Clark: The Autobiography of Clark Terry - Hardcover

Terry, Clark

 
9780520268463: Clark: The Autobiography of Clark Terry
Hardcover
ISBN 10: 0520268466 ISBN 13: 9780520268463
Verlag: University of California Press, 2011

Inhaltsangabe

Compelling from cover to cover, this is the story of one of the most recorded and beloved jazz trumpeters of all time. With unsparing honesty and a superb eye for detail, Clark Terry, born in 1920, takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be heard everywhere, to the smoke-filled small clubs and carnivals across the Jim Crow South where he got his start, and on to worldwide acclaim. Terry takes us behind the scenes of jazz history as he introduces scores of legendary greats—Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others. Terry also reveals much about his own personal life, his experiences with racism, how he helped break the color barrier in 1960 when he joined the Tonight Show band on NBC, and why—at ninety years old—his students from around the world still call and visit him for lessons.



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Über die Autorinnen und Autoren

Clark Terry (1920-2015) had an illustrious career—as an innovative trumpeter and flugelhornist, horn designer, leading jazz educator, and composer—that covered an epic span of jazz history. Winner of the 2010 Grammy Lifetime Achievement Award and an NEA Jazz Master, in addition to many other accolades and awards, Terry was the author of Let’s Talk Trumpet: From Legit to Jazz and The Interpretation of the Jazz Language, both with Phil Rizzo.


Clark Terry (1920-2015) had an illustrious career'as an innovative trumpeter and flugelhornist, horn designer, leading jazz educator, and composer'that covered an epic span of jazz history. Winner of the 2010 Grammy Lifetime Achievement Award and an NEA Jazz Master, in addition to many other accolades and awards, Terry was the author of Let's Talk Trumpet: From Legit to Jazz and The Interpretation of the Jazz Language, both with Phil Rizzo.

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“Clark Terry is the epitome of jazz trumpet, of jazz, and of human kindness. His playing is impeccable and original, scintillating, humorous, and brimming with pluckish wit and late-night pungence. His style is virtuosic and deeply intelligent. It cannot be identified by decade or era or style (as it is timeless and definitive of American Jazz and the profoundest aspirations of the jazzman): to be one of a kind, to endure, to inspire, to be truthful, to be accurate, to swing. He has inspired thousands of younger musicians and nourished us with his interest, his knowledge, and his love. His contributions go far beyond the bandstand and he will always be an indelible part of our lives, inseparable from our identity as musicians and people. We all love him deeply. And forever.”—Wynton Marsalis

“Clark Terry is a living history of much of jazz, to which he has contributed as a deeply imaginative soloist and influential band leader. His additional life mission has long been ‘to teach as many young musicians as I could.’ His first pupil was Quincy Jones and he was the first to recognize the potential of Miles Davis. To this day, Clark’s international impact is such that young students come to his home in a small town in Arkansas from Israel, Australia, and other lands to take lessons from Clark. Now, at last, in this memoir of his storied career, Clark swingingly personifies the multi-dimensional jazz life. He writes as he plays—the very sounds and rhythms of surprise!”—Nat Hentoff, author of At the Jazz Band Ball: Sixty Years on the Jazz Scene

“Clark Terry is the unique voice in America’s creative art form called jazz. I would not have a career without him. His friends and admirers cover the whole planet.”—Jimmy “Little Bird” Heath

"Clark Terry has not only been living his dream, he has spent his life helping others to achieve their dreams as well. He's an extraordinary role model and mentor who has walked the walk. And now, in addition to decades of wonderful music, he is giving us another gift, his autobiography. It is up to us to share the love, the music, and the stories with our children, and our children’s children, for this is how they’ll learn. Thank you, Clark, for the wonderful example you have set. We love you.”—Nancy Wilson

"Clark Terry is an American Master. I love to listen to him, particularly ‘Mumbles.’ I was so delighted when we received degrees together, along with Edward Kennedy, at the New England Conservatory in 1997."—Aretha Franklin

