From Birdland to Broadway: Scenes from a Jazz Life
Tags: #music #jazz #memoir #history #culture
Authors: Bill Crow
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Overview
My book, ‘From Birdland to Broadway: Scenes from a Jazz Life’, is a collection of personal anecdotes and memories from my journey as a jazz musician. It is aimed at anyone interested in the jazz world, offering a glimpse into the lives of the musicians, the clubs, the gigs, and the unique culture of the jazz scene in the mid-20th century. 私は読者にジャズの世界、特に1950年代と1960年代のニューヨークの活気に満ちた、しばしば混沌としたジャズシーンへの個人的な旅に招待します。私はチャーリー・パーカー、バド・パウエル、マイルス・デイビス、デューク・エリントンなどの伝説の人物と私の出会いや共演、そして多くのあまり知られていないが、同様に才能のあるミュージシャンとの出会いを共有します。私の物語は、創造性、回復力、そしてしばしばユーモアを交えた、音楽への揺るぎない献身の物語です。
Book Outline
1. Birdland
Birdland, a midtown New York nightclub, was my introduction to the world of modern jazz. I spent countless nights there, learning from the masters like Charlie Parker, Bud Powell, and many others.
Key concept: Birdland was billed as “The Jazz Corner of the World,” even though its entrance was in the middle of the block on Broadway between Fifty-second and Fifty-third Streets.
2. The Big Town
My first visits to New York City, a summer theater program in Massachusetts and a three-day pass from the Army, exposed me to the city’s vibrant theater and music scene. I was captivated by the availability of live music and the excitement of Times Square.
Key concept: “You can’t leave without seeing New York. It’s the greatest place in the world.”
3. Home, School, and the Army
My musical journey began with my mother’s encouragement and early music lessons. Starting with the trumpet and moving to the baritone horn, I eventually found my place on the drums in our high school’s swing band. Mr. Bennest, my music teacher, encouraged my early improvisations, setting the stage for my jazz career.
Key concept: “For him, it’s okay.”
4. Tacoma, Baltimore, and Washington
My time in the Army brought me to Fort Lewis and later Fort Meade, where I played in various bands and explored the jazz scenes of Baltimore and Washington. This period also marked my discovery of the valve trombone and my first experiences with playing service club gigs.
Key concept: “Cain’t charge you for that. That weren’t what was wrong.”
5. Seattle
After my discharge, I returned to Seattle and began exploring the local jazz scene. I honed my drumming skills, met influential figures like Buzzy Bridgford and Freddy Greenwell, and began to seriously consider pursuing music as a career.
Key concept: Jazz as a vocation began to seem more possible to me after I met Buzzy Bridgford, a drummer from Olympia, Washington, who showed up at an annex session one afternoon.
6. Coast to Coast
Through connections I made in Seattle, I started playing with a rehearsal band and met more musicians, including Quincy Jones. I discovered the existence of the valve trombone and began playing it at jam sessions.
Key concept: “Hell, where I come from everybody sings like that. You can’t make a nickel singing that way!”
7. Charlie’s
Charlie’s Tavern was a hub for musicians in New York. It was a place to get your mail, borrow money, and find company and conversation with other musicians. I spent countless hours there, soaking up the atmosphere and making connections.
Key concept: Charlie’s Tavern became a clubhouse for musicians during the big band era.
8. Jam Sessions
Moving to New York, I took a job at a print shop to support myself while immersing myself in the city’s jazz scene. I frequented jam sessions at various locations, including a cold bar in the Bronx, and had my first New York jam session experience at Nola’s studios.
Key concept: I always kept an ear out for word of jam sessions. All we needed was a usable piano and enough space for a few musicians to gather around.
9. Scuffling
Leaving my print shop job, I embraced the life of a struggling artist, taking on odd jobs and taking music lessons from Lennie Tristano. I also started seeing a Reichian therapist.
Key concept: Lennie Tristano was the only jazz teacher that I knew of in New York.
11. Tupper Lake
I began playing bass at the suggestion of my friend Buzzy, who secured me a summer gig in the Adirondacks. Buzzy taught me about swing and how to make the rhythm section work. I started my journey as a bass player, learning by ear and practicing diligently.
Key concept: I learned from Dave how to survive in New York without a steady income.
12. More Scuffling
Returning to New York, I continued to scuffle, taking whatever gigs I could find. I played bass for a comedian, Mike Riley, and learned the art of comedic timing and stage presence, though my heart was in playing jazz.
