10
Dec
2002
For this journey to Ohio in mid-November, we have the enviable role of designated witnesses to the canonization of our friend and master life teacher Edmond (Ed) Thigpen by his peers and fellow professionals. I say "peers" to be PC, but in our opinion and in many ways Ed is in a class all by himself. But I'm getting ahead of myself ... .
Let me go back to another beginning. It is the late '60s and we are invited to an annual birthday party, at the home of my cousins Louise and Donald Meade, for Oscar Peterson. (How lucky is that?) I am not an expert, and others have their notions, but I thought the Oscar Peterson Trio was the prototypical jazz trio of its time, featuring Peterson on piano, Ray Brown (who passed July 2) on bass, and Thigpen on drums. (They were playing at Chicago's London House.)
Despite the presence of many luminaries (Dizzy Gillespie, Carmen McRae, et al.) as the Geraldine DeHass-era Chicago Jazz Fest was wrapping up, Ed and I were in a corner, transfixed by the racial unrest that was in progress in Chicago. Because of a dutiful stop on the West Side, I had gotten caught up in the festivities and delayed by Chicago's finest for a few hours, and I missed the club performance. So there we were on our island, me with my "Angela Davis eat your heart out" Afro anger and Ed with his innocence and worldview wisdom. Let me tell you, we were all over it, with confusion, analysis, and solutions to black and white styles in conflict in that environment of musical genius and life experiences.
The real beauty of this conversation manifested itself when we met in Iowa City 23 years later and immediately continued the conversation, as though we had only stopped for a potty break. Of course we brought with us an additional 23 years of experience, but - as Bertolt Brecht said - "the bitch that bore it was still in heat." It was then that I was consciously aware that Ed was one of those who had quietly steered me to other applications for my anger energy. Now I talk, e-mail, and share company and karma with him as often as possible.
So we are off to Columbus, Ohio, for the Percussive Arts Society (PAS) International Convention to witness our friend Ed Thigpen's induction into the Percussive Arts Society Hall of Fame. We are joined by, among others, drummer/educator Marvin Sparks, drummer/educator Nudugu Chanceler, and the Indiana contingent, saxophonist Cheryl Grinell Pearson, singer Traneice Robinson, genius appreciator Edie Fitzhough, and of course Donald Meade, noted jazz historian and Ed's business partner of 45 years.
Perhaps it is the nature of all gatherings of diverse but like-minded people, but one couldn't help but be struck by the open looks on people's faces and a willingness to talk and share and laugh and listen. It was great, and a new surprise was as simple as turning your head. We were at the banquet when vibraharp/vibraphone/marimba-playing Stephon Harris walked in, spotted us, and floored us with his genuine pleasure at seeing us there. Stephon was a Quad City Arts Visiting Artist earlier this year and tells a great story about his visit to Cutt Creators Barber Shop in Rock Island. There is something to be said about all of these rhythms, all these people complimenting each other. Which brings us to our mission ...
Ed Thigpen: born in Chicago in 1930, the son of jazz drummer Ben Thigpen. He began his career with Buddy Collette when he was 18, and he subsequently worked with Cootie Williams, Diana Washington, Johnny Hodges, Bud Powell, Lennie Tristano, and Billy Taylor. He recorded with Toshiko Akiyoshi, Ira Sullivan, Mal Waldron, Mundell Lowe, Eddie "Cleanhead" Vinson, Teddy Charles, and Blossom Dearie. From 1959 to '66 Thigpen worked with the Oscar Peterson Trio. Thigpen then worked with Ella Fitzgerald for several years before moving to Copenhagen in 1972. He became active in the European jazz scene and worked with such artists as Toots Thielemans, Johnny Griffin, Horace Parlan, Helen Humes, Clark Terry, Kai Winding, Thad Jones, Benny Carter, Art Farmer, and Monty Alexander. In addition, Thigpen has led his own groups over the past two decades and released a number of albums, including the recent Element of Swing, which features saxophonist Joe Lovano. Thigpen's book The Sound of Brushes is considered a definitive resource on the art of brush-playing.
