Bobby Timmons
Template:Short description Template:Good article Template:Use mdy dates Template:Use American English Template:Infobox musical artist
Robert Henry Timmons (December 19, 1935 – March 1, 1974) was an American jazz pianist and composer. He was a sideman in Art Blakey's Jazz Messengers for two periods (July 1958 to September 1959; February 1960 to June 1961), between which he was part of Cannonball Adderley's band. Several of Timmons' compositions written when part of these bands – including "Moanin'", "Dat Dere", and "This Here" – enjoyed commercial success and brought him more attention. In the early and mid-1960s he led a series of piano trios that toured and recorded extensively.
Timmons was strongly associated with the soul jazz style that he helped initiate. This link to apparently simple writing and playing, coupled with drug and alcohol addiction, led to a decline in his career. Timmons died, aged 38, from cirrhosis. Several critics have commented that his contribution to jazz remains undervalued.Template:Efn
Early life
Timmons was born in Philadelphia, Pennsylvania, the son of a minister.<ref name="Grove">Kernfeld, Barry "Timmons, Bobby". The New Grove Dictionary of Jazz (2nd edition). Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved July 29, 2013. (Subscription required.)</ref> He had a sister, Eleanor.<ref name="TP2">Panken, Ted "For the 78th Birthday Anniversary of Bobby Timmons (1935–1974), a Liner Note and Five Interviews Conducted for It". (December 19, 2013). Transcript of interview with Tootie Heath. tedpanken.wordpress.com</ref> Both of his parents, and several aunts and uncles, played the piano.<ref name="Comp" /> From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.<ref name="Comp" /><ref>Taylor, Leon (June 5, 2000), "Elsie Wright Loved Kids, Fussed at Their Noisy Play", philly.com Retrieved July 30, 2013.</ref> Timmons first played at the church where his grandfather was minister;<ref name="TP1">Panken, Ted. In The Best of Bobby Timmons [Liner notes]. Fantasy. Reprinted at "For the 78th Birthday Anniversary of Bobby Timmons (1935–1974), a Liner Note and Five Interviews Conducted for It". (December 19, 2013), tedpanken.wordpress.com.</ref> this influenced his later jazz playing.<ref name="Grove" /> He grew up in the same area as other future musicians, including the Heath brothers (Jimmy, Percy, and Tootie) and Lee Morgan.<ref name="TP1" /> Timmons' first professional performances were in his local area,<ref name="Feather" /> often as a trio that included Tootie Heath on drums.<ref name="TP2" /> After graduating from high school Timmons was awarded a scholarship to study at the Philadelphia Musical Academy.<ref name="Comp" />
1954 to spring 1961
Timmons moved to New York in 1954.<ref name="Grove" /> He played with Kenny Dorham in 1956,<ref name="Feather" /> making his recording debut with the trumpeter in a live set in May of that year. He went on to play and record with Chet Baker in 1956–57 (bassist Scott LaFaro was part of this band for a time<ref>Williams, Martin (1992), Jazz Changes, p. 108. Oxford University Press.</ref>), Sonny Stitt in 1957, and Maynard Ferguson in 1957–58.<ref name="Grove" /><ref name="Feather" /> He also recorded as a sideman with hornmen Curtis Fuller,<ref>Erlewine, Stephen Thomas "Curtis Fuller: The Opener: Review". AllMusic. Retrieved December 26, 2013.</ref> Hank Mobley,<ref>"Hank Mobley: Hank: Credits". AllMusic. Retrieved December 26, 2013.</ref> and Morgan.<ref>Yanow, Scott "Lee Morgan: The Cooker: Review". AllMusic. Retrieved December 26, 2013.</ref> all for Blue Note Records in 1957.
