Jerry Hahn
Tomfoolery
Teraesa Vinson
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December 2004
Feature Articles
Artist interviews, music news, opinion, memorials
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Artist Interview
Hometown guitar hero Hahn returns to acclaim
By Tom
Ineck
Jazz guitarist Jerry Hahn has come full
circle.
Born Sept. 21, 1940, in Alma, Neb., Hahn
grew up in Wichita, Kan., but his
early musical talent and ambition took him far from home. He recorded
and toured with saxophonist John Handy, vibraphonist Gary Burton,
saxophonist Bennie Wallace, bassist David Friesen and many others over
the years, but earlier this year he returned to Wichita to be near his
children and grandchildren. At age 64, he says he made the right
decision.
“It definitely feels like home,” Hahn
said in a recent phone interview. “When I used to visit, it didn’t feel
like home. But now that I’m living here, it’s just been great.”
Hahn has a new solo guitar recording on
Bop Wire Records, and he recently packed the house for a trio engagement
at the Blue Room in Kansas City, Mo. He will visit Lincoln, Neb., for
guitar workshops Feb. 22-23 and a trio performance Feb. 24 at P.O. Pears,
co-sponsored by the Berman Music Foundation and Dietze Music
House. He will be accompanied by KC veterans Gerald Spaits on bass and
Tommy Ruskin on drums.
While still in grade school in Wichita,
Hahn seemed destined for bigger things. At age 7, he was taking lessons
on a lap steel guitar that belonged to his family, and soon he proved a
natural on the instrument. Largely self-taught, he turned to the more
conventional six-string guitar.
“There was always a guitar hanging
around, and I just picked it up on my own and started playing it,” he
said. “My teacher’s son also played steel, and he had a band. I joined
the band when I was 11, playing a regular guitar.”
A western swing outfit, the Bobby Wiley
Rhythmaires toured small-town Kansas and played live every day on KEDD,
Wichita’s first TV station, a common practice in that medium’s infancy.
Hahn began playing rhythm guitar, but switched to lead after the other
guitarist quit.
“I just picked things up, as I went
along,” he said. He names Barney Kessel as an early influence, along
with Howard Roberts, Johnny Smith and Tal Farlow. After several years
with the Rhythmaires, he began appearing in area jazz clubs. Still just
16, he lied about his age in order to get hired. The balance between his
professional life and his formal education was tenuous.
“When I was going to high school, I was
working a gig where I was working five hours a night five nights a
week,” he recalled. “I’d get four hours of sleep after the gig and four
hours between school and the gig.” Understanding his desire to become a
musician and seeing his apparent musical talent, his folks didn’t
object.
“They just let me do it. That’s what I
wanted to do. Of course, my school work wasn’t that great. I just made
sure I was taking pretty easy classes. If I didn’t get my work done in
school, it just didn’t get done.”
Work was plentiful, but Hahn yearned for
something more. At 21, he and his new bride headed for San Francisco, a
musical hotbed that he called home throughout the exciting ‘60s. He
played at some of the legendary rock venues such as the Fillmore, but
more frequently at jazz clubs like the Blackhawk, The Jazz Workshop and
the El Matador.
Within two years of his arrival, Hahn
had joined the trail-blazing John Handy Quintet alongside violinist
Michael White, bassist Don Thompson and drummer Terry Clarke. The band
scored a hit with its live recording at the 1965 Monterey Jazz Festival,
and followed up with a brilliant 1966 studio recording. It was a
break-through experience for Hahn.
“It
was fantastic. I started working with a group that went on to enjoy some
real success and record a couple of albums for Columbia. That was the
first band that I was ever in that got national recognition.”
Hahn’s debut as a leader was a 1967
session called “Ara-Be-In,” featuring violinist Michael White,
saxophonist Noel Jewkes, bassist Ron McClure and drummer Jack DeJohnette.
