HMR Project: History of Music & Modern Recording

Jazz Drummer Kenny Clarke

Birth of Modern Jazz: Kenny Clarke

Kenny Clarke

Bop drummer, Kenny Clarke (aka Klook), was born on 9 January 1914 in Pittsburgh, Pennsylvania. He became an orphan at age five, took up the drums a few years later, then moved to New York City in 1931 at age seventeen. Clarke began recording as early as 1937 as a member of the Edgar Hayes Orchestra. Tom Lord's sessionography has him in a Variety session on March 9 that year for 'Sweet Is the Word for You' and 'Sylvia', et al. Titles released by Brunswick ensued on May 25: 'Caravan', 'Edgar Steps Out', et al. Several sessions later Clarke was in Sweden leading his kvintett with Hayes at piano on March 8 of 1938 to record four tracks with vocalist, James Anderson: 'I Found A New Baby', 'Once In A While', 'You're A Sweetheart' and 'Sweet Sue'.

'Just a Quiet Evening at Home' Kenny Clarke w Edgar Hayes & His Orchestra

9 March 1937 in NYC Matrix M-200-1 Variety 513

Trumpet: Bernard Flood / Henry Goodwin / Shelton Hemphil

Trombone: Bob Horton / Clyde Bernhardt / John "Shorty" Haughton

Alto sax: Stanley Palmer / Al Skerritt

Tenor sax: Crawford Wethington / Joe Garland

Piano: Edgar Hayes Guitar: Andy Jackson

Vibes: Eddie Duchin Bass: Elmer James Drums: Clarke

Music: Richard A. Whiting Lyrics: Johnny Mercer

Back in the States, Clarke joined Sydney Bechet at the Log Cabin in Fonda, New York, on November 25, 1939, for 'The Sheik of Araby' and 'Pop It'. Following a couple more sessions with Bechet into 1940 Clarke backed Mildred Bailey on May 15 for 'How Can I Ever Be Alone?', 'Tennessee Fish Fry', et al. Come Billie Holiday on September 12 that year for 'I'm All for You', 'I Hear Music', et al. Clark would support Holiday again in 1941 and 1946.

'Tennessee Fish Fry' Kenny Clarke w Mildred Bailey

15 May 1940 in NYC Matrix 27303-1 Columbia 35532

Bass clarinet: Irving Horowitz Drums: Clarke Vocal: Bailey

Music: Oscar Hammerstein II / Arthur Schwartz

'I'm All For You' Kenny Clarke w Billie Holiday & Her Orchestra

12 Sep 1940 in NYC Matrix 28617-1 OKeh 5831

Trumpet: Roy Eldridge Alto sax: Don Redman, / Georgie Auld

Tenor sax: Don Byas / Jimmy Hamilton

Piano: Teddy Wilson Guitar: John Collins

Bass: Al Hall Drums: Clarke Vocal: Holiday

Music: Larry Wynn Lyrics: Jerry Bresler

Clarke was house drummer at Minton's Playhouse in Harlem where he recorded numerously in 1941 with such as Joe Guy, Hot Lips Page and Roy Eldridge. It was at Minton's that he held his first session with Dizzy Gillespie in May to put down 'Stardust'. Another session that month saw 'Stardust' and 'Kerouac'. Five years later he joined Gillespie's Sextet for such as 'One Bass Hir' and 'Oop Bop Sh'Bam'. That period with Gillespie ran to March 2, 1948, in Paris for 'Confirmation', 'A la Colette', etc.. Clarke was living in Paris, having moved there in 1956, when he next recorded with Gillespie in Cannes in July of 1958 for titles that would eventually get released on a CD compilation called 'Jazz sur la Croisette'. Future tours by Gillespie saw sessions in Paris in 1960, Paris in 1963, London in 1970 and Paris in 1973, that last on April 13 resulting in Gillespie's 'The Giant' and 'The Source'.

