The Hammond Organ in the Areas of History, Cultural Location, Improvisational Vocabularies & Performance Paradigms

The Afrological Soul of Jazz Organ Darren Heinrich Darren Heinrich The Afrological Soul of Jazz Organ Sydney Conservatorium of Music, The University of Sydney A Thesis Submitted to Fulfil Requirements for the Degree of Doctorof Philosophy Statement of Originality This is to certify that the content of this thesis is my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. This thesis has not been submitted for any degree or other purposes. Darren Heinrich 2017 i Acknowledgments The production of this research was made possible with the guidance, encouragement and support of many people. My sincere gratitude and appreciation goes out to: My wife, Carmen Yunis. My parents, Peter and Carmel Heinrich. My Supervisors: Dr. Simon Barker & Dr. Kevin Hunt. Jazz Department Faculty at Conservatorium of Music, The University of Sydney: Mr. David Theak, Mr. Craig Scott, Ms. Judy Bailey. Members of my trio: Sam Rollings and Tim Firth. My Research Methods lecturer, Associate Professor Ruth Barcan. Research trip hosts: Andy and Karla Cutting, Ricardo and Janette Miranda, Brandon Christy & Bridget Flanery, Dr. Lonnie Smith, Holly Case. The Interviewees: Joe Bagg, Larry Barris, Peter Bernstein, Wil Blades, Jason Campbell, Mike Clark, Jimmy Cobb, Michael Cuscuna, Ben Dixon, Lou Donaldson, Pete Fallico, Mike Flanigin, Bruce Forman, Ronnie Foster, Caesar Frazier, Chris Foreman, Larry Goldings, Bill Heid, Clifford Johnson, Eric John- son, Ken Karsh, Calvin Keys, Byron Landham, Mike LeDonne, Nate Lucas, Larry McGee, Tony Mona- co, Bobby Pierce, Radam Schwartz, Duck Scott, Dr. Lonnie Smith, Roger Smith, Dave Stryker, Akiko Tsuruga, Don Williams, Frank Wilson, Tyrone Young. Friends and Supporters: Jim Alfredson, Brian Ho, Hal Galper, Jeremy Sawkins, Steve Brien, Andrew Dickeson, Daniel Robertson, Sarah Vuong, Hal Tsuchida, Todd Phipps, Tom Erik Skram, Toussaint Thompson, Andy Schultz, Ken Grose, Libor Šmoldas, Peter Geoghegan, Lonnie Gasperini, Ty Bailie, Pat Bianchi, Mitch Towne, Geoff Williamson, John Wardle, Brian Charette, Michael Gallant, Tim Neal, Dan Barnett, Col Nolan, Andrew Robertson, Paul MacNamara, Dr David Goodman. Cover Photograph of Jimmy Smith by Francis Wolff © Mosaic Images LLC ii Abstract This research offers a practitioner’s perspective of jazz performance on the Hammond organ in the areas of history, cultural location, improvisational vocabularies & performance paradigms. George E. Lewis’ Afrological/Eurological ideology provides a framework for understanding the function of the organ in African-American society and its relevance to the chitlin’ circuit. Afrological values are defined, supported by interviews with Lou Donaldson, Ben Dixon, Larry Goldings, Caesar Frazier, Nate Lucas, Radam Schwartz, Don Williams, Michael Cuscuna, Bruce Forman and Bill Heid. Beginning with the progenitors of jazz organ, analysis of detailed original transcriptions document early performance styles on the Ham- mond organ, revealing an inherent link to big-band arrangements and sonorities. These provide stark con- trast to the paradigm shift caused by Jimmy Smith’s application of hard bop and rhythm ’n’ blues styles to the organ in the mid-1950s, which creates a new musical movement within African-American culture. As the central character in this research, Smith’s improvisational vocabulary is codified, exposing unique rhythmic features such as Smithtuplets, melodic features including succedent blues grace notes, and sonic con- siderations inherent in the Hammond organ such as harmonic foldback. Further supported by interviews with organists Dr. Lonnie Smith, Wil Blades, Mike Flanigin and Jay Denson, Smith’s new performance paradigm is described in terms of groove and creative co-ordination, dispelling some myths regarding the use of bass pedals. Finally, using Afrological values as a guiding principle, Smith’s vocabulary and performance paradigm is converted into a personal pedagogy. This pedagogy is documented using performance videos and transcribed examples, and is further supported by recordings of new original compositions and jazz standards in organ/guitar/drums format. iii Table of Contents Preface. 1 Introduction . 2 Chapter 1: Afrological � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �5 Defining Afrological ��5 Issues with Eurological critique ��6 Individual personality ��6 Performer/Audience Relationship ��7 Chitlin’ Circuit Requirements . 8 Appropriation-Revitalisation ��9 The Negation of Jazz Organ ��10 The Organ and The Racial Divide . 13 Chapter 2: Previous Research � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �17 Commercial Publications ��17 Academic Literature ��18 Chapter 3: Jazz Organ History � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �21 Why not Fats? . 21 The Pioneers of Jazz Organ . 22 Explanation of Figures ��24 Complete Figure examples ��24 Simple examples . 24 Compound Examples . 25 Milt Buckner ��26 Buckner’s performance of “Lean Baby” by Billy May & Roy Alfred, from his 1955 Capitol LP “Rock- in’ with Milt” . 27 Minor Blues Scale ��28 Major Blues Scale ��28 The Greater Blues Scale ��28 Blues Vocabulary example . 29 Block Chords ��29 Single-note improvisation ��31 ‘Wild’ Bill Davis ��32 Davis’s performance of “Lullaby of Birdland” by George Shearing, from his LP “at Birdland” . 33 Block Chords ��34 Single-note improvisation ��36 Davis’s performance of “Jumpin’ at the Woodside” by William “Count” Basie, from his LP “at Bird- land” . 36 Marlowe Morris ��39 Marlowe Morris: Introduction to “I Want a Little Girl” (1953) . 39 iv Marlowe Morris: Improvisation - 1st A section on “’S Wonderful” (1953) ��40 Marlowe Morris: Improvisation - 2nd Bridge section on “’S Wonderful” - (after the key change for Buck Clayton’s solo) ��41 Marlowe Morris: “Basic Organ Blues” (1953) ��42 Chapter 4: Jimmy Smith � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �44 The Champ ��50 Smith’s solo on “The Champ” by John ‘Dizzy’ Gillespie, from his 1956 Blue Note LP “A New Sound, A New Star. Vol.2” . 50 Smith’s Introduction ��50 Melody Performance . 51 Bass line ��53 Rhythmic approach ��54 Blues

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