Timmons became best known as a member of Art Blakey's band the Jazz Messengers, which he was first part of from July 1958 to September 1959, including for a tour of Europe.<ref name="Grove" /> He was recruited for the Messengers by saxophonist Benny Golson, who said that "He was inventive, [...] He could play bebop and he could play funky – he could play a lot of things, and I thought it was the element that Art needed. He hadn't had anybody quite like Bobby, who could go here or go there, rather than walking in a single corridor."<ref name="TP1" /> By late 1958 Timmons was sharing bandmate Morgan's East Sixth Street apartment and the pair had bought a piano, allowing Timmons to practice and Morgan to work on composing.<ref name="JSM">McMillan, Jeffery S. (2008), DelightfuLee: The Life and Music of Lee Morgan. University of Michigan Press.</ref>Template:Rp From around the time he joined Blakey, Timmons, along with some of his fellow band members, was a heroin user.<ref name="JSM" />Template:Rp After leaving Blakey, Timmons joined Cannonball Adderley's band, in October 1959.<ref name="Grove" />
Timmons was also known as a composer during this period: The Encyclopedia of Jazz states that his compositions "Moanin'" (from the 1958 album of the same title), "This Here", and "Dat Dere" "helped generate the gospel-tinged 'soul jazz' style of [the] late '50s and early '60s."<ref name="Feather" />Template:Rp The first was written when Timmons was first with Blakey; the others were composed when he was with Adderley.<ref name="All">Bogdanov, Vladimir; Woodstra, Chris; Erlewine, Stephen Thomas (eds) (2002), The All Music Guide to Jazz, p. 1245. Backbeat Books.</ref> "This Here" (sometimes "Dis Here") was a surprise commercial success for Adderley: recorded in concert in 1959, it was released as part of The Cannonball Adderley Quintet in San Francisco album while the band was still on tour, and they discovered its popularity only when they arrived back in New York and found crowds outside the Village Gate, where they were due to play.<ref name="Dis">Sheridan, Chris (2000), Dis Here: A Bio-Discography of Julian "Cannonball" Adderley, pp. 81–83. Greenwood Press.</ref>
Timmons was reported to be dissatisfied with the money he had received from "This Here", and was enticed in February 1960 into leaving Adderley and returning to Blakey's band by the offer of more pay.<ref name="Grove" /><ref name="Dis" /> Timmons then appeared on further well-known albums with the drummer, including A Night in Tunisia, The Freedom Rider and The Witch Doctor.<ref name="TP1" /> His own recording debut as sole leader was This Here Is Bobby Timmons in 1960, which contained his first versions of his best-known compositions.<ref name="Myers" /> In the same year, he played on recordings led by Nat Adderley,<ref name="Penguin" />Template:Rp Arnett Cobb,<ref name="Penguin" />Template:Rp and Johnny Griffin,<ref name="Penguin" />Template:Rp among others; on the first of these, Work Song, Timmons did not appear on all of the tracks, because he had been drinking heavily.<ref>Mathieson, Kenny (2012), Cookin': Hard Bop and Soul Jazz 1954–65. Canongate Books.</ref>
Summer 1961 to 1974
Timmons left Blakey for the second time in June 1961,<ref name="Grove" /> encouraged by the success of his compositions, including jukebox plays of "Dat Dere", which Oscar Brown had recorded after adding lyrics.<ref name="TP1" /> Timmons then formed his own bands, initially with Ron Carter on bass and Tootie Heath on drums.<ref>Walker, Jesse H. (September 30, 1961), "Theatricals", New York Amsterdam News, p. 19.</ref> They toured around the US, including the West Coast, but played most in and around New York.<ref name="TP2" /> In the initial stages of this trio, Timmons liked the group sounds of the trios led by Red Garland and Ahmad Jamal.<ref name="TP3">Panken, Ted "For the 78th Birthday Anniversary of Bobby Timmons (1935–1974), a Liner Note and Five Interviews Conducted for It". (December 19, 2013). Transcript of interview with Ron Carter. tedpanken.wordpress.com</ref> According to Tootie Heath, Timmons was at the peak of his fame at that point, but was addicted to heroin, and used a lot of the money that the band was paid maintaining his habit.<ref name="EI">Iverson, Ethan (November 2009), "Interview with Albert "Tootie" Heath" Template:Webarchive. dothemath.typepad.com</ref>
