Whisper Not by Benny Golson

Author:Benny Golson [Golson, Benny]
Language: eng
Format: epub
Published: 2016-04-11T14:07:00+00:00

CHAPTER 23

Philly Joe Jones

I FIRST SAW Philadelphia drummer Joe Jones play in Beryl Booker’s

trio in 1944, when I was fifteen years old. That was about a year after

I started to play the sax. He was already a local celebrity. Beryl Booker

was a good pianist and a celebrity in her own right. I don’t remember the

bass player, but she and Philly stood out. I thought I could never achieve their talent. Soon I found other heroes, but at the beginning Philly Joe was number one. Also on the scene were Jimmy Oliver, a soulful tenor player;

Bill Barron, a tenor saxophonist (Kenny’s older brother) who was a very

good writer; Jerome “Bass” Ashford, an alto saxophonist; Fats Waller, an

older pianist who taught me many songs; Nelson Boyd, a bassist; Jimmy

Heath, on alto sax, who sounded a lot like Bird; Red Garland, a marvelous

pianist; Ziggy Vines, a tall tenor player who became a legend in Philly

(Bird liked him). There was also Johnny Lynch, a trumpeter who worked

with Diz, and Coatesville Harris, a drummer who once played in Louis

Armstrong’s band. Somehow for me Philly Joe was always brilliant and out

front. He was hip, slick, unpredictable, exciting, and unorthodox. And he

could really swing!

I used to dream of playing with Philly Joe. He played with all my

recorded heroes when they came to town: Coleman Hawkins, Ben Web-

ster, Roy Eldridge, Charlie Parker, Dizzy Gillespie, and Eddie Heywood.

I came home from my first year in college, in 1948, and “Bass” Ashford,

180 / Whisper Not

a mainstay on the local scene, asked me to join his quartet for the entire summer season at Café Society, at 13th Street and Columbia Avenue. Café

Society was a very popular jazz spot in North Philly, not far from where I lived and only three blocks from John Coltrane’s house. John often popped

in while the group played there. I showed up for the first rehearsal to find that Philly Joe would be our percussionist! I almost fainted. I acted as if nothing were unusual, but I was flying.

Our pianist was a fellow called Hen Gates (James Forman). He could

play wonderfully despite the fact that he was severely crippled. His right arm and the upper part of his chest were strong from bearing the weight of his entire body with the use of a cane. The rest of him was underdeveloped.

As a result, he had little control of his left hand. Undeterred, Henderson used a popsicle stick between his left fingers, which allowed him to play

fifths and sometimes sevenths, depending on how he placed the stick. His

style and execution were both hip and inspiring. I always wondered why

he never went to New York. Some musicians, for personal reasons, are con-

tent to remain where they are comfortable. In Philly, Henderson was well

accepted and always had work.

Philly Joe was outrageous and perfect. I soon discovered that his ears

were unaccountable. He was one of the most sensitive and attentive drum-

mers I have ever worked with. He inspired us every set and every night.

When I took a breath, Philly was there,

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