Key concept: “You gotta do comedy if you want to make money.”
14. West Tenth Street
I moved into a basement apartment with Dave Lambert on West Tenth Street. Our space became a hub for musicians and artists, filled with music, laughter, and interesting discussions.
Key concept: “Ah, Sir Crow!”
15. S.S. Uruguay
I joined a band led by Glen Moore, which led to a gig on the S.S. Uruguay to Argentina. I played both bass and drums on this tour, and experienced a hurricane at sea that nearly damaged my bass.
Key concept: “It was nearly ten, and there I stood on a ladder at 136th Street and Riverside with a wet paintbrush in my hand.”
16. Gigging Around
Back in New York, I struggled to make ends meet, taking gigs wherever I could find them. I played with different bands and learned from experienced musicians like Slim Gaillard and Stan Getz.
Key concept: “Don’t worry, son. We have other locations that we’ve inspected and approved.”
17. Slim Gaillard, Stan Getz
I played with Slim Gaillard’s trio, where I met Teddy Charles and began playing bass with him again. We encountered various characters and situations on the road, including a memorable encounter with Billie Holiday.
Key concept: And I’d be stuck with singing a song I couldn’t care less about.
18. Pee Wee Marquette
Pee Wee Marquette, Birdland’s master of ceremonies, was a colorful character known for his demands for tips from the musicians. He had a unique way of announcing the bands, often mispronouncing names and creating memorable moments.
Key concept: “Man, I got cufflinks! Don’t give me no cufflinks, GIVE ME THE BREAD!”
19. Papa Jo
I played with Stan Getz’s quintet at Birdland and learned from the legendary drummer, Jo Jones (Papa Jo), who emphasized the importance of a solid rhythm section and “giving the music a chance to breathe.”
Key concept: “Walter Page! Walter Page taught me that!”
21. Claude Thornhill
After being fired by Stan Getz, I joined Claude Thornhill’s band. We toured extensively, often encountering mishaps and humorous situations on the road.
Key concept: “That sonofabitch!”
22. Gene Quill
Gene Quill, a talented but troubled alto saxophonist, was a memorable character in Thornhill’s band. He was known for his wild antics and disregard for instrument maintenance.
Key concept: “This is really a long room!”
23. Terry Gibbs
I joined Terry Gibbs’ quartet, and through them, met many musicians in Detroit and experienced the challenges of playing in a rough neighborhood.
Key concept: My first job with Terry Gibbs was a week at the Rouge Lounge in River Rouge, Michigan, near Detroit.
24. The Marian McPartland Trio
I joined Marian McPartland’s trio at the Hickory House, a legendary jazz club in New York. I learned a lot about lighting and ambiance from this experience, and we had a long and successful run there.
Key concept: More a restaurant than a nightclub, the Hickory House’s Fifty-second Street facade was half-timbered, with high windows that were divided into small, rectangular panes.
25. Jazz Records
I made a couple of albums with Victor Feldman for Keynote Records, but due to a dispute with the record company, the recordings were never released.
Key concept: “Just as soon as Keynote sends me the tape,” said Teddy.
26. Popsie Randolph
I recount several stories about Popsie Randolph, Benny Goodman’s band boy, who went on to become a successful photographer.
Key concept: “Your toilet seat is ready.”
27. Vic Dickenson
I upgraded my bass, trading my old plywood Kay for a vintage French bass with the help of Irv Manning. This significantly improved my sound and playing.
Key concept: “I’ve acquired a couple of other basses over the years, but that French bass is still my favorite.”
28. Bird
I recount several anecdotes about Charlie Parker, including a memorable encounter at a swimming pool where he held his breath for a worrisome length of time.
Key concept: “I can hold my breath a long time,” he said.
29. Gerry Mulligan
I recount my time playing with Gerry Mulligan’s sextet, learning the challenges of playing without a piano and adapting to Gerry’s arrangements.
Key concept: Stan Getz’s quintet broke up in California not long after I left him.
30. Duke Ellington
I share stories about my encounters with Duke Ellington, including playing with his band when his bass player was late, and an amusing interaction at a jazz festival where Duke finally paid me for the gig.
Key concept: “Ah, Mister Crow,” he intoned silkily, giving me a courtly bow, “I never had the opportunity to remunerate you for your splendid assistance at the concert in New York.”
31. Garner & Monk
After being fired by Stan Getz, I played various gigs around New York, including a concert with the Weavers, a gig at the legendary Hickory House, and a disastrous concert in Pittsburgh with Stan.
