As 2011 wound down, American music lost two octogenarians who were dramatically different except for what they had in common, insistence on getting to the heart of the matter without compromise. Sam Rivers died in Orlando, Florida on December 26 at the age of 88, Barbara Lea the same day in Raleigh, North Carolina, at 82.
Rivers was a formidable saxophonist, flutist and composer. He had a university education in harmony, theory and composition, played blues with T-Bone Walker, worked with Miles Davis for a time, and became a leading figure in the avant garde. Rivers’ 1964 Fuchsia Swing Song, now a collectors item, melded experimentation with established values. His composition “Beatrice” from the album quickly joined the standard jazz repertoire. According to Rivers’ daughter Monique, he remained active as a performer and teacher until virtually the eve of his death and recorded material for dozens of albums yet to be released. Rivers was a lifelong prober beneath the surface, unsatisfied with routine, using his intellect and daring in equal measure to discover mysteries.
Here are Rivers and his quartet at the 1989 Leverkusener Jazztage in Germany, playing “Beatrice.” Rael Wesley Grant is on bass, Darryl Thompson on guitar and Steve Mcraven on drums.
Like Sam Rivers, Barbara Lea knew music inside out; she had a degree from Wellesley in music theory. Rivers was devoted to chance taking. Ms. Lea’s integrity was based in fealty to the song. She fervently believed, and said in
interviews, that a singer’s business was to sing the song, not to use the song to sell herself. If it seemed to some listeners that she was too low key to be entertaining, her masterly phrasing, intonation, sense of time and understanding of the songwriter’s intentions persuaded others that her interpretations were definitive. She was sometimes described as a cabaret singer, but like Lee Wiley, whom she admired, Ms. Lea was a favorite of jazz musicians. Dick Sudhalter, Johnny Windhurst and the members of The Lawson-Haggart Jazz Band (on this album) were among her devoted fans and colleagues. There is regrettably little of Barbara Lea on video, but here’s a fine performance of “Sweet and Slow” with the trumpet obbligato and solo by Doc Cheatham. It’s from the 1984 Manassas, Virginia, jazz festival.
For The New York Times obituary of Sam Rivers, go here. For the Barbara Lea obituary, go here.
Thanks for remembering Sam Rivers, whose death inspired remarkably little comment from mainstream jazz blogs.
…yep, Kevin, you are so right; and that’s because Sam Rivers was anything else but “mainstream”.
A free human spirit in an increasingly commercialized & greedy society.
At least at my humble “mainstream jazz” blog you can find a little, and (as usual) subjective memorial:
R.I.P. Sam Rivers, musician.
Francis Davis, in one of his books, included a chapter on Barbara Lea. As to the question of whether she was a cabaret or jazz singer, her response was along the lines of, “Whatever they’re looking for.”
In 1987 Rivers was part of a very interesting Dizzy Gillespie Quintet that never issued a recording. The other members were Ignacio Berroa, John Lee, and a guitarist whose name escapes me at the moment. It was surprising how well Rivers’ sax fit into Dizzy’s music.
The guitarist mentioned in my comment above was Ed Cherry.
Thanks, David —
There *is* a recording with Sam Rivers & The Dizzy Gillespie Quintet:
• Dizzy Gillespie Quintet [Broadcast Recording]
April 1, 1989 / Tokyo, Japan
Radio announcement [1:15]
announcement DG
1. Tanga [12:55]
2. Gee Baby, Ain’t I Good to You [9:08]
announcement [1:07]
3. Night in Tunisia [14:52]
4. Oop-Bop-She-Bam (or) One More Blues [6:49]
[46:08]
Dizzy Gillespie (trumpet, voice)
Sam Rivers (tenor sax, soprano sax)
Ed Cherry (guitar)
John Lee (electric bass)
Ignacio Berroa (drums)
Have found this information at Rick Lopez’s very detailed Sam Rivers Sessionography.
Thanks to Herr Leicht for his efficient sleuthing.
And a TV programme, taken in Forida if I correctly remember. Half-hour newtork TV recording, exact same personel.
Strange – I’d be curious to know more or hear comment on peoples’ opinion of this particular group, and why…
P.S. — There is footage on YT:
http://www.youtube.com/watch?v=3R344hB_VrE
There is another one, but on VHS only:
Barbara was my aunt. When I was a child, I’d look forward to her every visit, knowing that while she was there, our home would be filled with song! She and my father would sing amazing duets. They were very close. I will forever miss my “Singin’ Aunt Barbara.” (As she was ALWAYS known, in our family.)
Barbara was not only a great singer and actress but to me much much more. She was a dear friend who just happened to be my sister-in-law . My children remember fondly their “singing aunt Barbara” as they called her when growing up in Algonac,Michigan. The children have special fond memories of the summer of 1965 when Barbara spent the summer with us while performing at the Port Huron Summer Theatre Festival along with John Carradine and other popular actors of that time.
PS: This is to chear up a misunderstanding on how Barbara got her name. She did not take the name Lea as a tribute to Lee Wiley. She was Barbara Leacock, then changed her name to Barbara Lea when she became a professional singer and actress. She was born Barbara LeCocq. Her father was born Marion Lecocq but changed his name to Martin Leacock when running for public office in the thirties. He was Assistant Attorney General in Michigan for many years. Barbara also took the name Midge Barber when recordning songs she disliked so much that it embarrased her to us her real name. Barbara was my sister-in-law and dear friend whom I miss very much.