McShann’s when because “Bird” called was Parker and , eds., Benny Moten died in 1935 during a botched tonsillectomy. tonsillectomy. botched a during 1935 in died Moten Benny re-election win to Governor Republican only the was Landon Dance, Page was tutored by Major N. Clark Smith, veteran of the Lawrence Welk’s band from North Dakota was an upper Nat in Southwest,” the and City “Kansas Driggs, S. Franklin The name Glasco (or Glasgo) probably means one of Ramey’s Ramey’s of one means probably Glasgo) (or Glasco name The “T” Torrance later Aces merged Royal with George Corley’s Dance, Ramey Interview, Reel 1, 2-40, and Pearson, Dance,W. Nathan 4; Ramey, with Interview Litwack & Pearson Down Beat Down The World of Count Basie World The writer Dave Dexter for giving them a boost. Dexter was familiar . The . Goin’ to Goin’ Kansas City 25. 26. #1 (January/February 1992), 1. 27. Young Lester of and Ramey with other musicians in by article lengthier ChicagoAnother exposure. that gained McShann Pearson, followed. Pease, Sharon musicologist, Dance, 23. 24. Beat with McShann from his days as a writer for the Kansas City Post Ramey Interview, Reel 3, 27 and Reel 6, 4. 3, 27 and Reel Reel Ramey Interview, 22. expandedwere Started,” Get “Let’s and Duke”) a Got “Hamp’s as known and recorded by Duke Ellington. Dance, 1981 [1970]), 166-167. Capo Press, Da York: 2d ed. (New a chicken (which he called “yardbirds”), Parker picked it up and insisted and up it picked Parker “yardbirds”), called he (which “Kansas chicken Driggs, a dinner. for it prepare town next the in cook a having on City and the Southwest,” 229. Jay McShann “Hootie” did drink, but he got his nickname from all “playing night like a hoot owl.” Dance, Iowa, was typical of the musical nomads who eventually found a home in in home a found eventually who nomads musical the of Ellington typical Duke was (1942), Iowa, Fitzgerald Ella with played he Later City. Kansas Circus. (1947), and the Ringling Brothers 20. 21. many Lou years. (Mary She later Words” took own the her “In place 1930s. late of the in Mary died but Lou band, Williams in Kirk’s Andy Interview),Williams 18. 19. 14. 15. 1964), 78, 141, 147-148. Hall, (Englewood Cliffs, NJ: Prentice 16. 17. attended the University of Kansas and taught at Lincoln himself. Driggs, Driggs, himself. Lincoln at taught and Kansas of University the attended 196, 204. “Kansas City and the Southwest,” 13. 28. Ramey,” “Gene 3, 33-35; Postif, Reel Ramey Interview, Dance, and supported many by conservative but Democrats, lost to FDR in a and Maine. Vermont landslide, winning only 11. 12. who taught at Lincoln War, Spanish-American High School. He later Folder 5, Humanities Research Center, Austin, Texas. Austin, Center, Research 5, Humanities Folder 10. in 1934. He then ran for President as the in anti-New 1936. Deal Landon candidate was endorsed by 80% of the country’s newspapers of Jazz by Twelve of the World’s Foremost Jazz Critics and Jazz Foremost Scholars World’s of the Twelve of by Jazz 1959), 199. & Co., Rinehard York: 9. The doctor accidentally severed his jugular when Moten, who was on local anesthetic, suddenly twitched. Ross Russell Papers, Box 25-26, 39. 7. that survived into the late twentieth century. Midwestern 8. Hentoff and Albert J. McCarthy, World World of Count Basie Ramey,” Gene Association, 2003), 251. 6. Jr., 20. 4. over taken was Orchestra Joy” of “Clouds earlier Holder’s after Holder ended up with Count Basie. Tate Andy Kirk. by 5. Oral History Collection, University of Missouri, Kansas City. Missouri, of University History Collection, Oral 3. ancestors was a slave owned François by Postif, “Gene Ramey: someoneJ’ai été le from chaperon de Charlie Glasgow, Parker Scotland. et l’un des rares amis de Lester Young,

“The ‘Baptist Beat’ in Modern Jazz:

Texan Gene Ramey in Kansas City & New York” Produced by The Berkeley Electronic Press, 2004 “The ‘Baptist Beat’ in Modern Jazz: Texan Gene Ramey in Kansas City & New York” 16 , and Austin Austin (Sony, (Sony, (London (London , 1944-47 Buck Clayton’s Clayton’s Buck Austin Austin American- Jazz: The Essential , 209; Liner to Notes , 189. (June, 1988), Ramey Bird , 282. A New History of Jazz of History New A Duende (, 1965), 3; (Columbia Records, , December 21, 1984. , December The Freewheelin’ Bob Dylan Bob Freewheelin’ The The Journal of Texas Music History Music Texas of Journal The , December 10, 1984. , December , 627. , 173, 397n; Buck Clayton, Buck 397n; 173, , New York 1953-1956 and Oslo 1960 Oslo and 1953-1956 York New , 142; Reisner, , 142; Reisner, , 114. (1960) contains a Ramey solo on “High (Blue Note 4177). Note (Blue , 184-189. The World of Duke Ellington World The Texan Jazz Texan , December 9, 1984. , December Bird The Complete Savoy & Dial Master Takes Bird Lives!, 72. Lives!, Bird Bird Lives! Bird The World of Count Basie World The Texan Jazz Texan Birdland (Royal Jazz 515). Jazz (Royal Birdland Live at the Village Vanguard Village at the Live Austin American-Statesman Austin (New York: Oxford University Press, 1987), 215. Press, University Oxford York: (New Author Interview with Shea; Jay Trachtenburg, “Gene Ramey: Ramey: “Gene Trachtenburg, Jay Shea; with Interview Author Ramey Remembered.” “Gene Point, Bell worked with many artists, including Kirk, Holiday, Russell, Ramey does not appear on Landscape’s the on Blue found Note release be of also these can on appears Ramey tracks The Postif, “Gene Ramey,” 23. Ramey,” “Gene Postif, to Notes Liner Hentoff, Nat Research Humanities 6, Folder 10, Box Papers, Russell Ross Austin of 108. Father Man,” Bass “First Bustin, as Remembered Ramey “Gene Point, Michael Ramey Dance, 111; 2. Hit,” “Bass Ramsey, Ramey, with Interview Litwack & Pearson 4. Hit,” “Bass Ramsey, Point, “In to Tribute an Austin Master,” “Jazz Musician Gene Vargo, Joe Ramey Dies at 71,” Dance, Ramey Interview, Reel 5, 39-40; Postif, “Gene Ramey,” Ramey,” “Gene Postif, 28. Ramey,” “Gene Postif, 39-40; 5, Reel Interview, Ramey Dance, Dance, see period, this in Young with relationship Gene’s For Reisner, Russell, also Parkerinfluenced around Trumpeter this 4, 7. Reel Ramey Interview, Dance, 22. Ramey,” “Gene Postif, 108. Man,” Bass “First Bustin, 20, April, Texas, Interview Author with Austin, Shea, Doug Dance, Carr, Fairweather and Priestley, eds., Buck and Buddy , December 8, 1989; Point, Birdland 1951 Birdland Austin American-Statesman Austin American-Statesman 122. Tribute,” A 123. Ellington Duke with was He 124. Kenton. Stan and Gillespie, Wilson, Young, in 1960-62. Dance, Earl Hines, Oliphant, in quoted World Jazz 125. 126. sessions, 127. Dorham, Kenny release 1993 Silver’s Horace the rift between modern and traditional those as (“moldy figges”)such musicians, helping festivals of to create development what the Stanley influenced Dance called promotions jazz. “mainstream” And Granz’s Shipton, Alyn Monterey. and Newport at & Continuum, New York: 2001), 632-640; See also Dave Oliphant, Nexus,” Jazz Wisconsin-Texas “The Life.” Oliphant, Life.” Oliphant, 112. 113. 5, 43. Reel Ramey Interview, 1963); Dance, 114. Texas. Austin, Center, 115. 116. Jazz,” 117. 118. 5, 44. Reel Interview, 119. 120. Statesman at Texas of University Center Biographical for File, American History, Austin. 121. 4, #1, 11. 99. 100. 28. 101. 5, 20, 31, 37-40. Reel Ramey Interview, 102. 103. 104. time with his broadcasts from Chicago. Stanley Crouch, Liner Notes to Charlie Parker, 17149), 22, 24. (Savoy 105. 106. 107. 108. 1994. 109. 110. and Albums Companion to Artists 111. 1 Jazz: Jazz: , 2d. , 248, , , July 1, World World of Swing to Bop: to Swing Jazz Jazz Review , 417. Texan Jazz Texan 9 (May, 1981), 4; 9 (May, Down Down Beat (New York: Oxford Oxford York: (New (August, 1983), 110; 110; 1983), (August, , 546. Texan Jazz Texan , 138. , 263. Third Ear Third Journal of Texas Music History, Vol. 4 [2004], Iss. 2, Art. 3 2, Art. Iss. 4 [2004], Vol. History, Music of Texas Journal Texas Monthly Texas , 352-354. 1, #1 (Spring, 2001), 15-23. 