"I've always been a great admirer of Clark Terry's work on the trumpet and flugelhorn, and now I have become a big admirer of his work as an author—you will love this book." —Clint Eastwood

"I met Clark when I was sixteen years old. He saw something in me and without hesitation planted me in the most fertile soil any aspiring artist could hope to be in . . . his heart. I am eternally grateful for his generous spirit, love, encouragement, storytelling, and above all laughter throughout the years! Clark . . . I love you madly."—Dianne Reeves

“I’ve come to know Clark as undoubtedly the greatest teacher in the history of jazz. From the mentoring of Miles Davis and Quincy Jones, to the millions of young musicians touched by the Thelonious Monk Institute of Jazz all over the globe, Clark and his incredible music stand as a symbol of intellect and spirituality of the highest order to all of us. Thank God for Clark Terry!” —Thelonious Monk, III

“Thank you, Clark, for a lifetime of your incredible talents, and for filling this world with so much love. All of us at the Jazz Foundation of America are sincerely thankful for your compassion and involvement in our efforts to help musicians in need. You are an inspiration and a classic role model truly beyond category!” —Wendy Oxenhorn

“His style, his sound, his look, his voice, his heart, his soul. That’s what inspires Snoop Dogg about Mr. Terry. If I could only do half of what he did in the music business, my life would be complete. I had the honor and pleasure of spending a few days with Mr. Terry. He’s the greatest to ever do it. Thank you, Uncle Quincy, for introducing me to Mr. Mumbles!!!” —Snoop Dogg

“Clark and I have been friends for many decades, and I’ve always enjoyed his music. Recently, on a long, three-hundred-mile drive to our gig, we listened to Clark’s wonderful Porgy and Bess album. This was the second or third time that we’d done that. It sure was some great playing on your part, Clark! We enjoyed those Chicago Jazz Orchestra brass players, too. Congratulations on your book.” —Dave Brubeck

“When I saw Clark performing at the Blue Note in New York, I thought to myself, ‘Could this be what all of us instrumentalists are really trying to do?’ Before my eyes and ears, the legend/man/craftsman went there. As I saw it, there was straight to the source of personal expression. Through Mumbles or through the flugelhorn, the man spoke to me that night, and I’ll remember that always as a larger than life experience.” —Esperanza Spalding

“Clark Terry is a jazz superstar, and one of the most extraordinary individuals I have ever encountered. He’s a world-class musician, educator, composer, jazz pioneer, and a co-founder of the Thelonious Monk Institute of Jazz. He has inspired people of all ages with his humor, courage, passion and vision. Thanks for your friendship, Clark, and for always being there for the Institute.” —Tom Carter

“Whenever I see Clark Terry, I always look forward to talking to him and reminiscing about the early bebop years. There’s an expression coined by Lester Young that succinctly says it all about Clark Terry: ‘chandelier,’ a raconteur par excellence, Mumbles-brilliant, original musical brilliance. It has been a privilege.” —Billy Dee Williams

"The one I admire without restriction is Clark Terry, whose pronunciation at the trumpet or bugle is a model of sharpness, clearness and authority. A model which is given with generosity to all of those who want to play this instrument...the way it should be played." —Maurice André







Aus dem Klappentext

Clark Terry is the epitome of jazz trumpet, of jazz, and of human kindness. His playing is impeccable and original, scintillating, humorous, and brimming with pluckish wit and late-night pungence. His style is virtuosic and deeply intelligent. It cannot be identified by decade or era or style (as it is timeless and definitive of American Jazz and the profoundest aspirations of the jazzman): to be one of a kind, to endure, to inspire, to be truthful, to be accurate, to swing. He has inspired thousands of younger musicians and nourished us with his interest, his knowledge, and his love. His contributions go far beyond the bandstand and he will always be an indelible part of our lives, inseparable from our identity as musicians and people. We all love him deeply. And forever. Wynton Marsalis