Key concept: “Well, you better be good!”
32. Pee Wee Russell
I share anecdotes about various musicians I encountered in New York, including Pee Wee Russell, whose unique playing and personality left a lasting impression.
Key concept: “The world isn’t ready for me in swim trunks.”
33. All Around Town
I recount my time living next door to Dave Lambert in Greenwich Village, our adventures with the Three Gnomes work cooperative, and my experiences working various gigs around town.
Key concept: “You’re mighty nice to think of ALWAY’S When Easter Day is here, AND EVERY DAY”
34. Dave Lambert, Last Chorus
This chapter focuses on Dave Lambert, his struggles with addiction, and his comedic brilliance. I also describe a memorable babysitting job I had for comedian Lord Buckley.
Key concept: “Millions for junk, but not a cent for therapy!”
35. The Gerry Mulligan Quartet
I joined Gerry Mulligan’s quartet for a European tour, which included memorable experiences in Italy, France, and a disastrous concert in Lyon, where the audience was divided about bebop.
Key concept: “You’re the one they came to see,” he said.
36. Europe
I recount my experiences touring Europe with Norman Granz, including a harrowing drive through the Alps in Norman’s Mercedes and a near-miss airplane landing.
Key concept: “When there’s nothing you can do, you might as well accept it and forget about it.”
37. Good Gigs
This chapter describes several good gigs I had, including playing with Gerry Mulligan’s quartet, working in recording studios, and enjoying the camaraderie of the musicians’ union.
Key concept: “That’s disgusting. Do you realize it costs me thirty-five dollars to feel that way?”
38. The Concert Jazz Band
I joined Zoot Sims for a summer gig in Provincetown, Massachusetts, and played with his Concert Jazz Band in New York.
Key concept: “None of you know where it is!” he said.
39. Judy Holliday
I worked on a musical with Judy Holliday and Gerry Mulligan, and also played a gig with Al Cohn’s big band for Mel Torme. This chapter also includes a story about my brief encounter with Judy Holliday at a nightclub.
Key concept: “Make that four hundred!”
40. The Sherwood Inn
I recount a memorable concert on Long Island with Doc Severinsen and my time playing at the Sherwood Inn, a Long Island jazz club where sitting in was prohibited.
Key concept: “ ‘Margie,’ in C!”
41. Benny Goodman
I share my experiences touring the Soviet Union with Benny Goodman’s band, highlighting Benny’s difficult personality and our challenging encounters with Soviet bureaucracy.
Key concept: “Cheray,” I said, “you’ll never feel rich if you keep hanging around with the Harrimans and Kennedys and Rockefellers.”
42. The Half Note
I describe my long association with the Half Note, a beloved jazz club in New York, and the many musicians I played with there, including Bob Brookmeyer, Clark Terry, and Al Cohn.
Key concept: “We’ve got a Jewish drummer. Will that help?”
43. Japan
I toured Japan with Mulligan, played a borrowed bass, and had a memorable encounter with Miles Davis at a Tokyo jazz coffee shop.
Key concept: “No, you don’t understand. Somewhere in Tokyo there must be a place that has old basses. With stringed instruments, old is better.”
44. Al the Waiter
I describe the colorful character of Al the Waiter, a fixture at the Half Note, and share anecdotes about his eccentricities and generous nature.
Key concept: “Sorry to keep you waiting! My greatest pleasure is to serve you!”
45. Condon’s, The Playboy Club
This chapter recounts my time playing at Eddie Condon’s club and the New York Playboy Club, where I encountered various characters and situations, including uncomfortable band uniforms, a disastrous concert in Lyon, and a run-in with a demanding singer.
Key concept: The opulently decorated club was an adolescent male fantasyland, filled with beautiful young girls wearing bunny ears and tails.
46. Comedians
I share anecdotes about various comedians I worked with, including Lily Tomlin, Jackie Gayle, and Pete Barbutti, highlighting their comedic styles and personalities.
Key concept: “Mother wanted me to be a dancer, but an unfortunate accident cut my career short. Mother and I were having a little breakfast one Sunday morning, and she dropped a six-pack on my foot.”
47. The Studios
I describe my experiences playing on recording sessions in New York studios, where I encountered a variety of personalities, including Paul Simon, Art Garfunkel, and Peter Yarrow. I also learned to adapt to the often-challenging acoustics and recording setups in those studios.