1, #1 (Spring, , 259. See Oliphant’s article, “Kenny Oliphant’s , 259. See The Making of Jazz: A Comprehensive Comprehensive A Jazz: of Making The , 245-247. (Stash Records, 1940-44); quoted in Oliphant, Oliphant, in quoted 1940-44); Records, (Stash Texan Jazz Texan The Making of Jazz The Making You Just Fight for Your Life Your for Fight Just You The World of Count Basie World The Early Bird Early (Verve, 1956). (Verve, World of Count Basie World The Biographical Encyclopedia of Jazz Encyclopedia The Biographical , 280. (Austin: University of Texas Press, 1996), 128. Press, Texas of University (Austin: Møller, Møller, Ramey,” “Gene Postif, 31; 5, Reel Interview, Ramey Dance, incurred that sessions jam staged featured concerts JATP The Dance, Ramey Interview, Reel 5, 33-36; Dance, Austin, Center, Research Humanities Collection, Russell Ross 3-4. Hit,” “Bass Ramsey, Dance, 5, 14-15. Reel Ramey Interview, Dance, with Interview Author 50; Gene,” on Bank Can “You Hope, 20. Ramey,” “Gene Postif, 50. on Gene,” Can Bank “You Hope, 4. Hit,” “Bass Ramsey, 110. Man,” Bass “First Bustin, 20. Ramey,” “Gene Postif, For reminiscences from this era, see Ira Gitler, Gitler, Ira see era, this from reminiscences For Gunther Schuller, “Reviews: Recordings,” Oliphant, “Bass Hit,” Doug Ramsey, Dorham was born in Texas,Fairfield, betweenWaco and were members some that discovered he when Basie quit Ramey John Bustin, “First Bass Man,” Man,” Bass “First Bustin, John 2, 3-4. 5, 22 & 31 and Reel Reel Ramey Interview, Dance, For For Gene’s role in the band in 1943, see Dance, Ramey 5, 6. Reel Ramey Interview, Dance, Collier, Lincoln James Collier, Wilson, Teddy and Young Lester to Notes Liner Simon, Bill April Texas, Austin, Trachtenberg, Jay with Interview Author Groups, such as Louis Hot Fives, Armstrong’s the Original Pearson & Litwack Interview with Ramey, 96-97. & Litwack Interview with Ramey, Pearson Dance, Ramey Interview, Reel 5, 9; in 1962, sixteen years See See “Put Full McShann Ork on Wax,”

(New York: Delta Books, 1978), 348-349. Delta York: (New

impact due to Granz’s insistence that his musicians only play to integrated to play only musicians his that insistence Granz’s to due impact audiences. He also mixed musicians in such a way that he helped heal 96. 97. 28. 98. the wrath of purist The critics. series nonetheless had a positive social 91. 92. 93. 94. 95. 87. 88. 89. 90. Trachtenberg. Jay 85. Count Basie 86. 2. 4a, Folder Box Texas, trying to get Gus Johnson out of the band. Dance, Ramey Interview, Reel 6, 6; Ian Digby Carr, Fairweather and eds., Brian Priestley, The Rough and Guide/The Feather Essential 627; Companion 2000), Guides, to Rough Artists Books and Penguin Albums York: (New ed. eds., Gitler, Ramey’s cousin taught him to play trumpet. Oliphant, Oliphant, trumpet. play to him taught cousin Ramey’s 253; Dance, Dorham and Bebop Leo Texas Wright: Messengers to the in World” History Music Texas of The Journal 84. 81. 82. 5, 29. Reel Ramey Interview, Dance, 83. Palestine, but went to high school in Austin after Ramey left town. 79. 1940s the in Jazz in Transition the of History Oral An 1985), 63-65. Press, University 80. 23; quoted in Oliphant, 1958), (November, , Liner Notes to Charlie Parker with Jay McShann and and McShann 77. Jay with Parker Charlie to Notes Liner Morgenstern, Dan Orchestra, His Jazz Texan 78. 30, 1994. 76. not did quartets, and trios Goodman’s Benny and Band, Jazz Dixieland include a string bass. History 73. 74. Teddy and Pres 75. Postif, “Gene Ramey,” 23. Ramey,” “Gene Postif, 70. 5, 11-14. 4, 2 & 28 and Reel Reel Interview, 71. 72. 1942; This two-year suspension of recordings has made it more difficult difficult more it made has recordings of suspension two-year This 1942; origins of bop. for historians to trace the 68. voice.” 69. “excellent an had Brown said Ramey interview, Dance the before Folder Folder 6, Humanities Dance, Research Center, Ramey Austin, Texas; money and in music lost band The Interview, 33-35. 4, Ramey Reel Interview, Dance, Georgia. Augusta, and Virginia Martinsville, in 5, 7-8. Reel 67. “when we were kids, they’d get some guy, tar him, lynch him, and drag and him, lynch him, tar guy, some get they’d kids, were we “when him through the black neighborhood” to set an example. On another occasion in Baton Rouge, the ditchweed picking band for arrested got was also Brown pulled Niggers.” over Yankee “being on suspicion of along the road north of San Antonio. Ross Russell Papers, Box 10, light on, which exceeded the 11:00 p.m. remembered that, they “when [Brown and curfewjoined Parker] us on.” [later] in hat for a where hang to blacks. enough Austin, big head in Ramey their on knots childhood had they his Rock, of Little continuation a just was this Ramey, For in which they were Though staying. at home, they had left the porch http://ecommons.txstate.edu/jtmh/vol4/iss2/3