The Up of The Down Beat

By Teddy Adams

The musical journey chronicled in this book is an interesting, truthful and in some instances a very funny revelation of events, places and people encountered. Beginning in this writer's hometown, Savannah, Georgia, to national and international places, there's always an unexpected, yet thought provoking twist of occurrences and incidents throughout his encounters with many Jazz greats. Much like the syncopation found in Jazz music, the journey of the author's encounters is unexpected, yet every moment or experience shared with other uniquely talented, creative and interesting Jazz musicians left lasting impressions for a lifetime. Through personal experiences and associations this musical journey reveals insight, information and trivia that is probably not considered as being common knowledge about several Jazz musicians, many of them of national/international prominence. Like the lives and music of these musicians, the element of surprise and the unexpected are an intricate part of their makeup....thus "The Up of the Down Beat" is most befitting when describing them and the environment in which they dwell.

• Language: English
• Publisher: Page Publishing, Inc.
• Release date: Nov 14, 2017
• ISBN: 9781684096916

Book preview

Dedication

For most professional musicians and/or anyone who plays, has played, or aspires to play an instrument, there is a beginning. The beginning usually starts with a teacher. If you have ever read the background of musicians, all of them named someone who put them on the right path and is partly responsible for their musical accomplishment.

Savannah has a rich music heritage, a very strong history of good music and musicians. Prior to 1953, most black children who wanted to play any kind of wind or percussion instrument did not start until they entered high school. That meant that they began in tenth grade and graduated in three years from the twelfth grade. It is obvious that three years is not very long, and just when they were getting familiar with the instrument, it was time to graduate. Just imagine how much the progress of the child and the music program was hampered because of the lack of sufficient time for adequately developing needed musicianship. The child who wanted to play an instrument was not as fortunate as the aspiring pianist because piano lessons and teachers have always been prevalent. There was a natural inclination for parents to expose their children to piano, even if the child was not interested or inclined to play.

In 1953, the Chatham County school system was completely segregated. As I’m sure you already know, integration in schools did not start until the latter sixties. Although my brother played saxophone before I started playing, I had not given playing an instrument any consideration. My brother, who is four years older, started to play in the tenth grade, so even a passing thought suggested that I would not play until I started high school. Then one day, at East Broad Street Elementary School, when I was in the fifth grade, a man came to the school and demonstrated all the band instruments to the entire body of fifth graders and informed us that if we were interested in playing an instrument, the school system had finally implemented a music program in elementary schools and instruction would be available for anyone who could purchase an instrument.

The person who introduced the band program to every black kid in the fifth grade in Savannah, Georgia, in 1953 was Benjamin Glasgow Brown, affectionately known as Mr. Brown. He had the awesome responsibility for going to several schools five days a week and the greater task of teaching beginning students who in many instances did not have the inclination or the talent.

Benny Brown was born on March 16, 1924, in Savannah, Georgia. He attended the Florence Street Elementary School and the Beach-Cuyler Middle/High School. As a youngster, he credits the late Walter Langston for being his mentor. Langston, who was a fine trumpet player and band leader, took Benny under his wings and taught him well. After completing high school, Benny joined the army and played trumpet in various military bands for three-and-a-half years. It was in the army that he got his exposure to playing in well-organized and rehearsal bands that included the army’s jazz band. His tour of duty included both stateside and service in the Philippines.

Upon getting out of the army, Benny attended Savannah State College where he obtained his undergraduate degree and later received a masters in music education from Columbia University. Benny polished his performing ability and achieved the ultimate, playing along with his mentor, Walter Langston, in Langston’s band for twelve years. He taught school for thirty years and retired in 1980. Can you imagine the number of kids that he has either started or influenced during that period of time? It boggles the mind to even attempt a guess. This writer is just one example of his labor. Benny Brown is responsible for starting me on the saxophone first and later the trombone. He encouraged and admonished when necessary, whatever actions that were appropriate at the time. Other musicians/teachers he taught include:

Lawrence Hutchins Jr., retired band director A. E. Beach High School, Savannah State University.

James Thompson, former band director at Savannah High School and music coordinator for the Chatham County Board of Education.

Dr. Robert Stevens, supervisor of music education majors at Montclair State University in New Jersey.

Rolando Blake, presently performing professionally in New York.

Kenneth Swindell (deceased) formerly performed professionally in Houston, Texas.

Danny Blalock (deceased) formerly performed professionally in Los Angeles.

Bobby Greene (deceased) former professional (musician) music professor, composer who resided in Boston, MA.

Alfonso Wright, retired US Army band director.

Samarai Celestial (deceased, a.k.a. Eric Walker, professional musician)

The above students are only a few, but represent the positive influence that Benny Brown imparted to them. Their accomplishments are indicative of not only personal accomplishments, but the importance of the beginning of their music endeavors. Benny Brown was the person responsible for teaching us how to hold the instrument, nurtured the growth, and, above all, impressed that the only way to become an accomplished musician was by practicing diligently. Ample appreciation cannot ever be expressed.

Thank you, Mr. Brown, for giving so much.

Benjamin G. Brown

Sincere Acknowledgments

The following individuals are a part of my musical journey through this life and have my undeniable gratefulness. They are all contributors to the great art form commonly referred to as Jazz.