Key concept: “Yeah, you’re in the right place. This is for Simon and Garfunkel. I never come on time for them any more. They’re always at least half an hour late.”
48. Lainie Kazan
I was hired by Marvin Kutcher to play at the Americana Hotel, where I encountered a demanding singer, Lainie Kazan, who had difficulty hearing the bass.
Key concept: “Really, I think I know the difference between a bass and a guitar!”
49. Peter Duchin
I recount my experiences playing society gigs with Peter Duchin, where I witnessed the lifestyles of the wealthy and learned to navigate the world of high-society events.
Key concept: “You guys throw Peter’s money around like it’s water. I wish you’d stop thinking Peter is rich. He’s not rich!”
50. Doubling in Brass
I share stories about my experiences playing gigs that required me to “double in brass,” playing both bass and tuba. I also recount an amusing incident involving a mispronounced song lyric at a Christmas tree lighting ceremony.
Key concept: “This is kind of unusual, an all white jazz band playing for an all black audience.”
51. 42nd Street
I worked on a Broadway show called 42nd Street for eight years, and in between shows, played various gigs around town. This chapter also includes a story about a humorous encounter with a demanding pianist at a society gig.
Key concept: “Musicians get exactly the amount of respect that they deserve!”
52. Jazz Anecdotes
I describe my involvement with the musicians’ union and the writing of my column, “The Band Room,” for the union’s newspaper, Allegro. I also discuss the process of compiling and writing my book, Jazz Anecdotes, and the responses it received.
Key concept: “Oh, man, somebody should write these down!”
Essential Questions
1. How did you get your start in the world of modern jazz?
My introduction to modern jazz happened at Birdland, a New York nightclub that was a hub for the greatest jazz musicians of the era. I learned by observing and listening to masters like Charlie Parker and Bud Powell, immersing myself in the music and the culture.
2. What were your early musical influences, and how did they shape your musical journey?
While my mother didn’t care for jazz, her love for music and her dedication to teaching it to me provided the foundation for my musical ear and my love for melody and harmony. My early experiences playing trumpet and baritone horn in school bands further solidified my passion for music, and my eventual discovery of jazz felt like coming home.
3. What were some of the key lessons you learned about surviving as a working musician in New York?
I learned valuable lessons about survival in the competitive world of jazz, the importance of networking, taking any job that came my way, and always being prepared. These lessons weren’t always easy, often involving financial struggles, long hours, and dealing with difficult personalities.
4. How did your experience in the Army impact your musical development?
My time in the Army, playing in military bands and exploring the jazz scenes in Baltimore and Washington, exposed me to new musical styles and helped me develop my skills. It also taught me the importance of discipline and teamwork, skills that proved valuable in my later career.
5. What do you hope readers will take away from your book?
My book is a personal journey through the world of jazz, offering a glimpse into the lives of the musicians, the clubs, and the gigs. I hope readers will find it entertaining, insightful, and perhaps even inspiring. It’s a story of following one’s passion and finding fulfillment in the pursuit of musical expression, despite the challenges and uncertainties that come with the territory.
Key Takeaways
1. Pay attention to the details.
Throughout the book, I encounter numerous instances where seemingly insignificant details or chance encounters lead to unexpected opportunities or valuable lessons. Paying attention to the seemingly trivial can often yield surprising rewards.
Practical Application:
In the development of an AI product, it’s crucial to foster a culture where everyone feels comfortable sharing their ideas and concerns, no matter how seemingly insignificant. Actively solicit feedback from all team members, regardless of their seniority or expertise. This can prevent the overlooking of potentially valuable insights and promote a more collaborative and innovative environment.
2. Connect with your audience.
My experiences with various bandleaders taught me that success in music isn’t just about talent; it’s also about understanding and connecting with your audience. A musician needs to be aware of the emotional impact of their music and be sensitive to the needs of the listener.
Practical Application:
When designing an AI system, consider the user’s experience from every angle. Don’t just focus on the technical aspects, but also pay attention to the emotional and social impact of the technology. For instance, in designing a virtual assistant, ensure its responses are not just accurate but also empathetic and considerate of the user’s emotional state.
3. Value collaboration and respect.
My most enjoyable musical experiences were with bands that had a strong sense of camaraderie and mutual respect. When musicians feel comfortable and appreciated, they play better, and the music becomes more than just the sum of its parts.
Practical Application:
When leading a team of AI engineers, it’s important to create an atmosphere of respect and trust. Encourage open communication, allow for individual expression, and recognize the unique contributions of each team member. This can foster a more creative and productive work environment, leading to better results.