Clark Terry is a living history of much of jazz, to which he has contributed as a deeply imaginative soloist and influential band leader. His additional life mission has long been to teach as many young musicians as I could. His first pupil was Quincy Jones and he was the first to recognize the potential of Miles Davis. To this day, Clark s international impact is such that young students come to his home in a small town in Arkansas from Israel, Australia, and other lands to take lessons from Clark. Now, at last, in this memoir of his storied career, Clark swingingly personifies the multi-dimensional jazz life. He writes as he plays the very sounds and rhythms of surprise! Nat Hentoff, author of At the Jazz Band Ball: Sixty Years on the Jazz Scene

Clark Terry is the unique voice in America s creative art form called jazz. I would not have a career without him. His friends and admirers cover the whole planet. Jimmy Little Bird Heath

"Clark Terry has not only been living his dream, he has spent his life helping others to achieve their dreams as well. He's an extraordinary role model and mentor who has walked the walk. And now, in addition to decades of wonderful music, he is giving us another gift, his autobiography. It is up to us to share the love, the music, and the stories with our children, and our children s children, for this is how they ll learn. Thank you, Clark, for the wonderful example you have set. We love you. Nancy Wilson

"Clark Terry is an American Master. I love to listen to him, particularly Mumbles. I was so delighted when we received degrees together, along with Edward Kennedy, at the New England Conservatory in 1997." Aretha Franklin

"I've always been a great admirer of Clark Terry's work on the trumpet and flugelhorn, and now I have become a big admirer of his work as an author you will love this book." Clint Eastwood

"I met Clark when I was sixteen years old. He saw something in me and without hesitation planted me in the most fertile soil any aspiring artist could hope to be in . . . his heart. I am eternally grateful for his generous spirit, love, encouragement, storytelling, and above all laughter throughout the years! Clark . . . I love you madly." Dianne Reeves

I ve come to know Clark as undoubtedly the greatest teacher in the history of jazz. From the mentoring of Miles Davis and Quincy Jones, to the millions of young musicians touched by the Thelonious Monk Institute of Jazz all over the globe, Clark and his incredible music stand as a symbol of intellect and spirituality of the highest order to all of us. Thank God for Clark Terry! Thelonious Monk, III

Thank you, Clark, for a lifetime of your incredible talents, and for filling this world with so much love. All of us at the Jazz Foundation of America are sincerely thankful for your compassion and involvement in our efforts to help musicians in need. You are an inspiration and a classic role model truly beyond category! Wendy Oxenhorn

His style, his sound, his look, his voice, his heart, his soul. That s what inspires Snoop Dogg about Mr. Terry. If I could only do half of what he did in the music business, my life would be complete. I had the honor and pleasure of spending a few days with Mr. Terry. He s the greatest to ever do it. Thank you, Uncle Quincy, for introducing me to Mr. Mumbles!!! Snoop Dogg

Clark and I have been friends for many decades, and I ve always enjoyed his music. Recently, on a long, three-hundred-mile drive to our gig, we listened to Clark s wonderful Porgy and Bess album. This was the second or third time that we d done that. It sure was some great playing on your part, Clark! We enjoyed those Chicago Jazz Orchestra brass players, too. Congratulations on your book. Dave Brubeck

When I saw Clark performing at the Blue Note in New York, I thought to myself, Could this be what all of us instrumentalists are really trying to do? Before my eyes and ears, the legend/man/craftsman went there. As I saw it, there was straight to the source of personal expression. Through Mumbles or through the flugelhorn, the man spoke to me that night, and I ll remember that always as a larger than life experience. Esperanza Spalding

Clark Terry is a jazz superstar, and one of the most extraordinary individuals I have ever encountered. He s a world-class musician, educator, composer, jazz pioneer, and a co-founder of the Thelonious Monk Institute of Jazz. He has inspired people of all ages with his humor, courage, passion and vision. Thanks for your friendship, Clark, and for always being there for the Institute. Tom Carter

Whenever I see Clark Terry, I always look forward to talking to him and reminiscing about the early bebop years. There s an expression coined by Lester Young that succinctly says it all about Clark Terry: chandelier, a raconteur par excellence, Mumbles-brilliant, original musical brilliance. It has been a privilege. Billy Dee Williams