'Kerouac' Kenny Clarke w Dizzy Gillespie

May 1941 at Minton's Playhouse in NYC Musidisc 0JA5122

Trumpet: Gillespie Piano: Kenny Kersey

Bass: Nick Fenton Drums: Clarke

Composition: Bill Fox / Jerry Newman

It was May 7, 1946, when Clarke joined the orchestra of pianist, Tadd Dameron. It was Bud Powell, however, at piano when they that day backed Sarah Vaughan on 'If You Could See Me Now', 'I Can Make You Love Me', et al. Clarke hung with Dameron's operation into 1949, their final session together possibly in May with Miles Davis in Paris for such as 'Wahoo' and 'Lady Be Good'. Powell joined Clarke's 52nd Street Boys on September 5, 1946, for such as 'Epistrophy' and '52nd Street Theme'. The next day they backed Fats Navarro and Gil Fuller on 'Boppin' a Riff', 'Fat Boy', et al. Powell would be an important comrade for another twenty years.

'If You Could See Me Now' Kenny Clarke w Sarah Vaughan

Vaughn's debut recording

7 May 1946 in NYC Matrix 5485 Musicraft 380

Tadd Dameron Orchestra:

Trumpet: Freddie Webster Bass clarinet: Hank Ross

Alto sax: Leroy Harris Baritone sax: Leo Parker

Piano: Bud Powell

Bass: Ted Sturgis Drums: Clarke Vocal: Vaughn

Composition / arrangement: Dameron

It was May 15, 1946, for another major figure in Clarke's career, that vibraphonist, Milt Jackson, who joined Clarke in the Dizzy Gillespie Sextet on that date for 'One Bass Hit', 'Oop Bop Sh'Bam', et al, per above. Jackson was a major force in Clarke's career into the latter fifties, theirs much a parallel path in the backing of other bands, such as Gillespie's, when not supporting each other. Clarke was in Jackson's All Stars in April of 1948 in Detroit for 'Bobbin' with Robin', 'Autumn Breeze', etc.. Jackson was one of Clarke's Clique on January 25, 1949, for 'Conglomeration', 'Bruz', etc.. He supported Clarke's 'Telefunken Blues' issued in 1955. The last of continual sessions together brought Jackson's 'Ballads and Blues' in New York City on January 17 of 1956. As Clarke moved to Paris that year they didn't record together again until Jackson toured to France in 1958, they to put down 'Jazz sur Seine' in April. They reunited in 1967 in Cologne, Germany, with Sahib Shihab, Jackson singing 'I'm a Fool for You'. It was Cologne again on February 2 of 1969 with Johnny Griffin and Shihab for such as 'Just Friends', 'I'm a Fool to Want You', et al.

'Oop Bop Sh'bam' Kenny Clarke w Milt Jackson

15 May 1946 in NYC Matrix 5485 Musicraft 380

Dizzy Gillespie Sextet:

Trumpet: Gillespie Alto sax: Sonny Stitt

Piano: Al Haig Vibes: Jackson

Bass: Ray Brown Drums: Clarke Vocals: Gillespie / Gil Fuller (arrangement)

Composition: Gillespie / Fuller

Another important pianist was Hank Jones. Clarke may have first found himself with Jones on September 26, 1947, for a Jazz at the Philharmonic performance with Howard McGhee at the Academy of Music in Philadelphia, PA, for unissued titles like 'Blues' and 'Cocktails for Two'. Six years later they participated in 'Jazz Studio 1' in October, joining Cal Tjader eleven days later on October 21 of 1953 for 'Vibist'. Clarke and Jones were continual partners into 1956 in support of other operations, also backing each others' projects. Jones contributed to 'Kenny Clarke & Ernie Wilkins' on 30 March of 1955. On May 31 of 1955 it was a quartet with Eddie Bert (trombone) and Wendell Marshall (bass) for such as 'Fragile' and 'Stompin' at the Savoy'. August 4 witnessed Jones' 'The Trio' with Marshall. November 1 saw Jones' 'Quartet-Quintet'. Two days later 'Bluebird' was spread. They are thought to have seen the last of numerous sessions on August 21 of 1956 in Jones' Trio with Paul Chambers featuring Bobby Jaspar on flute: 'Sunday in Savannah', 'Moonlight Becomes You', et al.

Clarke got mixed with Coleman Hawkins on several occasions from 1947 into 1950, at first with Jazz at the Philharmonic in Philadelphia on 26 September 1947, then with the Coleman Hawkins Quartet, then Dameron's Big Ten, then various Hawkins configurations. Around October of 1948 Clarke backed titles recorded by Anita O'Day with the Todd Dameron Trio including Curly Russell at upright bass at the Royal Roost [Wikipedia] in New York City, including 'What Is This Thing Called Love?'.