Ed was introduced by Immediate Past President Robert Breithaupt, who extolled him for his long-standing contributions to PAS. His manner, musicianship, and professionalism are to be imitated. He has tirelessly advocated for diversity and outreach, along with Marvin Sparks and others. Additionally he has championed the advantages of the one-on-one or small-size setting for master classes.
In his inimitably tasteful and classy style, Thigpen graciously thanked his mentors and those who preceded him. He talked about his first drum contest, at which he came in third out of three. He spoke of the importance of his teacher, who told him, "You didn't win, but I like what you do." He explained that it was important because as long as someone likes what you do, you can feel encouraged, even if it is just one person. This lesson became part of his personality, and he learned to play to the one person who is interested. The rest will get it eventually.
He honored his longtime relationship with Meade and looked heavenward and exclaimed, "We made it Louise," speaking to his Donald's deceased wife.
Ed closed by thanking his influences such as Joe Jones and "all of you percussionist who I looked up to for your expertises and tried to adapt whatever I could to my playing." Looking at his audience: "Each and every one of you have been important to me and will remain important to me."
Though our future is in the hands of our youth, our youth are still in our hands. Edmond Thigpen, a man of our time.
Reactions:
Stephon Harris, musician: He has such elegance, such grace ... just in terms of the way he communicated with other musicians. I think it is very significant that Ed Thigpen received this award, because it is not often that people of color receive awards like this. He has spent a large portion of his life giving not only to audiences but to students as well, and I think that's something that doesn't happen as much as it should.
Alan Bergman, attorney: Ed Thigpen is a great drummer, no question about it ... one of the most musical and influential drummers in the history of jazz. When you get to a certain level of musicianship, your personality comes out in the playing of your instrument. And Ed is an enthusiastic guy, a warm guy, a sympathetic guy, and that comes through in his playing.
Marvin Sparks, drummer: I have been influenced by many years by Mr. Thigpen as a drummer, and the history he has with the Oscar Peterson Trio, his incredible style with brushes, his incredible taste as a man. ... His election to the PASIC Hall of Fame is truly memorable for the many years that Mr. Thigpen and Donald Meade have taught many people who were listening about the attitude of developing your concepts, developing your own publishing company, developing your own education programs, and not waiting for anybody.
Ed Thigpen last appeared in the Quad Cities on March 29, 1997, as part of the Bill Bell "Legends" Jazz Series presented by Homefolks Communications.
Let me go back to another beginning. It is the late '60s and we are invited to an annual birthday party, at the home of my cousins Louise and Donald Meade, for Oscar Peterson. (How lucky is that?) I am not an expert, and others have their notions, but I thought the Oscar Peterson Trio was the prototypical jazz trio of its time, featuring Peterson on piano, Ray Brown (who passed July 2) on bass, and Thigpen on drums. (They were playing at Chicago's London House.)
Despite the presence of many luminaries (Dizzy Gillespie, Carmen McRae, et al.) as the Geraldine DeHass-era Chicago Jazz Fest was wrapping up, Ed and I were in a corner, transfixed by the racial unrest that was in progress in Chicago. Because of a dutiful stop on the West Side, I had gotten caught up in the festivities and delayed by Chicago's finest for a few hours, and I missed the club performance. So there we were on our island, me with my "Angela Davis eat your heart out" Afro anger and Ed with his innocence and worldview wisdom. Let me tell you, we were all over it, with confusion, analysis, and solutions to black and white styles in conflict in that environment of musical genius and life experiences.
The real beauty of this conversation manifested itself when we met in Iowa City 23 years later and immediately continued the conversation, as though we had only stopped for a potty break. Of course we brought with us an additional 23 years of experience, but - as Bertolt Brecht said - "the bitch that bore it was still in heat." It was then that I was consciously aware that Ed was one of those who had quietly steered me to other applications for my anger energy. Now I talk, e-mail, and share company and karma with him as often as possible.
So we are off to Columbus, Ohio, for the Percussive Arts Society (PAS) International Convention to witness our friend Ed Thigpen's induction into the Percussive Arts Society Hall of Fame. We are joined by, among others, drummer/educator Marvin Sparks, drummer/educator Nudugu Chanceler, and the Indiana contingent, saxophonist Cheryl Grinell Pearson, singer Traneice Robinson, genius appreciator Edie Fitzhough, and of course Donald Meade, noted jazz historian and Ed's business partner of 45 years.