"The one I admire without restriction is Clark Terry, whose pronunciation at the trumpet or bugle is a model of sharpness, clearness and authority. A model which is given with generosity to all of those who want to play this instrument...the way it should be played." Maurice André







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Clark

The Autobiography of Clark Terry

By Clark Terry, Gwen Terry

UNIVERSITY OF CALIFORNIA PRESS

Copyright © 2011 Clark Terry and Gwen Terry
All rights reserved.
ISBN: 978-0-520-26846-3

Contents

Preface by Quincy Jones, xi, 
Foreword by Bill Cosby, xiii, 
Introduction by David Demsey, xv, 
1. Big Dreams, 1, 
2. First Instruments, 2, 
3. Kicked Out, 8, 
4. The Vashon High Swingsters, 11, 
5. First Road Gig, 22, 
6. Nigga, 28, 
7. Ida Cox, 33, 
8. Stranded, 39, 
9. Lincoln Inn, 42, 
10. On the Road Again, 48, 
11. Tennis Shoe Pimp, 56, 
12. Jailed, 58, 
13. Len Bowden, 62, 
14. Navy Days, 64, 
15. Gray Clouds, 69, 
16. The Big Apple, 73, 
17. George Hudson, 75, 
18. The Club Plantation, 80, 
19. Galloping Dominoes, 85, 
20. Tempting Offers, 87, 
21. Lionel Hampton, 90, 
22. Road Lessons, 94, 
23. Pauline, 96, 
24. Charlie Barnet, 102, 
25. Count Basie, 110, 
26. Big Debt, 115, 
27. Duke Ellington, 122, 
28. Leaving Basie, 126, 
29. The University of Ellingtonia, 128, 
30. Working with Duke, 132, 
31. Duke's Team, 136, 
32. Duke's Management Arts, 142, 
33. Miles and Bird, 143, 
34. Billy Strayhorn, 146, 
35. Endurances, 148, 
36. Flugelhorn, 152, 
37. Europe, 155, 
38. Norman Granz, 158, 
39. Norman's Battles, 160, 
40. Q, 165, 
41. NBC, 170, 
42. Jim and Andy's, 173, 
43. Johnny and Ed, 174, 
44. Mumbles, 176, 
45. First House, 179, 
46. Big Bad Band, 182, 
47. Carnegie Hall, 187, 
48. Etoile, 188, 
49. Jazz Education Arena, 191, 
50. Those NBC Years, 198, 
51. Storms, 202, 
52. Black Clouds, 205, 
53. Keep on Keepin' On, 212, 
54. New Love, 220, 
55. Whirlwinds, 224, 
56. Through the Storm, 230, 
57. Second Chance, 239, 
58. The Biggest Surprise, 250, 
Acknowledgments, 259, 
Honors and Awards, 269, 
Original Compositions, 279, 
Selected Discography, 283, 
Index, 303,


CHAPTER 1

Big Dreams


I made my first trumpet with scraps from a junkyard. My friend Shitty helped me find the pieces on a blazing hot summer day in 1931. I coiled up an old garden hose into the shape of a trumpet and bound it in three places with wire to make it look like it had valves. Topped those with used chewing gum for valve tips. Stuck a piece of lead pipe in one end of the hose for a mouthpiece. And for the bell on the other end, I found a not-too-rusty kerosene funnel. I was a ten-year-old kid, blowing on that thing until my lips were bleeding, but I was trying to play jazz! It may have sounded like a honking goose, but it was music to my ears.

Jazz was everywhere in my hometown, St. Louis, Missouri. My brother-in-law played it in a band; I heard it on the radio, in parades, in the parks, in my neighborhood at block parties and the Friday night fish fries, and from the riverboats that I watched from the banks of the Mississippi River.

That junkyard trumpet, I made it right after I heard Duke Ellington's band play on a neighbor's graphophone (a predecessor to the gramophone) at a fish fry. I wanted to be involved with music like that.