4. Embrace change and innovation.
The world of jazz was constantly evolving, with new styles and approaches emerging. I learned to adapt to these changes, embracing new musical ideas while staying true to my own musical voice.
Practical Application:
In the ever-evolving field of AI, continuous learning is essential. Embrace new technologies, stay informed about the latest developments, and be willing to experiment with new approaches. Don’t be afraid to step outside your comfort zone and try new things. Just as I had to adapt to the changing musical landscape, AI engineers need to be agile and adaptable to thrive in this dynamic field.
5. Never give up.
My journey as a musician was filled with challenges, setbacks, and moments of self-doubt. But I learned to persevere, to keep practicing, to find new opportunities, and to never give up on my passion for music.
Practical Application:
When facing setbacks or failures in AI development, don’t give up. Analyze the situation, learn from your mistakes, and keep moving forward. Just as I found ways to survive and thrive in the often-challenging world of jazz, AI engineers need to be resilient and resourceful to achieve their goals.
Suggested Deep Dive
Chapter: Birdland
This chapter serves as a microcosm of the book’s central themes: a young musician’s journey of learning and discovery, the transformative power of music, and the vibrant, yet often harsh, realities of the jazz world.
Memorable Quotes
Birdland. 12
Birdland was my alma mater.
The Big Town. 6
“You can’t leave without seeing New York. It’s the greatest place in the world.”
Birdland. 12
At that midtown New York nightclub, I heard modern jazz played nightly by the masters.
Seattle. 33
“Millions for junk, but not a cent for therapy!”
Coast to Coast. 57
I learned from Dave how to survive in New York without a steady income.
Comparative Analysis
From Birdland to Broadway: Scenes from a Jazz Life”, while a personal memoir, shares similarities with other jazz memoirs such as Dizzy Gillespie’s “To Be or Not to Bop” and Miles Davis’s “Miles: The Autobiography.” All three offer firsthand accounts of the golden age of jazz, its personalities, the struggles, and the triumphs. However, Crow’s book distinguishes itself with its focus on the everyday life of a working musician. Unlike Gillespie or Davis, Crow wasn’t a star, but a sideman, offering a unique perspective on the less glamorous aspects of the jazz world: the constant hustling for gigs, the financial instability, and the challenges of working with eccentric personalities. Crow’s book also provides valuable insights into the recording industry and the often-absurd demands placed on musicians. His humor and self-deprecating style make for a delightful and engaging read, offering a more relatable and grounded view of the jazz life compared to the often mythologized accounts of the star players.
Reflection
My book offers a grounded perspective on the jazz world, countering the often romanticized and mythologized view of the jazz life. While the stories of legendary figures like Charlie Parker and Dizzy Gillespie are captivating, they don’t represent the everyday experiences of most working musicians. My narrative highlights the constant struggle for gigs, the financial insecurity, and the personal sacrifices that come with a life dedicated to music. It also touches on the darker side of the jazz scene, including the prevalence of drug addiction and the exploitation of musicians by club owners and managers. While some may criticize the book’s lack of a central narrative arc or its focus on anecdotes rather than a linear story, it accurately reflects the often-fragmented and serendipitous nature of a jazz musician’s life. The book’s strength lies in its authenticity, its humor, and its celebration of the music and the enduring spirit of the musicians who created it.
Flashcards
What was Birdland?
A midtown New York nightclub where Bill Crow received his education in modern jazz
What was “Swing Street”?
A nickname for the stretch of 52nd Street in New York City famous for its jazz clubs in the 1940s
Who was “Bird”?
Charlie Parker’s nickname, for whom Birdland was named
Who was Buzzy Bridgford?
Bill Crow’s friend and mentor who encouraged him to pursue jazz as a career
What is ‘cool jazz’?
A style of playing jazz characterized by long, flowing phrases and a relaxed, swinging feel
Who taught Bill Crow to play bass?
Bill Crow’s teacher who emphasized the importance of a strong bass sound and making each note ring
What are ‘riffs’?
A slang term for improvised musical phrases or short melodic ideas
What is ‘vocalese’?
A type of jazz vocal harmony popularized by groups like the Hi-Lo’s and Lambert, Hendricks & Ross
What was the Hickory House?
A legendary jazz club in New York where Bill Crow played with Marian McPartland’s Trio
What is ‘scuffling’?
Bill Crow’s term for working as a musician without a steady job, taking whatever gigs are available