Perhaps it is the nature of all gatherings of diverse but like-minded people, but one couldn't help but be struck by the open looks on people's faces and a willingness to talk and share and laugh and listen. It was great, and a new surprise was as simple as turning your head. We were at the banquet when vibraharp/vibraphone/marimba-playing Stephon Harris walked in, spotted us, and floored us with his genuine pleasure at seeing us there. Stephon was a Quad City Arts Visiting Artist earlier this year and tells a great story about his visit to Cutt Creators Barber Shop in Rock Island. There is something to be said about all of these rhythms, all these people complimenting each other. Which brings us to our mission ...
Ed Thigpen: born in Chicago in 1930, the son of jazz drummer Ben Thigpen. He began his career with Buddy Collette when he was 18, and he subsequently worked with Cootie Williams, Diana Washington, Johnny Hodges, Bud Powell, Lennie Tristano, and Billy Taylor. He recorded with Toshiko Akiyoshi, Ira Sullivan, Mal Waldron, Mundell Lowe, Eddie "Cleanhead" Vinson, Teddy Charles, and Blossom Dearie. From 1959 to '66 Thigpen worked with the Oscar Peterson Trio. Thigpen then worked with Ella Fitzgerald for several years before moving to Copenhagen in 1972. He became active in the European jazz scene and worked with such artists as Toots Thielemans, Johnny Griffin, Horace Parlan, Helen Humes, Clark Terry, Kai Winding, Thad Jones, Benny Carter, Art Farmer, and Monty Alexander. In addition, Thigpen has led his own groups over the past two decades and released a number of albums, including the recent Element of Swing, which features saxophonist Joe Lovano. Thigpen's book The Sound of Brushes is considered a definitive resource on the art of brush-playing.
Ed was introduced by Immediate Past President Robert Breithaupt, who extolled him for his long-standing contributions to PAS. His manner, musicianship, and professionalism are to be imitated. He has tirelessly advocated for diversity and outreach, along with Marvin Sparks and others. Additionally he has championed the advantages of the one-on-one or small-size setting for master classes.
In his inimitably tasteful and classy style, Thigpen graciously thanked his mentors and those who preceded him. He talked about his first drum contest, at which he came in third out of three. He spoke of the importance of his teacher, who told him, "You didn't win, but I like what you do." He explained that it was important because as long as someone likes what you do, you can feel encouraged, even if it is just one person. This lesson became part of his personality, and he learned to play to the one person who is interested. The rest will get it eventually.
He honored his longtime relationship with Meade and looked heavenward and exclaimed, "We made it Louise," speaking to his Donald's deceased wife.
Ed closed by thanking his influences such as Joe Jones and "all of you percussionist who I looked up to for your expertises and tried to adapt whatever I could to my playing." Looking at his audience: "Each and every one of you have been important to me and will remain important to me."
Though our future is in the hands of our youth, our youth are still in our hands. Edmond Thigpen, a man of our time.
Reactions:
Stephon Harris, musician: He has such elegance, such grace ... just in terms of the way he communicated with other musicians. I think it is very significant that Ed Thigpen received this award, because it is not often that people of color receive awards like this. He has spent a large portion of his life giving not only to audiences but to students as well, and I think that's something that doesn't happen as much as it should.
Alan Bergman, attorney: Ed Thigpen is a great drummer, no question about it ... one of the most musical and influential drummers in the history of jazz. When you get to a certain level of musicianship, your personality comes out in the playing of your instrument. And Ed is an enthusiastic guy, a warm guy, a sympathetic guy, and that comes through in his playing.
Marvin Sparks, drummer: I have been influenced by many years by Mr. Thigpen as a drummer, and the history he has with the Oscar Peterson Trio, his incredible style with brushes, his incredible taste as a man. ... His election to the PASIC Hall of Fame is truly memorable for the many years that Mr. Thigpen and Donald Meade have taught many people who were listening about the attitude of developing your concepts, developing your own publishing company, developing your own education programs, and not waiting for anybody.
Ed Thigpen last appeared in the Quad Cities on March 29, 1997, as part of the Bill Bell "Legends" Jazz Series presented by Homefolks Communications.
