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Finalist for Best Jazz Book of the Year Award from the Jazz Journalists Association
The things that I have, I’ll give to you. This is my legacy with you, Albert. This is my last hoo-rah. So begins the autobiography of Jonathan David Samuel Jones—or as the world better knows him, Papa Jo Jones. Playing with Count Basie and his orchestra when they exploded out of Kansas City in 1936 and took the world by storm, Jones went on to inspire generations of jazz drummers, but until now few have had access to his own remarkable story.
Rifftide presents Jones’s inimitable life and opinions, as originally told by Jones to the prominent jazz historian and novelist Albert Murray and now transcribed, arranged, and introduced by Paul Devlin. Drawn from fourteen tapes recorded over eight years beginning in 1977, Rifftide is an impressionistic series of riffs and tales by Jones: his life as a musician on the road in segregated America, his outstanding solo career following his years with the Basie band, and his interactions with iconic artists and cultural figures of the time, including Ralph Ellison, James Baldwin, Langston Hughes, Duke Ellington, Louis Armstrong, Bill “Bojangles” Robinson, and Satchell Paige.
A true American original and jazz luminary, Papa Jo Jones bedazzled and intrigued many with his outrageous, volatile personality and his innovative drumming—and nowhere does his fierce intellect and humor shine more marvelously than in his life’s telling. With a fascinating introduction and annotations by Paul Devlin and an afterword by Phil Schaap, jazz historian and longtime friend of Jones, Rifftide reveals a man at the forefront of both a whole new form of music and a country in the midst of incredible turmoil and opportunity. As Jones himself puts it: Listen man, I’ve had a hell of a time . . .
- Sales Rank: #5828571 in Books
- Published on: 2011-09-19
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .80" w x 5.38" l, .80 pounds
- Binding: Hardcover
- 200 pages
Review
"Jo Jones, an elegant, swinging dude, always had a style of his own. When he was with us, you could hear him, feel him—everything was right there." —Count Basie
"I first met Jo Jones at the RKO Theater in Boston when I was a teenager in the early 1940s and we were friends until he passed away. He was my first influence and my major influence. He was ‘Papa’ Jo to me before they gave him that title. He was like a father to me. For drummers of my generation, Jo was the president of the drums just like Lester Young was president of the tenor saxophone. Jo loved to talk, and when he spoke it was almost as if he was playing the drums: you’d give him your undivided attention. Rifftide conveys a fine sense of his voice and the larger than life dimensions of his personality." —Roy Haynes
"Albert Murray has helped keep the incomparable Jo Jones alive through the voice of Count Basie in Good Morning Blues and fictionally in The Magic Keys, but in Rifftide, thanks to the persistence of editor Paul Devlin, we get to hear Jo himself in all his dynamic, adrenalized, anecdotal, no-bull glory—riffing with words as heartily as he did on the hi-hat." —Gary Giddins, author of Warning Shadows and Jazz
About the Author
Papa Jo Jones (1911–1985) was one of the most influential jazz drummers of all time. He played with Count Basie and his orchestra from 1936 until he entered the army in 1944, and again from 1946 to 1948. He also played on Billie Holiday’s early records. From the late forties on, Jones had a spectacular solo career, playing with Jazz at the Philharmonic and the Newport Jazz Festival, recording under his own name, and playing on albums by Duke Ellington, Teddy Wilson, Benny Carter, and many others.
Albert Murray was a cofounder of Jazz at Lincoln Center. His many books include Train Whistle Guitar and Good Morning Blues: The Autobiography of Count Basie.
Paul Devlin is a doctoral student in the English Department at Stony Brook University. His writing has appeared in the New York Times Book Review, Slate, the Root, and the San Francisco Chronicle, among other publications.
Phil Schaap has broadcast jazz on New York City’s WKCR for more than forty years. He taught at Princeton University and currently teaches at Julliard. He is the curator at Jazz at Lincoln Center.