He toured with the Fifth Dimension in 1968, and in 1968-‘69 recorded
three LPs with vibraphonist Gary Burton (“Country Roads,” “Throb” and
“Good Vibes”). In 1970, he launched the Jerry Hahn Brotherhood.
An eclectic quartet with Mike Finnigan
on Hammond B-3 organ and vocals, Mel Graves on bass and George Marsh on
drums, the Brotherhood released a promising debut on Columbia and toured
behind it to great acclaim. Before the term “jazz-rock fusion” was
coined, Hahn and his colleagues were already practicing it.
“I had a trio with George Marsh and Mel
Graves, and we were all jazz players, but we had some other influences.
We had some rock influences, also. But then we brought in Mike Finnigan,
who played B-3 and just sang great.” Finnigan, who had been living in
Wichita since the early 1960s, moved to San Francisco at Hahn’s behest,
bringing with him material written by former bandmate Lane Tietgen that
had never been recorded.
“It was just a combination of this
expert, seasoned jazz musicianship along with this great-sounding Mike
Finnigan voice with this great material and Mike playing Hammond B-3
organ. We thought we’d just throw all that stuff together and stir it up
and see what came out!” Hahn readily acknowledges the band’s
contribution to contemporary music, noting that German jazz authority
Joachim Berendt described the Jerry Hahn Brotherhood as one of the
“trailblazers of rock-jazz integration.”
"Miles
(Davis) gets most of the credit, but we were right there beside Miles at
the exact same time,” Hahn said. “It was the same type of a thing. We
were borrowing from all different kinds of influences and styles and
putting them into another context, and had a unique sound.”
But, as with so many great ideas, the
Jerry Hahn Brotherhood lasted only a year. The rigors of the road took
their toll, but Hahn blames something more insidious for the band’s
premature demise.
“The reason why that band didn’t stick
together was our management was crooked. I knew this, and I wanted to
change, but I couldn’t get an agreement with everybody else. So, I left
and the band broke up, and then everybody found out I was right.”
Columbia allowed the band’s sole recording to go out of print, and the
company retains ownership of this valuable collector’s item.
“I’ve actually talked to them, trying to
buy it, but they don’t want to give it up,” Hahn said. “They still have
all the masters stored somewhere up in New York.”
After the breakup of the Brotherhood,
Hahn returned to Wichita, where he founded the guitar program and taught
for 15 years at Wichita State University. He also began
writing a regular column for Guitar Player
magazine that inspired a popular jazz guitar method book published
by Mel Bay.
Anxious to play fulltime again, he moved to Portland, Ore., where
he plied his craft for seven years before relocating to Denver in 1993. Later
that year, he recorded “Time Changes,” for Enja. His first release in 20
years, it featured bassist Steve LaSpina and drummer Jeff Hirshfield and
guest appearances by saxophonist David Liebman and pianists Phil
Markowitz and Art Lande. He also performed and recorded with legendary
drummer Ginger Baker, who was raising polo ponies on a ranch 30 miles
from Denver.
He soon returned to the Pacific
Northwest to start a jazz guitar program at Portland State University,
where he stayed for eight years. Earlier this year, he decided to come
back to his hometown, where he is close to family and is finding ample
employment playing in area clubs.
“The one thing I like about Wichita is
I’m working with the same guys all the time,” he said with a tone of
amazement in his voice. “I’ve got five steady gigs here. I’ve got a
steady working trio every Friday and Saturday night, I do a solo on
Thursday and I’m working with another band on Wednesday and another duo
on Mondays.”
It helps that Hahn’s reputation preceded
him, a case of “hometown boy makes good.”
“When I came back, it’s like the city
opened up its arms to me. I’m doing a little teaching, but not much, and
I like that just fine. I like the idea that I’m playing all the time,
and whenever I go out of town my chops are together.”
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Tomfoolery
Brotherhood had lasting impact on
listeners |
By Tom Ineck
An hour-long interview with guitarist
Jerry Hahn for a story in this issue of Jazz (see
above) has sparked a few memories of my first encounter with Hahn’s
wonderful musicianship. Please indulge me as I reminisce.
