I have been following and enjoying your writing (and playing!) for years. I am a pianist and teacher here in DC, and I was pleasantly surprised to see you give credit to Clarence Williams. I presented a research paper to the IAJE conference in the early 2000s on Clarence Williams; I was attempting to respond to what I felt was a lot of criticism and negativity directed at him in jazz literature of the time. I argued that he should be viewed as a player/entrepreneur who was composing, publishing, and producing jazz from the beginning.
As for the actor, funny story: I was on a funk gig at the time and told the bassist that I was researching Clarence Williams and he immediately responded “yeah, he was Prince’s father!” I wasn’t aware…must have been very early internet days.
Wasn’t Clarence Williams III—who played Prince’s father in Purple Rain and was one of the leads in the old TV show The Mod Squad—the grandson of Clarence Williams?
I can't say I know that much about Clarence Williams but when I was very young I learned "Organ Grinder Blues" from the same Hal Leonard anthology JAZZ, BLUES, BOOGIE, AND SWING. FWIW I included this sheet music in my "Theory of Harmony" in the dropbox. Only recently did I hear the record of Williams playing the track, and it is great! https://youtu.be/kSQhBkbgaF0?si=Ys8svtF41zgJlbUD
I know of three ways to record music. One is machine tech [discs]; another is notation on paper; another is memory. I submit that JPJ foregrounded the third, causing differences between renderings of Carolina Shout, with #1 and #2 done for financial expedience.
I sense a tendency to overemphasize the significance of written notation generally in our culture; perhaps a bias.
On my way into NYPL Library for the Performing Arts in Lincoln Center this morning I noticed three marble three-step stairs that have been placed next to the stone "seats" (ledges) on the north side wall of Metropolitan Opera House. One has the name James P. Johnson, with the names of Benny Carter & Herbie Nichols on the other two stairs. No clue why these have been placed there, nor how these musicians were chosen for the honor. Must be an omen, and worth a photo if you're in the area.
As an amateur musician, I'm fascinated with the issue of transcription and "nerdy filigree." When a classical pianist friend of mine was showing me a very detailed score, that had maybe TOO much detail spelled out, he said, "Duke Ellington would have just written eighth notes and 'swing' over them." I wonder if that's why Johnson didn't write out those syncopations you were wondering about. Did he just assume the performer would take care of that? Another friend of mine is a composer in the classical world who also plays pop and jazz quite well. He wrote a piece for a trio that included percussion and was frustrated that the percussionist didn't know how to "read" the feel he wanted. "Any jazz musician would look at that and automatically think: 'Elvin Jones.'"
It's a strangely complex topic. Just to clarify one thing, in "Carolina Shout" he is notating a lot of syncopations that are at the same level of difficulty as the ones he doesn't write. My question is more of a basic grammar issue about certain measures: If every record has an anticipation in that bar, why is it straight in the score (and in line with many other measures of the score)? Thanks for comment.
Wonderful research, well done.
As an aside, I'll mention that Clarence Williams III played Jelly Roll Morton in Giuseppe Tornatore's 1998 movie "The Legend of 1900".
Love the clips!
I have been following and enjoying your writing (and playing!) for years. I am a pianist and teacher here in DC, and I was pleasantly surprised to see you give credit to Clarence Williams. I presented a research paper to the IAJE conference in the early 2000s on Clarence Williams; I was attempting to respond to what I felt was a lot of criticism and negativity directed at him in jazz literature of the time. I argued that he should be viewed as a player/entrepreneur who was composing, publishing, and producing jazz from the beginning.
As for the actor, funny story: I was on a funk gig at the time and told the bassist that I was researching Clarence Williams and he immediately responded “yeah, he was Prince’s father!” I wasn’t aware…must have been very early internet days.
Thanks for everything, best regards Jon Ozment
Wasn’t Clarence Williams III—who played Prince’s father in Purple Rain and was one of the leads in the old TV show The Mod Squad—the grandson of Clarence Williams?
yes indeed! I mention that in the footnote in this article. Thanks Chuck
Ahhh…sorry I missed it!
I can't say I know that much about Clarence Williams but when I was very young I learned "Organ Grinder Blues" from the same Hal Leonard anthology JAZZ, BLUES, BOOGIE, AND SWING. FWIW I included this sheet music in my "Theory of Harmony" in the dropbox. Only recently did I hear the record of Williams playing the track, and it is great! https://youtu.be/kSQhBkbgaF0?si=Ys8svtF41zgJlbUD
I know of three ways to record music. One is machine tech [discs]; another is notation on paper; another is memory. I submit that JPJ foregrounded the third, causing differences between renderings of Carolina Shout, with #1 and #2 done for financial expedience.
I sense a tendency to overemphasize the significance of written notation generally in our culture; perhaps a bias.
I wonder if James P. Johnson listened to records at home for pleasure. I'll include that question on list above...
On my way into NYPL Library for the Performing Arts in Lincoln Center this morning I noticed three marble three-step stairs that have been placed next to the stone "seats" (ledges) on the north side wall of Metropolitan Opera House. One has the name James P. Johnson, with the names of Benny Carter & Herbie Nichols on the other two stairs. No clue why these have been placed there, nor how these musicians were chosen for the honor. Must be an omen, and worth a photo if you're in the area.
amazing~ I'll take a look
As an amateur musician, I'm fascinated with the issue of transcription and "nerdy filigree." When a classical pianist friend of mine was showing me a very detailed score, that had maybe TOO much detail spelled out, he said, "Duke Ellington would have just written eighth notes and 'swing' over them." I wonder if that's why Johnson didn't write out those syncopations you were wondering about. Did he just assume the performer would take care of that? Another friend of mine is a composer in the classical world who also plays pop and jazz quite well. He wrote a piece for a trio that included percussion and was frustrated that the percussionist didn't know how to "read" the feel he wanted. "Any jazz musician would look at that and automatically think: 'Elvin Jones.'"
It's a strangely complex topic. Just to clarify one thing, in "Carolina Shout" he is notating a lot of syncopations that are at the same level of difficulty as the ones he doesn't write. My question is more of a basic grammar issue about certain measures: If every record has an anticipation in that bar, why is it straight in the score (and in line with many other measures of the score)? Thanks for comment.
A wonderful deep dive into this work, thank you!
I'll keep diving...thanks for comment