JAM Magazine: February/March 1998 Issue: Profile- Sonny Clark

SONNY CLARK: An Appreciation

by Paul Hofmann

Of the many talented jazz pianists on the scene in the 1950s and '60s, there were a surprising number of active performers who remained relatively unknown. Even to jazz aficionados. One of the prime examples of this phenomenon was Herminie, PA native Sonny Clark. And oh, what a talent he was.

Certain sections of the country are associated with jazz -- New Orleans, Kansas City, Chicago, New York, Detroit, Philadelphia. The Pittsburgh area has also produced more than its share of fantastic jazz performers, including drummer Art Blakey and pianists Earl Hines, Erroll Garner and Ahmad Jamal. Steeped in this tradition, Sonny Clark's playing featured elements of these musical giants, even while highlighting his own unique expression. Art Tatum's sophisticated harmonies and Teddy Wilson's light touch are clearly evident in Clark's style, but the most recognizable influence (as for so many other pianists of Clark's generation) was the bebop strain of Bud Powell (and, to a lesser degree, Thelonious Monk). Clark's debt to Powell remained constant throughout his career.

In his early twenties, Clark gained valuable touring and recording experience, first accompanying clarinetist Buddy DeFranco and then the great singer Dinah Washington. Upon his arrival in New York at age 25, and until his tragic early death in January 1963 at age 31, Clark was one of the most recorded jazz pianists. During his brief moment in the limelight, he was perhaps the pianist most in demand at Alfred Lion's Blue Note label. In this capacity, Sonny consistently appeared with a "who's who" of jazz greats on dozens of small group recordings, both as sideman and leader.

The uniformly excellent quality of the sessions he led -- like most other Blue Note dates of the time -- is a brilliant accomplishment. Many observers point to Clark's 1958 quintet date Cool Struttin' as his masterpiece, and rightly so. But everything from his first date as leader (Dial 'S' for Sonny, 1957) to his last (1961's Leapin' and Lopin') features Clark's consummate taste, elegance and swinging solos. And his wonderful compositions. Sonny also recorded a fabulous trio record for Time (now Bainbridge), 1960's Sonny Clark Trio, featuring his timeless ballad, "My Conception."

Many jazz buffs who may not own a Sonny Clark recording have heard him on other projects, often without realizing it. Clark appears with tenor titan Sonny Rollins on 1957's The Sound of Sonny on Prestige. Among many other valuable contributions, Clark is featured on terrific Blue Note dates led by trombonist Curtis Fuller (on at least three sessions), trumpeter Lee Morgan (Candy), guitarist Grant Green (Born To Be Blue), and saxophonists Johnny Griffin (The Congregation), Jackie McLean (Tippin' the Scales) and Ike Quebec (Easy Living). Sonny is also the pianist for the classic Dexter Gordon LPs Go! and A Swingin' Affair, both recorded in August 1962. Tragically, Clark would be dead within five months of these sessions.

Musicians were surely aware of Clark's great talent, given the great demand for his work. Why not the general jazz audience? One reason may be the fact that, unlike fellow pianists Red Garland and Wynton Kelly, both equally marvelous and both alumni of trumpeter Miles Davis' ensembles, Clark was heard exclusively on smaller, independent labels. Columbia, the most widely distributed label, had Miles under contract during these years (as well as other pianists like Garner, Monk, Duke Ellington and Dave Brubeck), so players like Sonny tended to be overlooked and underappreciated. What's more, great winds of change were swirling around the jazz world. Remember, this was the period when avant-garde musicians like Ornette Coleman, Cecil Taylor and Sun Ra were beginning to exert a measurable impact on the future direction of jazz (and away from bebop's baroque sensibilities). For both better and worse, Miles and John Coltrane were soon to follow that trend.