Rasheed Akbar

Jim Alley

Billy Austin

Kevin Bales

Evelyn Brown

James Cheek

Cindy Collins

Keith Davis

William Duke Ellington

Frank Gordon

Jimmy Griner

Teddy Harden

Joseph Johnson

Sheldon Kanis

Isidore Karpf

Walter Langston

Johnny Plunk McMillan

Sidney Miller

Frank Mumford

Ted Pollen

Raymond Ray Ray

Claude Roberts

Launey Roberts

Pierre Robinson

Thomas Pop Scott

Thurlow Scott

Twinkle Toe Singleton

Freddie Smith

Bruce Spradley

Stella Storms

Bobby Vaughn

Clay White

Jack White

Benny Wilkins (Benny Mule)

Sam Williams

A special thanks to Drs. Charles Elmore (All That Savannah Jazz) and Julius Boo Hornstein (Sights and Sounds of Savannah Jazz) for their publications chronicling Savannah’s great jazz legacy. To date Dr. Elmore’s All That Savannah Jazz is the most comprehensive documentation of Savannah’s jazz history. I am also very grateful to my main man, Dr. Robert L. Stevenson, for his editing assistance and candid advice. I used it wisely.

Last, but certainly not least, my sincerest acknowledgment and gratitude is for the first semi-organized jazz band that I was a part of. In 1956, while still in high school at the age of fourteen, some of the guys in the Alfred E. Beach High School band formed a small group named the Flames. The band included Herley Stroman—alto saxophone, Comer Flynn—tenor saxophone, George Roberts (Chicken George) and Paul Lanier—trumpets, Edward Days—drums, Joseph Johnson—piano, and me on trombone. We were green and inexperienced, but man, it was fun and laid the foundation for a lifetime of musical fulfillment and personal joy. Of the aforementioned guys, Herley Stroman, George Roberts, Comer Flynn, Paul Lanier, and me are still alive. I still cherish our friendship and will be forever grateful for their interest and respect for this great music commonly referred to as jazz.

Foreword

Readers of this book are about to embark upon a synoptic journey into the life of a jazz musician who, although certainly not a household name, has been fortunate enough to share the life experiences (negative and positive) and also privy to inside information about the genius and eccentricity of local, national and international jazz artists. Although personalities varied among musicians, one characteristic was very clear in almost every encounter—whether they were formally or informally educated, the greater the musical talent, the more insight about life and a high level of intelligence was quite obvious. This writer, who also happens to be the subject traveler on this journey, detected this consistency at a very early age and has found it to be true. The level of musicianship is most often commensurate to the level of intelligence.

The above realization began in my hometown, Savannah, Georgia. As a matter of fact, Savannah has proved to be the most important aspect of my sojourn. I could not have been given a better introduction and/or foundation for insight into the profoundness of the art form commonly referred to as jazz, and the creators and perpetuators of this great art form. The experiences and knowledge gained by this writer in Savannah will never be forgotten, forever treasured and never regretted in this life time.

The Beginning

Savannah, Georgia, Chatham County, the beautiful city by the sea and oldest city in Georgia, is my home and I am proud to be a Savannahian. Long before Interstate 95 was ever thought about, travelers and visitors alike had to take Highway 17, which ran directly through Savannah; therefore, many people usually stopped and/or stayed over for a while. This practice was very prevalent among musicians and entertainers. From the late 1930s until the late 1950s, long before integration, Savannah was a Mecca for black-owned restaurants, night clubs and dance halls. Couple the aforementioned with the fact that Savannah has always been and still is one of the largest seaport cities in the Southeastern United States, and you have the makings of a happening city. Martin Luther King Jr. Boulevard (formerly West Broad Street) was a nucleus for both black entrepreneurship and black patronage (many businesses were also owned by Whites but heavily patronized by Blacks).

It was Herley Stroman, an alto saxophonist and friend, who exposed me to a lot of unsavory habits and other experiences but perhaps the most important aspect of my early developing and maturing, West Broad and Gaston Streets. My exposure to life and the West Broad Street environment was and is an indelible part of my life. From 1955 to 1960, my experiences there helped to shape my life and prepared me for my future existence. The foundation for surviving as a person and musician was solidly laid during my years on West Broad Street. It was Herley who told me about Willie Draper.

I met Willie Draper, a.k.a. Scoop or just Draper, in 1956. I was fifteen years old and had no idea the profound affect he would have on my life. Until this day, he was and is regarded as family by my family members beginning with my parents and including my brothers, sisters, wife and children. He was always like an older brother. It was Draper who gave me a proper prospective on life in general and made me cognizant of the importance and profoundness of the art form commonly referred to as jazz. He was and is my quintessential mentor.

Willie Draper was born in Hardeeville, South Carolina (about fifteen miles from Savannah), he grew up and attended public schools in Savannah. He, along with a childhood friend, Alfonso Frazier, started playing their instruments in their early teens. Draper played the alto saxophone and Al, the trumpet. This was done because of a strong desire to play. There was no formal musical training in Savannah’s public schools. They both later attended a private school in Alabama where they were formally introduced to music.

My initial music interest was tweaked by the three influences: my father, who