JAM Magazine: June/July 1990 Issue: Carmell Jones- Spontaneous Creation

CARMELL JONES:
Spontaneous Creation

© Dean Hampton

It was my pleasure to write the following for the KC Jazz Ambassador Magazine (JAM) in June 1990. To the best of my knowledge, this is the last article written about trumpeter Carmell Jones who passed away Thursday, November 7, 1996. Carmell's last recording was on a locally (Kansas City) released CD by saxophonist Jim Mair, "8th and Central," recorded in 1991.

Carmell Jones. The name just sounds like jazz, doesn't it? Most of the Kansas City jazz community thinks "trumpet player" when the name Carmell Jones is mentioned. Add to that, composer, arranger, music publisher, educator, and recording artist with over sixty albums to his credit, and the picture is more complete.

Carmell's fifteen year stay in Europe (1965-1980) cooled some of the national acclaim he had experienced in the five years prior to his departure. But Kansas City didn't forget. On October 5, 1980, Mayor Richard Berkley proclaimed it "Carmell Jones Day."

When asked how old he was when he became interested in music, Carmell says, "two." A similar question specifying jazz music receives a similar answer. But with elaboration. "If you don't like jazz," he says, "you probably wouldn't appreciate a rose, or a tree, or a mountain."
Carmell was born and raised in Kansas City, Kansas to parents who were both teachers. Piano lessons started at age five but became a casualty of the "that's for sissies" attitude. Trumpet lessons were next at seven.

In 1960, after two years in the Army and two years at the University of Kansas as a music education and trumpet major, Carmell left the Midwest and became a studio musician in California where he recorded with such artists as Sammy Davis, Jr., Bob Hope and Nelson Riddle. During this chapter in the Carmell Jones story, he was being compared by many to Clifford Brown and Fats Navarro. He soon developed a close association with saxophonist Bud Shank and went on to record with many other such notables ("I've probably played with all of the bands that you've heard of," says Carmell, thinking back to those days). Most importantly, he was able to record his first album as a leader, The Remarkable Carmell Jones for Pacific Jazz.

In 1964 another new chapter began for Carmell Jones when he went to New York to join the Horace Silver Quintet. It was with Silver that he recorded three albums, including the classic Song For My Father on Blue Note. It was also during this time that Down Beat Magazine crowned Carmell the "New Trumpet Star." Once again under his own name, and this time for Prestige Records, Carmell recorded what he considers his most successful album, Jay Hawk Talk, featuring Barry Harris on piano, Jimmy Heath, tenor sax, Roger Humphreys, drums, and Teddy Smith, bass. Jay Hawk Talk received five stars in Down Beat and included one of Carmell's personal favorites, "Stellisa," named after his daughter.

As a result of his success in the States, Carmell was invited by the German jazz critic Joachim Berendt (who had heard Jones while in Kansas City in 1960) to travel to Germany to perform and record. So, in 1965, Carmell headed for Europe where he would stay for the next 15 years. First, there was a short stay in Paris where he recorded with saxophonist (and fellow KCK native) Nathan Davis. Then it was on to Berlin and the "Radio Free Berlin" big band and orchestra. Not the typical studio gig, Carmell traveled the world with the orchestra, including trips through most of the communist countries.

When not traveling, Carmell was recording eight hours a day in Berlin. In addition, his duties included composing and arranging for recordings, radio, TV and movies. It was a job that required a familiarity with all kinds of music. ("Although I prefer jazz, jazz is really a conglomeration of everybody's music.") In his spare time, Carmell led his own big band and played with the Berlin Symphony Orchestra. He left Europe a star.

Carmell returned to Kansas City in June of 1980, and for the next three years was based mostly in his hometown, except for a short European tour with Ray Charles. He taught privately, appeared with local groups, and was playing at the Hyatt Regency when the skywalks collapsed in 1981. He escaped uninjured.

Soon Carmell was devoting his time to building new musicians from the ground up, teaching music at two elementary schools in Kansas City.

"We need to start educating kids about jazz," he says. "They need to learn what it means and why it goes like it goes. If someone is going to make it in jazz today, they need not be just a reservoir of tunes, they need to read music, write music, understand theory and harmony, and most importantly, they need to be personally intact -- no drugs! You have to be sharp, concentrated, disciplined, and willing to put in the effort."

Carmell Jones feels that jazz is the art of "spontaneous creation." And his favorite setting for jazz is the clubs. But -- he's flexible, if the conditions are right.

"It doesn't really matter where I play -- in the bathroom or in outer space -- it's gotta swing. To really get turned on, you have to have good musicians around you. They all need to think as one."

After completing a really-in-the-groove session, Carmell says he feels, "heavenly, satisfied, fulfilled, and happy. That's the beauty of jazz: you can play one song 10,000 different ways; you never have to do anything the same way twice."

And, when asked about putting together his favorite, all-time group, Carmell says with a smile...
"Well... I'd have to go to Heaven to get those players!"