True to his musical calling, Sonny continued to play within a relatively narrow style (known today as Hard Bop). This was an approach saturated at the time by other great pianists, even those who, like Sonny, were featured on smaller labels: Kenny Drew (Sonny's predecessor with Buddy DeFranco and another early influence on Clark), Horace Silver, Ray Bryant, Tommy Flanagan, et al. And Sonny's way of playing -- particularly his phrasing -- while consistently inspired and inventive, was more subtle than anyone else's. All these factors combined to produce a situation decidedly not conducive for wide commercial acceptance. And we see the vicious circle completed when Sonny's dreadful drug habit (the reason for his early demise) is taken into account.

Given all this, there are unmistakable parallels with the legacies of saxophonists Hank Mobley and Tina Brooks, two other sophisticated, refined players who, despite personal and professional difficulties, are more recognized in death than in life. Yet, in retrospect, what's amazing is how often Clark was recorded (and how uniformly excellent these sessions are), professional pitfalls notwithstanding.

And what a group of sidemen! Indeed, the renowned musicians who were his sectionmates (bassists Paul Chambers and Wilbur Ware, drummers Philly Joe Jones and Art Taylor) and horn players (John Coltrane, Art Farmer, Jackie McLean, Curtis Fuller, Mobley) speak volumes of Sonny's art. All evidence suggests that Clark had a way of bringing out the best in the other musicians he performed with.

The upshot? Clark's smooth, relaxed, wonderfully logical and inventive playing remains an aural textbook on how to swing. He learned from Bud and Erroll well. Although his sessions continue to go in and out of print (many are still only obtainable as Japanese imports), a few -- like Cool Struttin' -- remain widely available.

Because Sonny was such a beautiful player, it's encouraging to know that an increasing number of modern listeners are discovering his music. But again, many musicians from his era were "in the know;" even those who played in different styles appreciated him. Following Clark's death, jazz pianist Bill Evans wrote a wonderful tune, recorded on his Conversations With Myself, that sums things up quite nicely: "N.Y.C.'s No Lark."

The title is an anagram of "Sonny Clark."

(A former Kansas Citian, pianist Paul Hofmann is currently living and performing in the Rochester, NY area. -- Ed.)

