Joe Gordon replaced Clifford Brown in Art Blakey’s pre-Messengers group in early 1954. That band, with alto saxophonist Gigi Gryce, pianist Walter Bishop, Jr. and bassist Bernie Griggs, recorded the album Blakey for EmArcy in May. Gordon stayed with Blakey for about six months.
In September, with Blakey, tenor saxophonist Charlie Rouse, pianist Junior Mance, and bassist Jimmy Schenck, Joe recorded for the first time as a leader, also for EmArcy. The album, a 10-inch LP, was titled Introducing Joe Gordon.
The album’s reviews were mixed. Down Beat’s Nat Hentoff praised it (April 6, 1955), writing: “Gordon, though still a little unsteady…unleashes a power and a comet-like imagination that heralds one of the exciting newer voices of the year…All in all, a bracing sample of somewhat raw but always moving jazz.”
So it’s Super Tuesday and the electoral circus has come to Massachusetts, and this year it’s brought along even more clowns than usual. We can’t keep the clowns out of the circus, but sometimes genuine humorists—Will Rogers, Gracie Allen, Pat Paulsen—make the trip too. Today, though, I’d like to remember one who brought us mirth, but with it a serious platform. That was John Birks Gillespie, and the year was 1964.
Gillespie was asked why he was running for President. His answer: “Because we need one.”
Dizzy’s campaign began when the Associated Booking Agency started passing out “Dizzy Gillespie for President” buttons. When one was visible on a prominent lapel during the 1963 March on Washington, a few people, including Gillespie, saw an opportunity to spread a message. Before long, there was a John Birks Society in California working to get him on the 1964 ballot. He had a campaign manager, Jeannie Gleason, and a campaign publicist, her husband, the journalist Ralph Gleason.
In fact, that’s what the concert was called: “The New Jazz,” and the music was provided by Dizzy Gillespie and His Orchestra. In addition, the Dizzy Gillespie Quintet, featuring Charlie Parker, played five tunes. Parker did not perform with the orchestra.
Gillespie had been to Boston before this in his big band days, and perhaps Parker had as well. But this was Gillespie’s first appearance in Boston as a bandleader, and it was the first time Gillespie and Parker were in Boston as the “high priests of bebop,” or whatever label it was that the press slapped on them. But labels aside, this was the first major-venue modern jazz concert in Boston. There would be more shows, and soon.