It was
July 1970. A
guitar-playing friend, Mike Barton, and I had just
graduated from high school in Lincoln, Neb., and we were anxious to see
the world, or at least another state. We headed to Colorado, where we
hitch-hiked from Boulder to Denver and back again, eventually getting
arrested and jailed for sleeping in a post office lobby one chilly night
on the outskirts of Boulder.
While in Denver, we learned of a concert
to be held that evening, featuring English guitar rocker Terry Reid’s
band. It was part of a two-night stand July 10-11 at a big barn of a
place called Mammoth Gardens.
Built in 1907 as Mammoth Roller Skating
Rink, from 1935 to 1962 it served as Mammoth Gardens Sports House before
being turned into a concert venue for a short stint from 1969 to October
1970. Since 1999, it has been hosting music concerts as part of the
legendary Fillmore Auditorium chain.
I recall that it contained huge stained-glass windows and a
raised stage set up in the center of the auditorium. In that summer of
1970, The Who, Santana, Iron Butterfly, Procol Harum, Johnny Winter and
Leon Russell were among the headliners who graced that stage.
Opening for Reid that memorable night was the Jerry Hahn
Brotherhood, a now-legendary fusion quartet that recorded one album for
Columbia Records, and then quickly faded from view after a few months of
touring.
Mike and I were very rock-oriented,
though we had been introduced to a little jazz by our late teens. But
nothing had prepared us for the Jerry Hahn Brotherhood and its exciting
marriage of jazz technique with the soulful vocals and Hammond B-3 of
Mike Finnigan. As Hahn explains in the above story, he and bassist Mel
Graves and drummer George Marsh were steeped in jazz, but also brought
other influences to the band. Finnigan’s rock and rhythm ‘n’ blues
contributions created a new equation, an early example of jazz-rock.
John Hammond of Columbia Records had
signed the outfit, and its first and only record, “The Jerry Hahn
Brotherhood,” soon hit the streets. Ralph Gleason raved about the album
in The San Francisco Chronicle, and the quartet landed tours with
Chicago and Frank Zappa, in addition to the Denver appearance with Reid.
Well, the Brotherhood’s Denver show
knocked our socks off, making the Reid
performance anti-climactic. All of the guys in the band had long hair
and wild clothes, not at all conforming to the stereotypical appearance
of jazz musicians. Hahn, Graves and Marsh were stretching the music to
bold new places, while Finnigan anchored the band from the Hammond organ
and belted out the bluesy vocals.
We later caught Reid in a daylong
outdoor festival near Boulder, headlining with a local band called
Zephyr, featuring a young guitar firebrand by the name of Tommy Bolin.
But it was the genre-busting sounds of the Jerry Hahn Brotherhood that I
remember best. According to Hahn, another teenager was in the audience
that night hearing Hahn for the first time, and the experience would
have a profound influence on him. It was Denver native Bill Frisell,
today a popular and prolific jazz guitarist whose fusion style owes much
to Hahn.
My friend Mike Barton went on to play
guitar in numerous rock, country and western swing bands in Lincoln and
Austin, Texas, including Kooter Brown, Jon Emery and the Missouri Valley
Boys and the Midwest Ramblers. He was best man when I wed in 1977, but he’s gone
now—taken by a heart malfunction at age 25 in 1978. Thanks in part to
the Jerry Hahn Brotherhood, those younger, wilder days—on our own, far
from home, and hungry for new experiences—still survive him in my
fading memory.
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Artist Interview
Singer Vinson belongs to exclusive
club |
By Tom Ineck
Singer Teraesa Vinson belongs to a
very exclusive club. She is among the very few working jazz
musicians who have advanced degrees other areas and have actually
worked within their disciplines before turning, or returning, to
music.
After two years in New York City,
she has just released her debut recording, “Opportunity Please
Knock.” But first she became a doctor of psychology.