RETURN TO FEBRUARY/MARCH 1998 MAIN INDEX

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






	Search our site:		SONNY CLARK: An Appreciation by Paul Hofmann Of the many talented jazz pianists on the scene in the 1950s and '60s, there were a surprising number of active performers who remained relatively unknown. Even to jazz aficionados. One of the prime examples of this phenomenon was Herminie, PA native Sonny Clark. And oh, what a talent he was. Certain sections of the country are associated with jazz -- New Orleans, Kansas City, Chicago, New York, Detroit, Philadelphia. The Pittsburgh area has also produced more than its share of fantastic jazz performers, including drummer Art Blakey and pianists Earl Hines, Erroll Garner and Ahmad Jamal. Steeped in this tradition, Sonny Clark's playing featured elements of these musical giants, even while highlighting his own unique expression. Art Tatum's sophisticated harmonies and Teddy Wilson's light touch are clearly evident in Clark's style, but the most recognizable influence (as for so many other pianists of Clark's generation) was the bebop strain of Bud Powell (and, to a lesser degree, Thelonious Monk). Clark's debt to Powell remained constant throughout his career. In his early twenties, Clark gained valuable touring and recording experience, first accompanying clarinetist Buddy DeFranco and then the great singer Dinah Washington. Upon his arrival in New York at age 25, and until his tragic early death in January 1963 at age 31, Clark was one of the most recorded jazz pianists. During his brief moment in the limelight, he was perhaps the pianist most in demand at Alfred Lion's Blue Note label. In this capacity, Sonny consistently appeared with a "who's who" of jazz greats on dozens of small group recordings, both as sideman and leader. The uniformly excellent quality of the sessions he led -- like most other Blue Note dates of the time -- is a brilliant accomplishment. Many observers point to Clark's 1958 quintet date Cool Struttin' as his masterpiece, and rightly so. But everything from his first date as leader (Dial 'S' for Sonny, 1957) to his last (1961's Leapin' and Lopin') features Clark's consummate taste, elegance and swinging solos. And his wonderful compositions. Sonny also recorded a fabulous trio record for Time (now Bainbridge), 1960's Sonny Clark Trio, featuring his timeless ballad, "My Conception." Many jazz buffs who may not own a Sonny Clark recording have heard him on other projects, often without realizing it. Clark appears with tenor titan Sonny Rollins on 1957's The Sound of Sonny on Prestige. Among many other valuable contributions, Clark is featured on terrific Blue Note dates led by trombonist Curtis Fuller (on at least three sessions), trumpeter Lee Morgan (Candy), guitarist Grant Green (Born To Be Blue), and saxophonists Johnny Griffin (The Congregation), Jackie McLean (Tippin' the Scales) and Ike Quebec (Easy Living). Sonny is also the pianist for the classic Dexter Gordon LPs Go! and A Swingin' Affair, both recorded in August 1962. Tragically, Clark would be dead within five months of these sessions. Musicians were surely aware of Clark's great talent, given the great demand for his work. Why not the general jazz audience? One reason may be the fact that, unlike fellow pianists Red Garland and Wynton Kelly, both equally marvelous and both alumni of trumpeter Miles Davis' ensembles, Clark was heard exclusively on smaller, independent labels. Columbia, the most widely distributed label, had Miles under contract during these years (as well as other pianists like Garner, Monk, Duke Ellington and Dave Brubeck), so players like Sonny tended to be overlooked and underappreciated. What's more, great winds of change were swirling around the jazz world. Remember, this was the period when avant-garde musicians like Ornette Coleman, Cecil Taylor and Sun Ra were beginning to exert a measurable impact on the future direction of jazz (and away from bebop's baroque sensibilities). For both better and worse, Miles and John Coltrane were soon to follow that trend. True to his musical calling, Sonny continued to play within a relatively narrow style (known today as Hard Bop). This was an approach saturated at the time by other great pianists, even those who, like Sonny, were featured on smaller labels: Kenny Drew (Sonny's predecessor with Buddy DeFranco and another early influence on Clark), Horace Silver, Ray Bryant, Tommy Flanagan, et al. And Sonny's way of playing -- particularly his phrasing -- while consistently inspired and inventive, was more subtle than anyone else's. All these factors combined to produce a situation decidedly not conducive for wide commercial acceptance. And we see the vicious circle completed when Sonny's dreadful drug habit (the reason for his early demise) is taken into account. Given all this, there are unmistakable parallels with the legacies of saxophonists Hank Mobley and Tina Brooks, two other sophisticated, refined players who, despite personal and professional difficulties, are more recognized in death than in life. Yet, in retrospect, what's amazing is how often Clark was recorded (and how uniformly excellent these sessions are), professional pitfalls notwithstanding. And what a group of sidemen! Indeed, the renowned musicians who were his sectionmates (bassists Paul Chambers and Wilbur Ware, drummers Philly Joe Jones and Art Taylor) and horn players (John Coltrane, Art Farmer, Jackie McLean, Curtis Fuller, Mobley) speak volumes of Sonny's art. All evidence suggests that Clark had a way of bringing out the best in the other musicians he performed with. The upshot? Clark's smooth, relaxed, wonderfully logical and inventive playing remains an aural textbook on how to swing. He learned from Bud and Erroll well. Although his sessions continue to go in and out of print (many are still only obtainable as Japanese imports), a few -- like Cool Struttin' -- remain widely available. Because Sonny was such a beautiful player, it's encouraging to know that an increasing number of modern listeners are discovering his music. But again, many musicians from his era were "in the know;" even those who played in different styles appreciated him. Following Clark's death, jazz pianist Bill Evans wrote a wonderful tune, recorded on his Conversations With Myself, that sums things up quite nicely: "N.Y.C.'s No Lark." The title is an anagram of "Sonny Clark." (A former Kansas Citian, pianist Paul Hofmann is currently living and performing in the Rochester, NY area. -- Ed.) RETURN TO FEBRUARY/MARCH 1998 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.