| Playing from the Heart
Faculty and others pay tribute to the great James Williams.
By Nick Balkin
Berklee.edu Correspondent
November 9, 2004
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| Cover of James Williams's Classic Encounters! |
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"James Williams's music was always more about the feeling than the notes," says faculty bassist John Lockwood, "and it always felt good."
At memorial concerts October 8 and 9 at Ryles Jazz Club in Cambridge, Massachusetts, a long lineup of performers gathered to celebrate the life and music of their late friend, jazz pianist and former Berklee faculty member, James Williams.
Among those who donated their time and talent to the memorial concerts were vocalists Dominique Eade, Carol Sloane, Eula Lawrence, and Ron Gill; pianists Mulgrew Miller and Donald Brown; trumpeters Bill Mobley and Greg Hopkins; saxophonists Andy McGhee, Bill Pierce, Bill Easley, and Javon Jackson; bassists Ron Mahdi and John Lockwood; and drummers Tony Reedus, Yoron Israel, Ron Savage, and John Ramsey.
Co-organized by Bill Pierce, chair of the Woodwind Department, and Williams's longtime booking manager and friend, Brian Walkley, the two concerts generated funding for the establishment of a permanent James Williams Scholarship at Berklee. |
| A distinguished performer, composer, arranger, sideman, accompanist, recording artist, producer, and teacher, Williams was one of the most versatile figures in modern mainstream jazz. He was also a noted advocate for the preservation and expansion of the history and legacy of jazz. "At a James Williams concert you'd get to hear the whole history of the piano; from ragtime to avant-garde," says Yoron Israel, assistant chair of the Percussion Department.
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Andy McGhee performs at the James Williams Tribute while Bill Pierce looks on. |
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Photo by Brian Walkley |
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Williams was born in Memphis, Tennessee in 1951 and began taking formal piano lessons at age 13. After a six-year run as an organist at Eastern Star Baptist Church in Memphis, he enrolled at Memphis State University, where he befriended fellow pianists Mulgrew Miller and Donald Brown.
Boston became Williams's new home when he accepted a Berklee faculty position at the age of only 22, the beginning of a five-year career at the college. Bill Pierce first met Williams at an open jam session with legendary saxophonist Grover Washington at the Jazz Workshop in Boston. "I was too shy at that point to join in and play, but James got right up there he sounded great." says Pierce, "His fame didn't just fall into his lap. He went out and took it."
Pierce and Williams began playing in several bands led by drummer Alan Dawson, another former Berklee faculty member, providing support for touring artists including Art Farmer, Milt Jackson, Sonny Stitt, Pat Martino, Jean Carn, Red Norvo, and Arnett Cobb. One of the biggest years of Williams's career was 1977, when he recorded his first album as a leader and played his first concert of original compositions. He also met Art Blakey, who asked him to join the Jazz Messengers. The band, which also included Pierce, Bobby Watson, Wynton Marsalis, and Charles Fambrough, recorded at an astonishing pace, releasing ten albums in four years. |
| Within a few years, Williams was playing independently with many notable musicians such as Thad Jones, Joe Henderson, Clark Terry, Chet Baker, and Benny Carter. After moving to New York, he started working with high-profile jazz artists such as Dizzy Gillespie, Ray Brown, Elvin Jones, Freddie Hubbard, and Tony Williams.
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Mulgrew Miller |
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Photo by Brian Walkley |
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Williams's music, though intricate, had mainstream appeal. He was able to connect with listeners on an emotional level, regardless of their jazz or musical knowledge. Likewise, his concerts were uplifting, and he constantly found new ways to keep his audiences engaged. "James wasn't trying to change music," says Pierce. "But he was innovative in his ability to keep jazz accessible, and in front of people."
Admired as much by his peers for his immense talent as he was for his selfless, giving nature, Williams's reputation was that of a musician's musician. And for two evenings in October, enthusiastic players came out in droves to give back to their beloved friend and mentor. Their performances reflected Williams's own personality: warm and relaxed, yet deeply focused.
"Like Duke Ellington, James just had an uncanny ability to play on the strengths of the musicians around him...He always made you feel like your voice was important," says Israel. "From a professional standpoint, he'd have your paycheck ready for you before you even played one note. And as simple as that sounds, it isn't the norm."
"Musically these concerts were fantastic. There was a sense of togetherness in the room," says Pierce. Everyone knew they were there because of James, and they played from their hearts."
Nick Balkin is a publicist in Berklee's Office of Public Information. |
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