An Interview With Jazzman Jimmy Gourley, Part One |
FEATURE by
Peter Broadbent & Robert Burns (James Pasco
Gourley, Jr is credited with having introduced a smooth Lester Young-influenced
style of guitar-playing to Europe, where he resided for many years, co-leading
the house band at Paris Blue Note. Born in St Louis in 1926, he toured
with commercial bands, then played in small groups alongside such musicians
as Vido Musso, Sonny Stitt, Anita O'Day and Gene Ammonds. Gourley has
been featured in many jazz festivals and can be heard on such movie soundtracks
as Paris Blues. He died on Dec. 7, 2008) |
"Then I got into a little band that played in bars. Most bars in those days had a big room in back where on weekends they had dancing. We played the standards, the music of the time that we're still playing today. People heard them on the radio and sang them in the street, you know. The powers that be are giving us shit now; before they gave us good music and now it's all shit. They're not giving us music at all. "Nobody was making much money but we were all hanging out together. When I first met Bob Brookmeyer he was playing piano in a dance band and we'd go jam with them in the afternoon at a dance hall. "Later I did a concert in the states with Kenny Clarke and then we were in a beautiful place with all kinds of studios...and the Rolling Stones were there. We were waiting to play and Mick Jagger came up--Kenny didn't know who the fuck he was; I was the only one who recognized him--and he had a bottle of wine and said, 'Hello, I'm Mick, you want a drink?' and then 'Come on over, we're rehearsing.' We went over and were snorting and all that stuff; they were doing 8 bars which took them a week, and then 16 bars which took them another week; and then they put it all together. That's the way they made records, which is not the way we did, you know. I didn't make any record that took longer than an afternoon. The record I made with Kenny took 3 days and that was the longest I ever took. "I played drums in high school because that was the only way to get into the dance band. You had to be part of the concert band that played for the football games, so I volunteered for the bass drum. Every year we did a show with the minor girls dancing. Then we got a little band. |
"My father set up the Monarch Conservatory of Music. He made a lot of money during the war and then lost it all later. During the war everybody was working, there was money all over the place, they were being paid overtime--there was too much money around. He went around canvassing the neighborhood, knocking on doors. He didn't do any teaching; he had people that did that. It was a 7-week course to see if your child had any capabilities, but he'd sell 'em a $350 accordion and he'd get the money right away. He and the other salesmen were starting 30-40 kids a week and he was selling at least 12 or 13 accordions a week, so the money was coming in like crazy. "One time he even bought a small airplane and hired a pilot! He'd shoot down to St Louis and see the family. Then he went to northern Indiana and made a whole lot of money. "My mother wanted me to play guitar, she wanted me to play Spanish melodies for her, and I never did. I was straight into jazz immediately. My father bought the guitar for me; my first teacher was from his school; he just taught me the cowboy stuff. But when I started playing jazz I got further into it. "My first real professional gig was with this trumpet player who later got killed in Europe. I quit high school and went down to Oklahoma City, Charlie Christian's hometown, to play rhythm guitar. After we finished at the hotel, we'd go out jamming with these black cats. They'd take us out to these roadhouses and jammed and it was a lot of fun. "The first records that turned me on were by Nat 'King' Cole, but I had a little radio by my bed and listened to all these bands. There was all kinds of music. I heard Charlie Christian playing 'Seven Come Eleven.' "When I left the Navy, I came back to Chicago and I didn't play at all for two years because I didn't have a guitar. That's when I met Jimmy Raney. He was already Jimmy Raney, if you know what I mean, beautiful, and he was in Lou Levy's band. Jimmy knocked me out 'cause of his sound, the articulation and the harmonic content, and because he was so hip and could swing! He had it all. I couldn't help but be influenced by him, he had it all together, and that's the way I wanted to sound. He was making a musical statement and not just smearing over and playing a lot of notes. |
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