RETURN TO JUNE/JULY 1990 MAIN INDEX

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© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		CARMELL JONES: Spontaneous Creation © Dean Hampton It was my pleasure to write the following for the KC Jazz Ambassador Magazine (JAM) in June 1990. To the best of my knowledge, this is the last article written about trumpeter Carmell Jones who passed away Thursday, November 7, 1996. Carmell's last recording was on a locally (Kansas City) released CD by saxophonist Jim Mair, "8th and Central," recorded in 1991. Carmell Jones. The name just sounds like jazz, doesn't it? Most of the Kansas City jazz community thinks "trumpet player" when the name Carmell Jones is mentioned. Add to that, composer, arranger, music publisher, educator, and recording artist with over sixty albums to his credit, and the picture is more complete. Carmell's fifteen year stay in Europe (1965-1980) cooled some of the national acclaim he had experienced in the five years prior to his departure. But Kansas City didn't forget. On October 5, 1980, Mayor Richard Berkley proclaimed it "Carmell Jones Day." When asked how old he was when he became interested in music, Carmell says, "two." A similar question specifying jazz music receives a similar answer. But with elaboration. "If you don't like jazz," he says, "you probably wouldn't appreciate a rose, or a tree, or a mountain." Carmell was born and raised in Kansas City, Kansas to parents who were both teachers. Piano lessons started at age five but became a casualty of the "that's for sissies" attitude. Trumpet lessons were next at seven. In 1960, after two years in the Army and two years at the University of Kansas as a music education and trumpet major, Carmell left the Midwest and became a studio musician in California where he recorded with such artists as Sammy Davis, Jr., Bob Hope and Nelson Riddle. During this chapter in the Carmell Jones story, he was being compared by many to Clifford Brown and Fats Navarro. He soon developed a close association with saxophonist Bud Shank and went on to record with many other such notables ("I've probably played with all of the bands that you've heard of," says Carmell, thinking back to those days). Most importantly, he was able to record his first album as a leader, The Remarkable Carmell Jones for Pacific Jazz. In 1964 another new chapter began for Carmell Jones when he went to New York to join the Horace Silver Quintet. It was with Silver that he recorded three albums, including the classic Song For My Father on Blue Note. It was also during this time that Down Beat Magazine crowned Carmell the "New Trumpet Star." Once again under his own name, and this time for Prestige Records, Carmell recorded what he considers his most successful album, Jay Hawk Talk, featuring Barry Harris on piano, Jimmy Heath, tenor sax, Roger Humphreys, drums, and Teddy Smith, bass. Jay Hawk Talk received five stars in Down Beat and included one of Carmell's personal favorites, "Stellisa," named after his daughter. As a result of his success in the States, Carmell was invited by the German jazz critic Joachim Berendt (who had heard Jones while in Kansas City in 1960) to travel to Germany to perform and record. So, in 1965, Carmell headed for Europe where he would stay for the next 15 years. First, there was a short stay in Paris where he recorded with saxophonist (and fellow KCK native) Nathan Davis. Then it was on to Berlin and the "Radio Free Berlin" big band and orchestra. Not the typical studio gig, Carmell traveled the world with the orchestra, including trips through most of the communist countries. When not traveling, Carmell was recording eight hours a day in Berlin. In addition, his duties included composing and arranging for recordings, radio, TV and movies. It was a job that required a familiarity with all kinds of music. ("Although I prefer jazz, jazz is really a conglomeration of everybody's music.") In his spare time, Carmell led his own big band and played with the Berlin Symphony Orchestra. He left Europe a star. Carmell returned to Kansas City in June of 1980, and for the next three years was based mostly in his hometown, except for a short European tour with Ray Charles. He taught privately, appeared with local groups, and was playing at the Hyatt Regency when the skywalks collapsed in 1981. He escaped uninjured. Soon Carmell was devoting his time to building new musicians from the ground up, teaching music at two elementary schools in Kansas City. "We need to start educating kids about jazz," he says. "They need to learn what it means and why it goes like it goes. If someone is going to make it in jazz today, they need not be just a reservoir of tunes, they need to read music, write music, understand theory and harmony, and most importantly, they need to be personally intact -- no drugs! You have to be sharp, concentrated, disciplined, and willing to put in the effort." Carmell Jones feels that jazz is the art of "spontaneous creation." And his favorite setting for jazz is the clubs. But -- he's flexible, if the conditions are right. "It doesn't really matter where I play -- in the bathroom or in outer space -- it's gotta swing. To really get turned on, you have to have good musicians around you. They all need to think as one." After completing a really-in-the-groove session, Carmell says he feels, "heavenly, satisfied, fulfilled, and happy. That's the beauty of jazz: you can play one song 10,000 different ways; you never have to do anything the same way twice." And, when asked about putting together his favorite, all-time group, Carmell says with a smile... "Well... I'd have to go to Heaven to get those players!" RETURN TO JUNE/JULY 1990 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.