March 17th, 2009

What happens in the Jazz experience?

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Mr. Barker seems to fall into a separate consciousness, in this excerpt, as he recounts for the students of Xavier University as to the inner workings of what went on in the collective consciousness of the so called “rebellion in music” – of which he was less a participant and, a keen observer more so. Danny played guitar on a session for pianist, 'Sir' Charles Thompson. The date, (September 4th, 1945) that brought together: Charlie Parker, Dexter Gordon, Buck Clayton; along with the Jimmy Butts and J.C. Heard rounding off the rhythm section.

In his biography, A Life In Jazz (1986 Oxford University Press, edited by Alyn Shipton,) Danny Barker reveals that he had concerns then, about his place in the scheme of things.

From Chapter Twenty-one: Bebop and how I left Calloway's band.

Now Sir Charles wasn't just a rhythm player – he could play any kind of piano from ragtime to modern styles. A masterful musician. He could arrange, and he had depth. A whole scope of music. He called me, “Dan, I have a record date. Can you make it?
I said, “Yeah. I could use the loot.” So I said, “Who are we with?”
He said, “Charlie Parker.”
“Charlie Parker! Man – I don't play bebop!”
He said, “It aint gonna be a bebop record. It'll be sort of experimental, putting a rhythm section with these guys. It'll be a knockout. And besides, I've got you covered. I'll tell you what to press on.” I said, “You sure? Charlie Parker? He'll be satisfied?”
He said, “We talked about it. Charlie digs you. He's seen you play.”
I said, “Well, if you're sure. Because I'd hate to come down there and have the people look at me all funny because I don't know that music. I'm not a bopper.” He said, “They want a beat man, and big fat chords. You can do that.” So I made the date.

Danny also recalls how the red light didn't actually flash on schedule, although all of the musicians were present for the morning call.

Finally we got going, we played those big fat chords, and they seemed satisfied. Charlie was very friendly. But they didn't finally start recording until eleven o'clock, for they were waiting for the man to come with something. I was naïve, still wondering what the hell this was. But somebody whispered – pulled my coat – “The man's coming with something for Charlie.” So we made the date. I had the honor of playing with Charlie Parker at his height. But that day, until those people came there, he was sitting around looking off into space, sweating.

Danny Barker was present at Minton's Playhouse, the spot in Harlem where the rebellion had its training base.

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The bandstand was commanded by Theolonius Monk, with bombardier Kenny Clarke – who used his drum kit as weapon of mass construction. Ultimately, it is a battleground of ideas.

From A Life In Jazz, Danny Barker wrote it down.

The purpose in the beginning at Minton's was to manipulate the sounds and chords and harmonic structures of the songs played there. At Minton's and a few other back rooms, strategy was planned and plotted, gradually taking form, to cut out and eliminate inferior players. Theolonius Monk was the leader of the Minton's bandstand (a very small, tight one.) He generally started playing strange introductions going off, I thought, to outer space, hell knows to where.

Dear reader, if armed conflict is not your preferred study, Daniel Moses Barker draws a metaphor from the natural world.

At Minton's Monk and Kenny Clarke (Klook-a-mop) set up a mind-boggling diffusion of rhythms and sounds. It was like going into sudden fast rapids in a canoe on the river of sounds, daring and dangerous.

A real trip... "into the higher dimensions.

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The destination being – Freedom Land.

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The Jazz man's invisible railroad, improvisation.

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Turn Around. Tomorrow Is The Question! The Shape Of Jazz To Come...
Now here's a cut that's just sick – Cats & Chicks! – From the Hallowed Halls of Xavier University, The Swift and Awesome One... Bringing A Message From Heaven... The Prophet Daniel. On the Ides of March, 1977... Get blasted!

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