Another high-impact musical associate was Sahib Shihab with whom Clarke first recorded on January 18, 1949, Dameron's orchestra for 'Sid's Delight' and 'Casbah'. They worked with Dameron that year and other bands like Mort Herbert's to May 29 of 1956 with the latter's sextet in New York City for 'Blues for Fred and Faye' and 'Mitch's Carol'. They reunited in Paris on April 20, 1960, to back vocalist, Gail Mitchell, on such as 'Frankie and Johnny' and 'Bill Bailey'. Shihab joined the Kenny Clarke-Francy Boland operation for 'Jazz Is Universal' in Cologne, Germany, on December 21, 1961. Another Clarke-Boland album followed in Frankfurt in January of 1963, 'Handle With Care', after which tour Shihab moved to Paris to continue with Clarke and Boland, to as late as January 14 of 1972 in Cologne for 'Lotus' and 'Lobsang'.

It was February 19, 1949, when Clarke joined another heavyweight in his career, that being Miles Davis in Dameron's Big Ten for a radio broadcast from the Royal Roost in New York City: 'Focus', 'April in Paris', et al. Clarke and Davis stuck with Dameron to a tour to France in May of 1949 to record such as 'Rifftide' and 'Lady Be Good. Clarke joined Davis' All Stars on May 9 of 1952 for 'Dear Old Stockholm', 'Chance It', et al, remaining with Davis to December 24, 1954, for such as 'Bag's Groove' and 'The Man I Love'. They would reunite in latter 1957 for a European tour, their last titles together thought to have been in Amsterdam on December 8 of 1957 with the Rene Urtreger Quartet yielding 'Woody 'n You', 'Lady Bird', et al.

'What Is This Thing Called Love?' Kenny Clarke w Anita O'Day

2 Oct 1948 at the Royal Roost in NYC Alto AL702

Tadd Dameron Trio:

Piano: Dameron Bass: Curly Russell Drums: Clarke Vocal: O'Day

Composition: Cole Porter 1929

'Casbah' Kenny Clarke w Tadd Dameron

18 Jan 1949 in NYC Matrix 392-3D-2 Capitol 57-60006

Tadd Dameron & His Big Ten:

Trumpet: Fats Navarro Trombone: Kai Winding

Alto sax: Sahib Shihab Tenor sax: Dexter Gordon

Baritone sax: Cecil Payne

Piano: Dameron Bass: Curly Russell Drums: Clarke

Bongos: Diego Iborra Congas: Vidal Bolado Vocal: Rae Pearl

Composition: Dameron

'Webb's Delight' Kenny Clarke w Tadd Dameron

19 Feb 1949 at the Royal Roost in NYC Jung Cat RBD948 / Cicala BLJ8032

Tadd Dameron & His Big Ten:

Trumpet: Miles Davis Trombone: Kai Winding

Alto sax: Sahib Shihab Tenor sax: Benjamin Lundy

Baritone sax: Cecil Payne

Piano: Dameron Guitar: John Collins

Bass: Curly Russell Drums: Clarke Congas: Carlos Vidal

Composition: Dameron (?)

'Body and Soul' Kenny Clarke w Coleman Hawkins

3 Dec 1949 in Lausanne, Switzerland TCB 02132 (CD)

Tenor sax: Hawkins Piano: Jean-Pierre Mengeon

Bass: Pierre Michelot Drums: Clarke

Composition: Robert Sour / Johnny Green / Frank Eyton / Edward Heyman 1930

It was J.J. Johnson on April 21, 1949, when Clarke joined J.J. Johnson in Dameron's orchestra for 'John's Delight', 'What's New?', et al, Miles Davis also in on that. Clarke and Johnson would be partners on numerous occasions for several years, either backing other operations, like Davis', or working on Johnson's projects, the first of which was Johnson's Sextet with Clifford Brown in New York City on June 22, 1953, for 'Isle of Capri', 'Lover Man', et al. Multiple Johnson projects ensued like 'Reflections' in 1954 and 'The Eminent JJ Johnson' in 1955. Their last session of that period fell on July 29 of 1955 with Cannonball and Nat Adderley for 'Cannonball', 'Nat's Everglade' and 'You'd Be So Nice to Come Home To'. Kai Winding joined them in July 1956 for 'Too Close for Comfort', ''S Wonderful', et al. Sessions with Johnson's All Stars followed in Europe variously in 1958, another in London for a BBC telecast of 'Jazz 625' on October 18 of 1964 which may have been their final.