In 1963, Timmons' playing, with Lewis Powers on bass and Roy McCurdy on drums, was described by a Washington Post reviewer as "flexible and adventuresome [...] Glossing over everything is an undeniable sheen of church music and spirituals."<ref>Pagones, John (January 25, 1963), "Timmons Holds Sway at Jazz Mecca". The Washington Post, p. B13.</ref> In 1965, the same reviewer commented that Timmons was employing musicians who were of much lower ability: "Timmons lacks a certain passion but I wonder if this is not the fault of his sidemen."<ref>Pagones, John (March 12, 1965), "Cocktail Lounges Come into Their Own". The Washington Post, p. B15.</ref> Timmons started playing vibes in the mid-1960s.<ref name="WP74">"Jazz Pianist, Composer of 'MoaninTemplate:'". (March 3, 1974), The Washington Post, p. D4.</ref> He occasionally played organ, but recorded only one track on that instrument – a 1964 version of "MoaninTemplate:'" on From the Bottom.<ref name="All" /> Recordings as a leader continued, usually as part of a trio or quartet, but, after joining Milestone Records around 1967,<ref>West, Hollie I. (November 5, 1967), "A Disc Company Fights the Trend". The Washington Post, p. K4.</ref> Timmons' album Got to Get It! featured him as part of a nonet, playing arrangements by Tom McIntosh.<ref name="All" />
Timmons' career declined quickly in the 1960s, in part because of drug abuse<ref name="GG">Giddins, Gary (March 7, 1974), "Bobby Timmons, 1935–1974" The Village Voice, pp. 45, 50.</ref> and alcoholism, and partly as a result of being typecast as a composer and player of seemingly simple pieces of music.<ref name="Grove" /> In 1968 he made his second - and final - recording for Milestone, Do You Know the Way?<ref name="All" /> In the following year, he played in a quartet led by Sonny Red,<ref>West, Hollie I. (July 3, 1969), "Sparkling Jazz Group" The Washington Post, p. C6.</ref> with Dexter Gordon on one of the saxophonist's temporary returns to the US from Europe,<ref name="Bogle" /><ref>Novod, Eric "The Dozens: Dexter Gordon" Template:Webarchive. Jazz.com Retrieved December 24, 2013.</ref> and in a trio backing vocalist Etta Jones.<ref>West, Hollie I. (July 21, 1969), "Great Jazz of Etta Jones". The Washington Post, p. B6.</ref> Timmons continued to play in the early 1970s, mostly in small groups or in combination with other pianists, and mainly in the New York area.<ref>Bush, Dera (January 31, 1970), "Jamaica and Queens Report". New York Amsterdam News, p. 26.</ref><ref>Wilson, John S. (November 30, 1970), "4 Jazzmen Trade Pianistic Curves". The New York Times, p. 54.</ref><ref>"Bobby Timmons plays for MJS concert Sun.". (December 18, 1971), Chicago Daily Defender, p. 21.</ref><ref>"Jazz/Rock/Folk/Pop". (February 25, 1973), The New York Times, p. 119.</ref>
According to saxophonist Jimmy Heath, Timmons joined Clark Terry's big band for a tour of Europe in 1974.<ref name="Heath">Heath, Jimmy, and McLaren, Joseph (2010), I Walked with Giants: The Autobiography of Jimmy Heath, p. 162. Temple University Press.</ref> He was unwell and drank on the plane to Sweden, and fell while drinking at the bar before the band's first concert, in Malmö.<ref name="Heath" /> Susceptible to blood clotting, he was flown back to the US.<ref name="Heath" /> On March 1, 1974, he died from cirrhosis, at the age of 38, at St Vincent's Hospital in New York.<ref name="Feather">Template:Cite book</ref><ref name="NYT74">"Bobby Timmons, 38, Jazz Pianist, Dead". (March 2, 1974), The New York Times, p. 34.</ref> He had been in hospital for a month.<ref name="WP74" /> He was buried in Philadelphia,<ref>"Bobby Timmons Buried in Pa.". (March 16, 1974), New York Amsterdam News, p. B7.</ref> and was survived by his wife, Estelle, and son, also Bobby.<ref name="NYT74" />