A native of St. Louis, Mo., Vinson
was drawn to music at an early age, taking classical piano lessons
and participating in numerous choral groups. Her maternal
grandmother was a talented pianist and jazzophile with an extensive
record collection and friends who included Rosemary Thigpen, the
wife of drummer Ben Thigpen and mother of Ed Thigpen, drummer with
the legendary Oscar Peterson Trio.
Vinson also appreciated the
importance of an education beyond music. Her parents instilled the
Midwestern work ethic that is largely responsible for her successful
pursuit of academic excellence.
Always a
bookworm with many different interests, she eventually studied
psychology, earning a bachelor’s degree at Spelman College in
Atlanta and a doctorate at the University of Florida in Gainesville,
where she taught for a while after graduation.
“I
taught a lot of things on humanistic theory, and I spent a lot of
time with students who were sort of in-between, trying to figure out
what they wanted to do with their lives. I kept telling them, ‘live
your dream’ and ‘follow your bliss.’ After a while I thought, ‘Wow,
I really need to practice what I’m preaching’.”
Through a long process, studying in Gainesville with vocalist Brenda
Bayne and later displaying her talents in New York City’s
competitive open-mike venues, including regular sessions with
pianist Lafayette Harris at Harlem’s famed Lenox Lounge, Vinson has
managed to overcome much of the stage fright that for many years
prevented her from performing solo.
“It’s
still hard. During the recording (April and May) I wasn’t doing any
performing because I was really focusing on trying to get that done.
But even those few months of taking off, and not making myself get
up there and do it, took its toll.” Now that the gigs are more
frequent and her self-confidence is on the rise, facing that roomful
of strangers is getting easier, she said.
Inevitably following her bliss, Vinson moved to New York in 2002. At
age 30, she maintains a day job as an administrative assistant for
J.P. Morgan while developing her career in jazz.
Bayne
introduced Vinson to the music and improvisational magic of singer
Sheila Jordan, who later proved a major influence on the young
vocalist and even arranged a couple of the tunes on “Opportunity
Please Knock” (To read a review of the CD click
here).
“She’s
so open,” Vinson said of Jordan. “She’s in the city maybe two or
three days a week and it’s just packed with students who come there.
She gives everybody so much time, and she’s so encouraging.”
Her
fascination with choral music led to work with the New Horizons Jazz
Ensemble and the Barry Harris Jazz Ensemble. She still attends
occasional classes with Harris, developing and practicing the
essentials of vocal harmony.
“One
thing I would like to do in the future is be part of a very small
ensemble, a very tight harmony group, maybe three or four people. It
keeps you fresh, it keeps your ears on the ball and it helps you
when you’re doing solo work, too, because it helps you with
alternate ways of singing the melody and different ways of listening
to something.”
As in
other areas of the country, finding jazz work in New York City
remains difficult after the devastating events of 9/11, she said.
Jazz artists who used to be booked six nights a week at no less than
$75 a gig are now forced to take jobs paying much less. Clubs that
once hired quintets have scaled back to duos or trios, while others
have either abandoned a live jazz policy or permanently closer their
doors. Out of necessity, Vinson and others have resorted to
performing in restaurants, coffee bars and other non-traditional
jazz venues.
“New
York is the center of the jazz universe and it would be nice to have
more opportunity.” New Jersey, she said, provides some employment
opportunities for musicians who live there or who don’t mind the
drive from the city.
Vinson
doesn’t rule out returning to the classroom some day, perhaps
balancing a part-time teaching career and a singing career
simultaneously.
Meanwhile, her colleagues at J.P. Morgan have formed a solid fan
base for her live gigs and her first CD. “They buy lots of drinks
and the whole floor has bought my CD.”
Shifting to a discussion of her first studio experience, she praised
her veteran
bandmates for their professional advice, their group
arrangements and their stellar performances on the CD. Rather than
another version of “Autumn Leaves” or “Softly, as in a Morning
Sunrise,” they persuaded her to settle on a mix of the familiar and
the unfamiliar, including the Artie Shaw tune “Moonray,” the pop
song “I Can’t Make You Love
Me,” the Alec Wilder composition “While
We’re Young” and the title track, a plea for equal rights by Oscar
Brown Jr.