On April 22 of 1949 (the day after his first session with J.J. Johnson above) Clarke participated in his initial tracks with alto saxophonist, Lee Konitz, that for Miles Davis in New York City. Clarke and Konitz recorded together severally into 1958, their last occasion with J.J. Johnson toward the album 'Jazz From Carnegie Hall Live in Paris' issued much later in 2018 on Frémeaux & Associés FA 5721.

Clarke toured to Europe with Zoot Sims for a session in Paris on June 16, 1950. Sims' quartet consisted of Gerald Wiggins (piano) and Pierre Michelot (bass) for 'Slingin' Hash, 'Tenorly', et al. On February 19, 1953, they backed Miles Davis' 'Miles and Horns'. Sessions in Paris and New York City followed in 1956. 1958 found Clarke and Sims recording 'The Concert 23.6.1958' in Baden-Baden, Germany, in 1958 before supporting Sarah Vaughan in Paris for such as 'Please Be Kind' and 'Live For Love'. Clarke also recorded with J.J. Johnson and Kai Winding's All Stars in 1958 in Europe. Such as Sims' 'Star Eyes' ensued in Amsterdam, Netherlands, on September 27, 1958. Clarke was in the Bud Powell Trio with Pierre Michelot on bass to feature Sims at the Blue Note in Paris in January of 1961 for 'Groovin' High', 'Blue Bud Blues', et al. Sims also participated in the Clarke-Boland project, 'Jazz Is Universal', in 1961.

'Tenorly' Kenny Clarke w Zoot Sims

16 June 1950 in Paris 1 of 3 takes all on Jazz Legacy JL77 (France)

See also Discogs

Milt Jackson's Modern Jazz Quartet:

Piano: Lewis Vibes: Jackson

Bass: Percy Heath Drums: Clarke

Composition: Lewis

'Capri' Kenny Clarke w J.J. Johnson

22 June 1953 in NYC 1 of 2 takes either BN503-2 or BN503-3

Issued respectively on Blue Note BLP1506 or Blue Note BLP1505

J.J. Johnson Sextet:

Trumpet: Clifford Brown Trombone: Johnson Tenor sax: Jimmy Heath

Piano: John Lewis Bass: Percy Heath Drums: Clarke

Composition: Gigi Gryce

Clarke's first tracks with trumpeter, Art Farmer, arrived in January 1954, for such as 'Wisteria' and 'I'll Take Romance'. Clarke joined Farmer on several occasions throughout his career, Lord tracing their final recordings together to 1972 in the Clarke-Boland Big Band for 'Lotus' and "Lobsang'.

'Wisteria' Kenny Clarke w Art Farmer

20 Jan 1954 in NYC Matrix 552 Prestige LP177

Art Farmer Quartet:

Trumpet: Farmer Piano: Horace Silver Bass: Percy Heath Drums: Clarke

Composition: Farmer

It was January 13 of 1955 when Clarke joined a trio with bassist, Percy Heath, for 'Mediocre', 'All the Things You Are', et al. It was another trio at the Blue Note in Paris with bassist, Michelot, in 1959 for 'Bud on Bach', 'Yesterdays', et al. Powell moved to Paris that year, commencing a partnership with Clarke through numerous sessions to include yet another trio with Michelot in May of 1963 to support Dexter Gordon's 'Our Man In Paris'. On July 8 of 1963 they backed Gillespie on tour to Paris for 'Dizzy Gillespie and the Double Six of Paris'.