Playing style and influence
Timmons was known for using block chords, "a style in which the right hand creates the melody and the left hand moves with the rhythm of the right hand, but does not change voicing except to accommodate the chord changes."<ref name="Champ">Fulton, Champian (September 2011), "The Transcendent Aesthetics of the Block Chord Language". Down Beat, p. 60.</ref> His use of them was more aggressive, and less melodic, than that of Red Garland.<ref name="Champ" /> The Penguin Guide to Jazz suggested that "Timmons' characteristic style was a rolling, gospelly funk, perhaps longer on sheer energy than on harmonic sophistication."<ref name="Penguin">Cook, Richard, and Morton, Brian (2004), The Penguin Guide to Jazz on CD (7th edition), Penguin.</ref>Template:Rp In the opinion of Scott Yanow, stylistically, "somehow Bobby Timmons never grew beyond where he was in 1960."<ref>Yanow, Scott (2003), Jazz on Record: The First Sixty Years, p. 487. Backbeat Books.</ref> Gary Giddins, however, highlighted other facets of Timmons' playing: the "lush [Bud] Powell-inspired ballads, his clear, sharp, unsentimental long lines."<ref name="GG" />Template:Rp Carter also identified Powell as a primary influence on Timmons, and commented that his partner in the trio "was very giving, very loyal, played every night like it was his last chance to get it right."<ref name="TP3" />
The funky aspects of Timmons' playing influenced fellow pianists, including Les McCann, Ramsey Lewis, and Benny Green.<ref>Yanow, Scott "Artist Biography". AllMusic. Retrieved July 30, 2013.</ref> Timmons is often mentioned as being under-rated;<ref>Maita, Joe, and Giddins, Gary (January 5, 2004), "Conversations with Gary Giddins: On Underrated Jazz Musicians, Part One". Jerry Jazz Musician.</ref> jazz writer Marc Myers commented in 2008 that "today, Timmons' contribution to jazz – as an accompanist, writer, leader and innovator of a new sound – is vastly overlooked and undervalued."<ref name="Myers">Myers, Marc (January 7, 2008), "This Here Is Bobby Timmons", JazzWax Template:Webarchive. .</ref>
Compositions
Timmons wrote "a steady stream of infectious funky tunes", stated Giddins.<ref name="GG" />Template:Rp Timmons dismissed the idea that he was deliberately a composer: "I'm a dilettante as a composer. I have never consciously sat down and tried to write a song."<ref name="Comp">Pagones, John (February 16, 1964), "Timmons Shuns Composer Role". The Washington Post, p. G4.</ref> He suggested that his method of composing a new song might involve "whistling, playing around with the notes, or at a club. I'll tell one musician to play this note, another that note, and we kick it around."<ref name="Comp" /> One account of the creation of "MoaninTemplate:'" was given by Golson: Timmons had the opening eight bars, which he often played between tunes, but formed the complete song only after Golson encouraged him to add a bridge.<ref name="TP1" /><ref>Anderson, Sheila E. (2003), The Quotable Musician: From Bach to Tupac, pp. 75–76. Skyhorse Publishing.</ref>
Personality
Tootie Heath reported that, when they were on tour and Timmons was addicted to heroin, Timmons would routinely lie and sometimes pull out a knife to threaten people.<ref name="EI" /> On the other hand, Ron Carter, the bassist from that tour, asserted that Timmons offered his bandmates a lot of encouragement to experiment and improve from performance to performance, and that he "was a really multi-talented person and he was just a real sweetheart, a sweetheart of a man".<ref>Levy, Devra Hall (May 16, 2011), "Ron Carter: NEA Jazz Master (1998)". Smithsonian National Museum of American History.</ref> In Golson's words, Timmons "had no ego about him, [...] He was always upbeat, never downbeat, and he never maligned anybody unless it was in a humorous way".<ref name="TP1" />