Among
the more familiar melodies given a new treatment by Vinson are “What
a Difference a Day Makes,” “The Night Has a Thousand Eyes,” “I’ve
Got the World on a String,” “The Song is You” and “Young and
Foolish.”
“When
I listen to jazz, I like to listen mostly to instrumental music.
When I listen to a lot of vocalists, and then go to learn the song
yourself, you’re so ingrained in the way that person has done it
that it’s really hard. It’s easier to listen to Bill Evans’ version
of ‘Young and Foolish’ or his version of ‘Night and Day’ and then go
learn the song straight from the chart, and find out how you want to
do it.”
I
admitted my own preference for “I Can’t Make You Love Me,” a tune
that remains underappreciated despite renderings by Bonnie Raitt,
Nancy Wilson, Kevin Mahogany and Freddy Cole.
“That’s probably the one I feel most proud of,” Vinson agreed. “I
knew that I wanted to do something with it because it’s one of my
favorite pop songs. It’s a really moving song that always has gotten
me.” As the band began to arrange and rearrange it in rehearsals, it
began to take on a new life, exactly what Vinson had envisioned, and
better.
Vinson
considers herself fortunate to have had such a high-caliber group of
musicians on her first recording, including pianist Carlton Holmes,
bassist Nicki Parrott, drummer Dion Parson, guitarist Tom Dempsey
and tenor saxophonist Ron Blake. Past experience with each other
gave them the sound of a true band, rather that a group of strangers
straining for compatibility.
“For
your first recording, it’s really good to have guys that have worked
together a lot. They already have the rapport, and they can already
anticipate each other’s movements, and you can just sort of step
into that.”
With
the first CD under her belt, Vinson is ready for the next step,
broadening her audience in live performances at home and on the
road.
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Memorial
"Boy wonder" Toby, 15, bound for dog
heaven |
By Butch Berman
Thanksgiving may for awhile
be a little bittersweet for me as I lost one of my
best pals the day before. I know it’s all good, though.
That’s what Toby would want me to believe.
At the ripe old age of 15,
my bearded collie buddy had to be put to sleep. I think he
just hung in there for me the past year or so, as you could
see him weakening daily—but only in body, not in soul. When
his once-sturdy pins finally gave out, we talked it over and
I finally gave in to let him go.
On his last night before
passing over he had a great massage from Suzanne, the doggie
therapist at Kenl’ Inn, got well groomed there as well, hung
out with me, his old running mate, Sherman (a Springer
spaniel turning 19) and Muggles the cat. We munched on BBQ
chicken wings and reveled on how we had been so fortunate to
spend so many wonderful years together. Not a bad way to go
out for any living creature.
I inherited Toby, like
Sherman, from one of two different romantic relationships
that didn’t make the long run, but led me towards better
days. My spirituality, the Berman Music Foundation and these
two cherished pets were all products from those “failed”
unions.
Toby may have been the late
Jimmy Hoffa reincarnated. A tough little fellow who liked to
take charge, fight first and ask questions later, dug the
ladies, and watching wrestling on TV while imbibing some of
my best claret over the years. He truly was “one of the
guys.” When my beloved Lab, Ben, was around, those two
terrors plus Sherman could totally tear it up. Thankfully,
with maturity they settled down to become my love posse and
lifetime companions. Lassie and Rin Tin Tin are gonna need
protection now that Toby is bound for dog heaven. If I were
them, I’d call in King Kong.
Toby also had a huge heart,
and you could actually see him worrying about stuff, besides
being the ultimate protector. A complex, but genuine little
character who embraced life with deep passion, and like his
daddy (me), he loved his food maybe most of all. Yeah,
memories are made of this kinda stuff. Isn’t it grand?
God bless you, Tobester.
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