Most helpful customer reviews
12 of 12 people found the following review helpful.
Really Great Book About a Great Musician,, Drummer Jo Jones
By suezenne fordham
I heartily recommend this book to all who are even remotely interested in Jazz,Grande ICON Jazz Musicians and Drummers in general. I can honestly say that I played Piano many times opposite Jo Jones at the Embers, a posh East Side Boiterie in New York City. Occasionally he was Drummer with my Jazz Trio in New York at other venues..
However, the Jo that the Author knew was not the Jo that I knew, meaning the Jo I knew had not an ounce of resentment of any people of other races. He was totally in love with life, and with performing on Drums, and if it was intermission he would go to the Bar [at the Embers] and get a "taste" He would use a swizzle stick or anything at hand and start playing something like the "Poet and Peasant Overture on a leatherette barstool.... Just with those very primitive tools.... And the amazing thing was that the sound was there albeit hushed, and I had NO problem knowing what he was playing... Oh yes the stories about his "Lucky Shoes" are totally true..
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Like I am very surprised the author did not know about that collaberation and the writing of the Bop Dictionary. One of his favorite buddies was Slim Gaillard, outrageous Bop Guitar-Piano player.... Slim and Jo invented a whole new Bop language and called it McVoutie, which the true meanings of the words were only known by those two and they would put us on with carrying on whole conversations using this totally unique lexicon. Like "Reet, Vout. and Mel-oh-roon-ee-oh meant great! AND together they wrote a rather short Lexicon of their invention! It is still on the internet if you look it up1 They show the original.
Jo loved all people and Musicians in general.... He was very educated about Classical music, and Truth be known.... he forever changed the way Drummers approached and played their instruments! We were worried about him when the Jazz music Biz started to slide... He loved performing in the great clubs or the occasional Carnegie Hall All Star Concert... He was one of the funniest human beings I have ever hung out with... Everyone in that inner circle was devastated when Jo died... the end of an era... He was a true poet. Again I thank the Author of this book for telling a lot of Jo's story! suezenne fordham
9 of 9 people found the following review helpful.
Speaks volumes about the man; much less about the drummer
By Mike Tarrani
I'm going to immediately set expectations about this book: if you are searching for information and opinions about drumming and other drummers, this is not the book for you. I suggest that, instead, you read the information-rich chapter on Papa Jo Jones in Drummin' Men: The Heartbeat of Jazz The Swing Years. Next, augment that excellent book with Drums By Jo Jones. Then marvel at how he gracefully moves around the drum kit in the second segment of this video: Jazz Icons: Coleman Hawkins Live in '62 & '64.
On the other hand, if you are seeking to understand Papa Jo Jones the man, along with his views on a myriad of topics then this book is a treasure. And as you come to understand him you may get a glimpse into how he came about and what molded him.
Most folks describe the book as having three parts: Paul Devlin's Preface that discusses the trials and tribulations of transcribing interviews that Albert Murray conducted with Papa Jo, then Rifftide - Jo Jones in Jo Jones' own words, and an Afterward by Phil Shaap. I would like to add the Editor's Notes, which comprise 28 pages of invaluable information that is like the Rosetta Stone for the preceding sections.
Of the principals involved in creating this book, the editor - Paul Devlin - never met Papa Jo in person. That does not diminish his importance because transcribing and making sense of the interview tapes were daunting tasks. That is not to say that Albert Murray's interview sessions were easy either. For a taste track down the 1973 interviews that Milt Hinton conducted with Papa Jo (there is a complete set of audio files on a site named Music for Drummers dated February 26, 2010). Milt and Jo went way back and Milt also knew a lot about his family, yet Jo Jones had moments of evading or deflecting. Plus his accent - known as Lucust Valley Lockjaw after an upper class section of Long Island - takes some getting used to.
