Grant Green: The 'Holy Barbarian' Of St. Louis Jazz | WAMU 88.5 - American University Radio
Filed Under:

Grant Green: The 'Holy Barbarian' Of St. Louis Jazz

Play associated audio

Grant Green, The Holy Barbarian, St. Louis, 1959 could be the name of a fine stage play, perhaps based on the actual circumstances of the recording. One musician on the way up, another past his moment in the limelight and one more who had his chance but never quite made it all convene on Christmas night, part of their week-long stand at a beatnik hangout replete with chess players and a local artist painting portraits. The emcee chats loudly near the stage, then grabs the mic to spout what sounds like a send-up of beatnik poetry.

There isn't much of that. Dramatic potential aside, The Holy Barbarian, St. Louis, 1959 is a vivid snapshot of live jazz in the heartland, half a century ago. Jazz has always had a deep bench: Not all great players head for New York; musicians tell stories of traveling stars getting sandbagged by local talent at friendly after-hours jam sessions. When the stars go back to the Big Apple to shake it off, the local heroes go right back to work.

With Grant Green on guitar, I love how cooking drummer Chauncey Williams hints at a Chicago blues shuffle. Even when Midwesterners play a million notes, they can convey a sense of relaxation; on that score, St. Louis is part of a rhythmic continuum from Oklahoma City to Chicago.

Organist Sam Lazar's shot at fame came a few months later, when he recorded the first of a few sessions for the Argo label in Chicago, with Green on guitar, Chauncey Williams again on drums and blues titan Willie Dixon on bass. But Lazar's early-'60s albums went nowhere, and a couple of sessions didn't even get released. Even so, at the keyboard, Lazar had a boxer's punchy timing, as well as a gift for mining the Hammond organ's skankiest timbres. He's especially good backing another soloist. Boldly splashing on the colors, Lazar turns accompaniment into a kind of action painting.

In "There Will Never Be Another You," Bob Graf plays tenor. Trumpeter Clark Terry had once recommended him to Count Basie. Graf played in a Basie small group in Chicago in 1950 before Woody Herman's band lured him out on the road, but then they broke up. By and by, Graf returned to St. Louis, working with various local bands and keeping up with modern ideas.

Right around when this music was made, New York saxophonist Lou Donaldson came through St. Louis, heard Grant Green at a session across the river, and told the folks at Blue Note Records about him. They must have been grateful — the guitarist did more than a dozen dates for the label in 1961 alone. Grant Green moved to New York to capitalize on all the attention, and kept up his ties with St. Louis. But he never recorded there again.

Copyright 2013 National Public Radio. To see more, visit http://www.npr.org/.

NPR

For Paul Cezanne, An Apple A Day Kept Obscurity Away

In the 1800s, still-life painting was the bottom feeder of the art world, but that's where the French painter chose to leave his mark. "I want to astonish Paris with an apple," he's said to have said.
NPR

From McDonald's To Organic Valley, You're Probably Eating Wood Pulp

Many processed foods contain cellulose, which is plant fiber that is commonly extracted from wood. It's used to add texture, prevent caking and boost fiber. And it's been around for ages.
NPR

FBI, NSA Spied On American Muslims, Report Says

The latest revelation from Edward Snowden's NSA trove is a story that appeared in the online publication The Intercept. Five prominent Muslim citizens say they were spied on because they're Muslims.
NPR

What Burritos And Sandwiches Can Teach Us About Innovation

Is a burrito a sandwich? The answer may sound simple to you ... but the question gets at the very heart of a tension that's existed for ages.

Leave a Comment

Help keep the conversation civil. Please refer to our Terms of Use and Code of Conduct before posting your comments.