Clarke recorded his debut album, 'Telefunken Blues' on 7 February 1955. In June of 1955 Clark's 'Bohemia After Dark' acquired assistance from Donald Byrd with Cannonball and Nat Adderley. Multiple dates with Byrd saw support of other bands like those of Hank Jones and Ernie Wilkins in 1955 and Hank Mobley in 1956 ('Jazz Message' and 'Jazz Message No. 2'). 'Byrd's Word' went down on September 29, 1955, Byrd's 'The Jazz Message' on January 30 of 1956. February 6 of 1956 saw Byrd backing Clarke's 'Klook's Clique'. March of 1956 saw them contributing to Creed Taylor's 'Know Your Jazz'. Ten years later they reunited in Paris in March 1966 for Lou Bennett's 'Pentecostal Feeling'. As for Cannonball and Nat, Clare visited with them a couple more times in 1955, to reunite with Cannonball in Paris in 1961, the latter contributing 'Cherokee' to Don Byas and Bud Powell's 'A Tribute to Cannonball'. Cannonball and Nat joined Gene Ammons at the Montreux Jazz Festival in 1973 on 'Treux Blue'.

'Telefunken Blues' Kenny Clarke Album

25 Sep 1954 in Hollywood / 7 Feb 1955 in Hackensack NJ Savoy Records MG 12006

Album personnel:

Trombone: Henry Coker Piano: Gerald Wiggins

Alto sax: Frank Morgan Tenor sax: Walter Benton / Frank Wess

Baritone sax: Charlie Fowlkes Vibes: Milt Jackson (piano)

Bass: Percy Heath / Eddie Jones Drums: Clarke

This album: Discogs / Wikipedia

'I Dig You the Most' Kenny Clarke w Hank Jones

30 March 1956 in NYC Matrix SEW4691 Savoy Records MG 15060

Ernie Wilkins-Kenny Clarke Septet:

Trombone: Eddie Bert

Alto sax: Wilkins (tenor / arrangement)

Tenor sax: George Barrow (baritone)

Baritone sax: Cecil Payne Piano: Jones

Bass: Wendell Marshall Drums: Clarke

Discogs / Wikipedia

'Bohemia After Dark' Kenny Clarke

From the album 'Bohemia After Dark'

28 June 1955 in Hackensack NJ Savoy Records SA 6001

Album personnel:

Trumpet: Donald Byrd Cornet: Nat Adderley

Alto sax: Cannonball Adderley Tenor sax: Jerome Richardson (flute)

Piano: Horace Silver Bass: Paul Chambers Drums: Clarke

Composition: Oscar Pettiford

This album: Discogs / Wikipedia

Clarke's first title with Martial Solal had been with Zoot Sims in Paris in March of 1956: 'It Had to Be You'. After what is thought Clarke's last recording in the United States in August of 1956 with the Hank Jones Trio and Bobby Jaspar (: 'Sunday in Savannah', et al) Clarke moved to Paris, joining Solal on September 24 for 'Reunion a Paris'. Clarke and Solal found numerous occasions to record together for the next five years, both backing each other and other enterprises such as 'Jazz sur la Croisette' in Cannes in 1958. In spring of 1961 they supported Lucky Thompson's 'Lord, Lord, Am I Ever Gonna Know?'. A reunion in 1968 found them on Hampton Hawes' 'Key For Two'.

Clarke held several sessions with both alto saxophonist, Frank Foster, and guitarist, Kenny Burrell, all three together on 5 March 1956 toward Foster's album, 'No 'Count' on Savoy MG12078. On 2 July of 1956 Clarke joined Horace Silver's Quintet on a couple tracks toward the latter's album, 'Silver's Blue' issued on Epic LN3326.

'No 'Count' Kenny Clarke w Frank Foster Album

5 March 1956 in Hackensack NJ Savoy Records MG 12078

Frank Foster Septet:

Trombone: Benny Powell / Henry Coker

Tenor sax: Frank Foster / Frank Wess (flute)

Guitar: Kenny Burrell Bass: Eddie Jones Drums: Clarke

This album: Discogs / Wikipedia

'To Beat Or Not to Beat' Kenny Clarke w Horace Silver

2 July 1956 in NYC Matrix CO56459 Epic LN3326

Horace Silver Quintet:

Trumpet: Joe Gordon Tenor sax: Hank Mobley Piano: Silver

Bass: Doug Watkins Drums: Clarke

This album: Discogs / Wikipedia

'Reunion A Paris' Kenny Clarke w Martial Solal Album

24 Sep 1956 in Paris Swing LDM 30.048

Martial Solal International All Stars:

