photo: wikipedia
Benny Golson, the legendary jazz saxophonist, composer, and arranger who helped shape the sound of hard bop and left an indelible mark on jazz, passed away on 21 September at the age of 95. His death marks the end of an era in jazz history, as Golson was one of the last living links to the genre's golden age. He died in New York.
His agent Jason Franklin said that Golson passed away after a brief illness.
Born on 25 January 1929 in Philadelphia Golson's musical journey began at the age of nine when he started learning piano.
At 14, he switched to the saxophone, setting the stage for a career that would span over seven decades and influence generations of jazz musicians.
Early Career and Rise to Prominence
Golson's talent was evident from an early age. While attending Benjamin Franklin High School in Philadelphia, he played alongside future jazz luminaries such as John Coltrane, Red Garland, Jimmy Heath, Percy Heath, Philly Joe Jones, and Red Rodney. This early exposure to exceptional talent undoubtedly shaped Golson's musical sensibilities and ambitions.
After graduating from Howard University, Golson joined Bull Moose Jackson's rhythm and blues band in 1951.
It was during this time that he met composer-arranger Tadd Dameron, who encouraged Golson to pursue arranging and composing seriously. This encouragement would prove pivotal in shaping Golson's multifaceted career.
Golson's rise to prominence in the jazz world was meteoric.
Miles Davis introduced Golson classic 'Stablemates' to the world on 1956 Prestige album, Miles
He played with some of the most renowned bandleaders of the era, including Lionel Hampton, Johnny Hodges, and Earl Bostic.
Lee Morgan introduced much covered beautiful Golson classic 'Whisper Not' to the canon on his 1957 issued sextet recording for Blue Note, Lee Morgan.
From 1956 to 1958, he toured with Dizzy Gillespie's big band, further honing his skills as both a player and composer.
The Jazz Messengers and Beyond
In 1958, Golson joined Art Blakey's Jazz Messengers, a pivotal moment in his career.
Golson's 'Blues March' complete with hup-hup-hup PT sergeant-like whistle was first heard in a treatment by Gigi Gryce a little before the seminal Art Blakey version
It was during his time with the Messengers that Golson's writing skills truly blossomed. He contributed several pieces that have since become jazz standards, including 'Along Came Betty,' 'Blues March,' 'I Remember Clifford' and 'Killer Joe.'
After leaving the Messengers, Golson formed the Jazztet with trumpeter Art Farmer in 1959.
The original incarnation of this hard bop quintet lasted until 1962 and helped solidify Golson's reputation as both a player and composer.
Composing and Arranging Career
In 1963, Golson moved to California and began focusing more on composing and arranging.
He scored music for numerous television shows and films, including M*A*S*H and Mission Impossible.
Golson's compositional output was prolific.
He wrote over 300 compositions throughout his career.
His compositions have been recorded countless times internationally and continue to be performed and studied by jazz musicians worldwide.
I saw him play live a few times down the years, in Wales at the Brecon Jazz Festival firstly. And much more recently just 5 years ago at London's Cadogan Hall as part of the Jazz Animals ''It Must Schwing!'' concert. He blew all, young and old, away - Theo Croker, Émile Parisien - everyone on a very starry stage that 2019 night.
Return to Performance and Later Career
In 1982 Golson and Art Farmer briefly revived the Jazztet, marking Golson's return to more frequent performing. From this point on, Golson divided his time between playing in all-star aggregations, completing commissioned assignments, and focusing on jazz education.
From 1998 to 2000, he organised the Jazz Messengers - A Legacy to Art Blakey tour, which travelled across the US, Europe, and Japan.
Golson's commitment to jazz education was a significant part of his legacy. He lectured, gave clinics, and performed extended residencies at numerous prestigious institutions, including New York University, Stanford University, University of Pittsburgh, Rutgers University, and Berklee College of Music.
Awards and Honours
Throughout his career, Golson received numerous awards and honors recognising his contributions to jazz. In 1996, he was awarded the NEA Jazz Masters Award of the National Endowment for the Arts.
In 1999, he received an honorary doctorate of music from Berklee College of Music.
In 2007, Golson was awarded the Mellon Living Legend Legacy Award at the Kennedy Center and the University of Pittsburgh International Academy of Jazz Outstanding Lifetime Achievement Award.
In 2009, he was inducted into the International Academy of Jazz Hall of Fame.
One of his final accolades came in 2021 when he received a Grammy Trustees Award, recognising his significant contributions to the field of recording.
Broader cultural impact
Golson's influence extended beyond the world of jazz. He appeared in Steven Spielberg's 2004 film The Terminal playing himself.
Golson was also in the hugely influential and much imitated Art Kane 1958 photo ''A Great Day in Harlem''. Only Sonny Rollins survives from the giants of jazz immortalised in the celebrated Esquire magazine feature which was a key snapshot of a golden age
Benny Golson's passing marks the end of an era in jazz history. His contributions as a saxophonist, composer, arranger, and educator have left an indelible mark on the genre. His compositions, which became jazz standards, will continue to be played and studied for generations to come.
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