Stage presence has always been a questionable affair when it comes to jazz musicians. Some felt Louis Armstrong’s stage persona was that of an “Uncle Tom,” with his constant grinning and smiling, which from my perspective is far from the truth.
Ironically, the late trumpeter and composer Clark Terry shared with me some time ago it was Armstrong who advised him and the guitarist/singer George Benson to smile more, tell jokes and sing. “That was the best advice we ever received,” noted Terry.
At the opposite end of the pendulum was Miles Davis, who never smiled, turned his back to the audience (to hear his band, not out of disrespect) and rarely offered the titles of the compositions played.
The bassist/composer Charles Mingus, by contrast, tried to reason with his audience, often lecturing them but also finding ways to entertain them without compromising his own convictions. Having played in bands led by both Armstrong and Lionel Hampton, Mingus understood the choices Armstrong faced as a performer and rejected Davis’ aloof stage manner.
But Mingus was just one of many critics who had something to say about Armstrong onstage. Ralph Ellison, Albert Murray, Robert G. O’Meally and Brent Hayes Edwards have all made strong arguments on how we should think about Armstrong.
Sept. 28, this topic will be discussed during a lecture by Krin Gabbard entitled, “Satchmo, Miles, Mingus, and the Performers Choices,” at Columbia University (632 W. 125th St., Prentis Hall, Room 101) at 7 p.m.
The event is free, but RSVP is required. Contact ym189@columbia.edu.
When the reed player and composer Charles Davis died July 15 at the age of 83, he left a void in the universal saxophone section. Sept. 24, the life and music of Charles Davis will be celebrated at St. Peter’s Church (54th Street at Lexington Avenue) at 5 p.m. His fellow musicians who are scheduled to perform will include Barry Harris, Bill Saxton, Leroy Williams, Roni Ben-Hur, Melba Joyce, Ray Drummond, Joe Magnarelli, Larry Ridley, Richard Clemons, George Coleman, Tex Allen, Victor Lewis and Louis Hayes.
Davis instructed private students from The New School and for more than 25 years was an instructor at Jazzmobile. The composer, who was born in Goodman, Miss., and raised in Chicago, eventually found his way to New York and became a noted force on the scene. In the early 1960s he was known for playing a mean baritone saxophone before he finally switched to his real love, the tenor sax.
On arriving in New York, he formed an enduring association with the trumpeter Kenny Dorham, with whom he recorded regularly.
Davis became a Harlem transplant, often playing at the Lenox Lounge and Showman’s when he was not touring with Archie Shepp or Sun Ra. Earlier he enjoyed an extended stint with Billie Holiday, playing next to Ben Webster.
With his varied playing style, he earned chairs with the vocalist Dinah Washington, the saxophonist Illinois Jacquet, the organist Shirley Scott and pianist/composer Ahmad Jamal. He later joined forces with Gary Smulyan and Ronnie Cuber to form the Three Baritone Saxophone Band.
When not fronting his own band, he often played with Jimmy Heath’s all-star big band and occasionally toured with Marshall Allen’s Sun Ra Arkestra, as recently as 2014. He has released multiple albums and appeared on more than 100 recordings.
In 1974, he recorded “Ingia!” which included his son, Louis Davis, on guitar, for the Strata-East label, co-founded by the trumpeter Charles Tolliver and the pianist Stanley Cowell.
In 2004, the composer and trumpeter Charles Tolliver was one of the musicians who performed at the gala opening of Jazz at Lincoln Center’s new digs at 60th Street and Broadway.
The noted musician and arranger has not performed there since, but Sept. 27 and 28, he will return to perform in Dizzy’s Club Coca Cola with The New Charles Tolliver/Music Inc. (a name that seems to be quite apropos for this return.) The explosive band will include pianist Theo Hill, bassist Essiet Essiet and drummer Lawrence Leathers. There will be two sets each evening at 7:30 p.m. and 9:30 p.m. For reservations visit the www.jazz.org.
The bassist Wilbur Ware, who died in 1979 at the age of 53, was known for his unorthodox solo technique and his reputation as the house bassist for Riverside Records, playing on many of the label’s recording sessions (1950s) with Grant Green, Toots Thieleman and Zoot Sims.
Ware’s reputation was heightened during his time with the Thelonious Monk Quartet and his live Village Vanguard recordings with the Sonny Rollins Trio. In 1958, Ware was one of 57 jazz musicians to appear in the photograph titled, “A Great Day in Harlem.”
In tribute to Ware’s legacy, to live on by acknowledging the history of jazz and the many musicians who continue to keep this music alive, his widow Gloria Ware co-founded the Wilbur Ware Foundation, along with Clifford and Sandra Jordon.
Oct. 1, the foundation will begin its 2016-17 season with a fundraiser at MIST Harlem (46 W. 116th St.) to celebrate and honor the music and contributions of Shirley Scott and Stanley Turrentine, and a special presentation in honor of Jimmy Heath at 90.
The all-star line-up of musicians scheduled to perform will include Heath, George Coleman, Jimmy Cobb, Jimmy Owens, Jon Faddis, Eric Alexander, Peter Bernstein, Dave Stryker and Willie Jones III, with the musical director Mike LeDonne.
“We must never forget those artists whose seminal musical ideas paved the way for youngsters who are now taught in music schools, college music programs, workshops, and other creative music environments globally,” said Gloria Ware.
For more information, call 347-523-9886 or visit the website wilburwareinstitute.org. Tickets are $30 in advance, $35 at the door and $20 for seniors and students.