Duke's band was different from any other band I'd ever heard! The sound. Those horns. That rhythm. It was powerful, like a freight train. Everybody knew about Duke's band. I had heard about him—heard that he was the most respected band leader anywhere. And that night, I heard why.

Nobody's band moved me like that. Nobody's. It blew my mind! Stopped me dead in my tracks. I couldn't do anything but listen to that music. It was like the whole world disappeared. Nobody was left but me and that band. I wanted to learn how Duke did it.

Twenty years later, I was fortunate enough to be hired by Duke. I was thirty years old. It was Armistice Day, November 11, 1951, at the Kiel Auditorium in St. Louis. Huge place. All the latest sound and lighting. Believe me, I'd paid a lot of dues before then. Lots of acid tests, situations that seemed impossible—but nothing like the changes I had to go through that night in Duke's band. Back in '47, when I first joined Charlie Barnet's band, what he came up with for an acid test didn't compare. The way that Basie made me prove myself in front of his band in '48 was hard as hell! But even that couldn't touch what Duke whipped on me. That was the lay of the land: put the new kid on the spot. You either passed the test or got the ax!

Many of my dreams have come true, but what I've learned is that dreams change. New dreams come into play. What I thought I wanted most of my life changed, too.

I'd always thought that the most important thing was to play my horn—to get into this band or that band or Duke's band, to have my own band, to perform, record. And I did enjoy these things. Worked hard to achieve them. But later on, I had a new dream: helping young musicians to make their dreams come true. That became my supreme joy and my greatest aspiration.

CHAPTER 2

First Instruments


The only person I knew who didn't love jazz was my old man. He liked country music. He was a short man, just over five feet tall—"Five foot two," he always said, smoking or chewing on a handmade Hauptmann cigar. He was a strong man. Didn't take crap from anybody! I remember when his union was trying to get the workers to go on strike at his job. He worked for Laclede Gas and Light Company, and the union wanted better wages, but Pop wouldn't cooperate. He said, "I got too many mouths to feed to play a white man's game." So some white union guys came to our flat after work. They were shouting from the street up to our front window. Calling him by the name he hated.

"Shorty! Come on down!"

Pop sent my sisters down the back stairs, so they could slip out to our Aunt Gert's place next door to the flat below ours. Then he armed my brothers with pistols, knocked out our window pane, aimed his shotgun, and let his bullets do his talking. The men below were armed with pistols, baseball bats, crowbars, and chains. When they heard Pop's shotgun blasts, they took off like chickens running from a cook.

Everybody respected him. He wore nice clothes and hats. His name was Clark Virgil Terry, and we called him Pop, but everybody else called him Mr. Son, because his nickname was Son Terry. All my friends were scared of him, and I was, too. He'd beat me at the drop of a dime. None of my brothers and sisters. Just me. Except one time he beat my oldest sister, Ada Mae, when she stood up for me and begged him not to whip me after I broke the limb off a neighbor's tree while I was swinging on a rope.

When I told him that I wanted to play a trumpet, he said, "Rotten on that shit, Boy!" He had a weird way of cussing, but I knew what it meant. He said, "Remember your cousin Otis Berry? Always walking up and down the streets on his paper route, playing that damn horn! He got consumption and died! So, I'd better not hear tell of you playing no damn trumpet, or I'll beat your ass till you won't see the light of day again!"

That wasn't gonna stop me. I didn't believe that I'd get consumption. (That's what they called tuberculosis.) I'd wanted to play a trumpet in the worst way ever since I was five and watching those trumpets in the neighborhood parades. I loved the trumpet, because it was the loudest and it led the melody. And after I'd heard Duke's band at that fish...

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Verlag
University of California Press
Erscheinungsdatum
2011
Sprache
Englisch
ISBN 10 
0520268466
ISBN 13 
9780520268463
Einband
Gebundene Ausgabe
Anzahl der Seiten
322
Herausgeber
Terry Gwen
Kontakt zum Hersteller
Nicht verfügbar
Verantwortliche Person
Buchbär
info@buchbaer.de

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