Trumpet: Jimmy Deuchar Trombone: Billy Byers

Tenor sax: Allen Eager Piano: Solal

Bass: Benoit Quersin Drums: Clarke

See Discogs

It was 1961 when Clarke and Belgian pianist, Francy Boland, formed the Kenny Clarke-Francy Boland Big Band, an operation in which Clarke would be heavily involved for another decade. Clarke's first titles with Boland had been for Don Byas in Cologne, Germany, on February 25 of 1960: 'Tampico', 'Don Walks with Kenny', et al. A few sessions for this and that ensued until May of 1961 when Kenny Clarke-Francy Boland and Co recorded 'The Golden 8' and 'The Golden Eight Encore'. The first Kenny Clarke-Francy Boland Big Band LP was 'Jazz Is Universal', gone down on December 31 of 1961. Wikipedia credits 26 albums to that organization, Clarke leaving after 'Change of Scenes' with Stan Getz in 1971.

'The Golden 8' Kenny Clarke-Francy Boland & Company Album

18/19 May 1961 in Koln, Germany Blue Note BLP4092

Trumpet: Dusko Goykovich

Alto horn: Raymond Droz Baritone horn: Christian Kellens

Alto sax: Derek Humble

Tenor sax: Karl Drewo Piano: Boland

Bass: Jimmy Woode Drums: Clarke

Discogs / Wikipedia

'Griff's Groove' Kenny Clarke-Francy Big Band

From the album 'Sax No End'

18 June 1967 in Godorf, Germany Blue Note BLP4092

Album personnel:

Trumpet: Benny Bailey / Jimmy Deuchar / Idrees Sulieman / Shake Keane (flugelhorn)

Trombone: Nat Peck / Åke Persson / Eric van Lier

Alto sax: Derek Humble

Tenor sax: Eddie "Lockjaw" Davis / Carl Drevo / Johnny Griffin / Ronnie Scott

Baritone sax: Sahib Shihab

Piano: Boland Bass: Jimmy Woode Drums: Clarke Bongos: Fats Sadi

Composition: Boland

Discogs / Wikipedia

Another important figure in Clarke's career was saxophonist, Johnny Griffin, who moved to France in 1963. Clarke backed Griffin's 'Night Lady' in Koln, Germany, on February 13, 1964. December 2 of 1965 found them supporting vocalist, Kitty White, on 'Visit Me', 'My Kind of Guy', et al. Griffin's 'Griff 'n' Bags' arrived on 19 February 1967, after which Griffin filled spots in the Clarke-Boland Band to 1969. Griffin's 'Lady Heavy Bottom's Waltz' arrived along the way on August 27 of 1967. Lord's sessionography has Griffin's 'Jazz Undulation' (1977) with Dexter Gordon recorded in Rome on January 25 of 1968. On April 24, 1970, they backed Eddie Lockjaw Davis on 'Tough Tenors Again 'n' Again'. April 13 of 1973 found them participating in 'The Giant' and 'The Source' with the Dizzy Gillespie Sextet in Paris.

'Again N Again' Kenny Clarke w Eddie Lockjaw Davis

From the album 'Tough Tenors Again N Again'

24 April 1970 in Koln, Germany MPS Records MPS 15 283 ST

Eddie Davis-Johnny Griffin Quintet:

Tenor sax: Davis / Griffin

Piano: Francy Boland Bass: Jimmy Woode Drums: Clarke

Composition: Davis / Griffin

'Tin Tin Deo' Kenny Clarke w Eddie Lockjaw Davis

From the album 'Tough Tenors Again N Again'

24 April 1970 in Koln, Germany MPS Records MPS 15 283 ST

Eddie Davis-Johnny Griffin Quintet:

Tenor sax: Davis / Griffin

Piano: Francy Boland Bass: Jimmy Woode Drums: Clarke

Composition: Gil Fuller / Chano Pozo 1947

'Nervus' (sic) Kenny Clarke Television

'A Senza Rete' ('Without a Net') television broadcast for RAI in Italy

8 August 1970

It had been sometime 1972 in Paris when Clarke contributed to clarinetist, Jean-Christian Michel's, first album released on General Records 538.001. Clarke was named an NEA Jazz Master in 1983, the same year he left behind 'Pieces of Time' with Andrew Cyrille, Milford Graves and Famoudou Don Moye. Drums and percussion are the only instruments performed on this album.