The Rifftide section is what will separate those who are seeking knowledge from those who are seeking facts. The writing (especially if you hear it in Jo's voice) is akin to receiving enlightenment from Yoda. You know there are important lessons in the words, but those lessons seem to be doled out in some oblique manner.
What I got from this section is how well read Jo was, and that he was an astute observer who could synthesize a wide array of facts and observations into some unified philosophy and way of life. That same gift for synthesis, I am sure, enabled him to make not just one - but two - major contributions to the art of drum kit playing. He moved time to the hi-hat and did things that that piece of the drum kit that nobody before him could have conceived; he took the art of brush playing to a level that is still part of every jazz drummer's vocabulary.
Another thing that struck me was his love of books and voracious reading habits, which was not only indicative of an amazing intellect, but probably alienated him from his peers, especially in later life. I am sure he lived in a world apart from others. One clue was his own statement that he did not know there were racial differences until he was 19. In his era and geographic location where lynchings were common that is an odd statement. All the more so because he was such an astute observer. It only reinforces my own opinion that he lived in a world of his own mind.
His recounting of names, associations and places in this section of the book painted a vivid picture of his era and influences. Indeed, I recall that on the last track of Drums By Jo Jones he exclaims "Butterbean and Susie" when playing a duet with Willie The Lion Smith. I had no idea who or what he was talking about until I read his account of how they took him in. It's the small details that portray the drummer as the man, instead of the other way around.
The final section is the Afterward by Phil Shaap. Not only is Phil a musician, but he spent a lot of time with Jo and shares insights that neither Albert Murray nor Paul Devlin would have. He is frank and exposes many facets of Jo - flattering and not so flattering. Again, it fills in who Jo was as a man, and from Phil's vantage, also as a musician. The stories and observations are similar to Michael Stein's firsthand account titled Smiling Jo Jones.
What I gained from this is a deeper insight into one of my idols, plus a rich backdrop of history to satisfy my avocation as an amateur historian. As a drummer, this book gave me a deeper appreciation for the man upon whose shoulders we stand upon. That, to me, is priceless.
8 of 8 people found the following review helpful.
crazy lingo
By D. Perrine
This book began as a series of taped interviews with Papa Jo by Albert Murray. Paul Devlin transcribed them and edited them into a more or less continuous narrative with Murray's questions omitted. Also included is a brief, hyperbolic speech that Jones gave to the Duke Ellington Society (also recorded by Murray.)
First we get a 16 page editor's preface on how he came to edit the book. You can safely skip this as it's summarized in the 24 page intro. You could probably skip that also, but you'd miss some valuable background info such as "Apart from knocking out a policeman in Pittsburgh in 1937 and being briefly institutionalized in a hospital for the criminally insane, all seems to have gone fairly smoothly for Jo during the height of the swing era."
In his conversations with the editor, Murray compared Jones' speech to James Joyce's writing in "Finnegans Wake." I thought that this must be some sort of pretentious nonsense until I started reading the 85 pages of transcript. Half the time I didn't have the slightest idea what Jones was talking about. For instance: "No little girl - college notwithstanding - nobody ever been as clean as Little Rock, Arkansas, with them brooms that they made, the alley, the trash: you could eat off the front porch. You know Baltimore, they scrub scrub. Nuh-uh. All them little girls, they had them little socks on, in the beauty parlor, it was boomin', no ashy legs, ding ding ding, I'm sorry: they lived in the beauty parlor."
There is a certain amount of rhythm in Jones speech and it may be best to just read it as music; if something makes sense every once in awhile, that's a bonus. Some of the allusions are explained in 27 pages of footnotes at the back of the book.
There's also a 23 page afterword by Phil Schaap, thankfully in plain English. Much of this concerns various aborted attempts by Jo to produce an autobiography; but the interesting part is Schaap's personal recollections of Jones beginning at age five and lasting 30 years. He mentions that other band members would beg him to drive Jo to gigs because they were tired of listening to his "lectures." With this book, you can pick them up when you feel like it, and put them down when you're tired of them.
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