Discography
As leader/co-leader
| Year recorded | Title | Label | Notes |
|---|---|---|---|
| 1957 | Jenkins, Jordan and Timmons | New Jazz | Quintet, with John Jenkins (alto sax), Clifford Jordan (tenor sax), Wilbur Ware (bass), Dannie Richmond (drums) |
| 1960 | This Here Is Bobby Timmons | Riverside | Trio, with Sam Jones (bass), Jimmy Cobb (drums) |
| 1960 | Soul Time | Riverside | Quartet, with Blue Mitchell (trumpet), Sam Jones (bass), Art Blakey (drums) |
| 1961 | Easy Does It | Riverside | Trio, with Sam Jones (bass), Jimmy Cobb (drums) |
| 1961 | In Person | Riverside | Trio, with Ron Carter (bass), Albert Heath (drums); in concert at the Village Vanguard, New York City |
| 1962 | Sweet and Soulful Sounds | Riverside | Trio, with Sam Jones (bass), Roy McCurdy (drums) |
| 1963 | Born to Be Blue! | Riverside | Trio, with Ron Carter and Sam Jones (bass; separately), Connie Kay (drums) |
| 1964 | Live at the Connecticut Jazz Party | Chiaroscuro | Quartet, with Sonny Red (alto sax), Sam Jones (bass), Mickey Roker (drums); in concert |
| 1964 | From the Bottom | Riverside | Timmons plays vibes on two tracks, organ on one. Trio, with Sam Jones (bass), Jimmy Cobb (drums); released 1970<ref>Yanow, Scott "Bobby Timmons: From the Bottom: Review". AllMusic. Retrieved December 24, 2013.</ref> |
| 1964 | Little Barefoot Soul | Prestige | Trio, with Sam Jones (bass), Ray Lucas (drums) |
| 1964 | Holiday Soul | Prestige | Trio, with Butch Warren (bass), Walter Perkins (drums) |
| 1964 | Chun-King | Prestige | Trio, with Keter Betts (bass), Albert Heath (drums) |
| 1964 | Workin' Out! | Prestige | Quartet, with Johnny Lytle (vibes), Keter Betts (bass), William Hinnant (drums); one track is trio, with Sam Jones (bass), Ray Lucas (drums) |
| 1965 | Chicken & Dumplin's | Prestige | Timmons plays vibes on two tracks. Trio, with Mickey Bass (bass), Billy Saunders (drums) |
| 1966 | The Soul Man! | Prestige | Quartet, with Wayne Shorter (tenor sax), Ron Carter (bass), Jimmy Cobb (drums) |
| 1966 | Soul Food | Prestige | Trio, with Mickey Bass (bass), Billy Higgins (drums) |
| 1967 | Got to Get It! | Milestone | Nonet, with Joe Farrell and James Moody (flute, tenor sax), Hubert Laws (flute), George Barrow (baritone sax), Jimmy Owens (trumpet, flugelhorn), Eric Gale and Howard Collins (guitar; separately), Ron Carter (bass), Billy Higgins and Jimmy Cobb (drums; separately); four tracks are quartet, with Joe Beck (guitar), Carter, Cobb |
| 1968 | Do You Know the Way? | Milestone | Quartet, with Joe Beck (guitar), Bob Cranshaw (electric bass), Jack DeJohnette (drums); 3 tracks are trio, without Beck |
As sideman
Sources:<ref>"Bobby Timmons Discography Project". jazzdisco Retrieved December 24, 2013.</ref><ref>Fitzgerald, Michael "Bobby Timmons Leader Entry". JazzDiscography.com Retrieved December 24, 2013.</ref><ref>"Bobby Timmons: Credits". AllMusic. Retrieved December 24, 2013.</ref>
Notes
References
External links
Template:Bobby Timmons Template:Jazz Messengers Template:Authority control
- 1935 births
- 1974 deaths
- Alcohol-related deaths in New York City
- American jazz pianists
- American male jazz pianists
- Atlantic Records artists
- Cannonball Adderley Quintet members
- Capitol Records artists
- Deaths from cirrhosis
- The Jazz Messengers members
- Mainstream jazz pianists
- American male jazz composers
- Milestone Records artists
- Jazz musicians from Philadelphia
- Prestige Records artists
- Riverside Records artists
- Soul-jazz pianists
- 20th-century American pianists
- 20th-century American jazz composers
- 20th-century American male composers
- 20th-century American male pianists