Gigi Gryce
Gigi Gryce, later in life changing his name to Basheer Qusim, was an American jazz saxophonist, flautist, clarinetist, composer, arranger, and educator.
While his performing career was relatively short, much of his work as a player, composer, and arranger was quite influential and well-recognized during his time. However, Gryce abruptly ended his jazz career in the 1960s. This, in addition to his nature as a private person, has resulted in little knowledge of Gryce today. Several of his compositions have been covered extensively and have become minor jazz standards. Gryce's compositional bent includes harmonic choices similar to those of contemporaries Benny Golson, Tadd Dameron and Horace Silver. Gryce's playing, arranging, and composing are most associated with the classic hard bop era. He was a well-educated composer and musician, and wrote some classical works as a student at the Boston Conservatory. As a jazz musician and composer he was influenced by the work of Charlie Parker and Thelonious Monk.
Early life
George General Gryce Jr. was born in Pensacola, Florida on November 28, 1925.Gryce spent most of his early life in Hartford, Connecticut. His family's strong emphasis on music, manners, and discipline had a tremendous effect on him as a child and into his later career. Gryce's parents were of modest means: his father owned a small cleaning and pressing service, and his mother, Rebecca Rials, was a seamstress who also helped her husband run the business. The family belonged to the African Methodist Episcopal Church and attended services diligently. Especially as the Great Depression began to take its toll on the family's financial welfare, the Gryces did their best to instill the value of discipline and hard work in their children.
Music was much emphasized in the Gryce household. The family had a piano, which Gigi and his siblings were encouraged to play. Mostly church music was performed in the Gryce home, while pop and jazz was mostly frowned upon. Many of the Gryce children were encouraged to pursue vocal performance at church, school, and other community; for a time the family even held weekly recitals in their home.
The early 1930s saw tragedy and hardship for the Gryce family. In 1931, as the economic crisis of The Great Depression began to take hold, the Gryces were forced to sell their cleaning business. Two years later, Gigi's father, George Sr., died after suffering a heart attack. Rebecca Gryce was forced to raise the children as a single mother, relocating the family in order to rent out the house. Even through this hardship, however, Rebecca continued to motivate her children for success through strict but supportive parenting, encouraging musical development, hard work, discipline, and Christian morals.
Gigi applied his family's sense of discipline to his developing passion for music. As a youth Gigi was described as bright but reserved, extremely polite, studious, and formal in nature. It is unclear exactly when Gigi first began learning the clarinet – it is rumored he may have started as early as age 9 or 10, but the first evidence for his pursuit appears later as he entered high school. The under-resourced, and at this time, mostly black Booker T. Washington High School had a series of music teachers through the Federal Music Project; Gigi first studied with Joseph Jessie and later Raymond Shepard. As it was for many, a musical instrument would have been a crippling expense for the Gryces during the Depression; when Gigi and his brother Tommy studied clarinet with Shepard they allegedly borrowed the same clarinet from a friend directly before each lesson. Eventually, Gigi's mother was able to buy him his own Cavalier metal clarinet, with which Gigi became quite successful as a high school student, winning school and state competitions. At school Gigi was also able to study music theory, which he enjoyed and continued to explore on the piano at home.
Early music career
Gryce graduated from high school in 1943, working at the shipyard and playing in Raymond Shepard's professional band for a time before being drafted by the navy in March 1944. Gryce continued to pursue music during his two-year term, making his way into the navy band and earning the rank of musician second class. While stationed in Great Lakes, Illinois, Gryce spent time in Chicago during leaves and became more acquainted with the sound of bebop. It was at this time that he bought his own alto saxophone and, in Chicago, that he met musicians Andrew "Goon" Gardner and Harry Curtis. Gryce may have even briefly studied at the Chicago Conservatory of Music.After completing his time in the navy, Gryce decided to continue his musical education, financially supported by the G.I. Bill as well as his mother and older sisters. He moved to Hartford to live with his sister Harriet and her husband in 1946, and the following year enrolled at the Boston Conservatory. At the Boston Conservatory Gryce developed his theoretical background and studied classical composition, writing three symphonies and a ballet in addition to other works. He was inspired and influenced by the work and philosophy of Boston Conservatory composer Alan Hovhaness, a musical eclectic whose passion was for melodicism and lyricism.
During his time at the conservatory Gryce also developed connections in the Hartford, Boston, and New York jazz scenes which would have a tremendous effect on his later career as a jazz musician, composer, and arranger. While New York was best known for cutting edge jazz of the time, both Boston and Hartford were also the sites of active and innovative jazz scenes. Gryce traveled between the two cities, and arranged for local bands including those of Sabby Lewis, Phil Edmonds, and Bunky Emerson. While Gryce developed his theoretical background and a passion for the works of Bartok and Stravinsky, he simultaneously developed an obsession for the work of Charlie Parker and Thelonious Monk, with whom, around 1949, he became acquainted and also performed. Gryce developed a reputation as a well-trained and talented artist, and became relatively well known in the local Boston and Hartford scenes. He also began to explore the New York scene, where he would eventually find himself in the early fifties.
Gryce is rumored to have traveled to Paris on a Fulbright scholarship in 1951 to study with Nadia Boulanger and Arthur Honegger. However, there is much confusion and rumor surrounding this period in Gryce's life, and there is no evidence to suggest that Gryce did receive a Fulbright or formally study with the two composers. Gryce did take two semesters off to study in Europe, but little is known about his travels. It is possible that he studied with the composers privately. While Gryce did propagate the Fulbright rumor himself to substantiate his credentials, Gryce had little else to say about this time in his life.
New York, the Lionel Hampton Band, and Europe
After graduating with a degree in composition in 1952, Gryce relocated to New York City, where he would enjoy much success in the mid fifties. In 1953 Max Roach recorded one of Gryce's charts with his septet, and soon after Gryce recorded with Howard McGhee and wrote for Horace Silver's sextet as well.Gryce was influenced by Tadd Dameron, with whom he played in 1953 at the Paradise Club. Gryce had not yet reached his peak as a musician or soloist, but was developing a reputation as a versatile and talented composer and arranger. Later in 1953 Gryce also contributed a tune, "Up in Quincy's Place" to Art Farmer's Prestige recordings. While this recording was rather inconsequential, Farmer would become one of Gryce's closest colleagues.
One of the most important connections Gryce made in New York was with Quincy Jones, who encouraged Lionel Hampton to hire Gryce for his band in the summer of 1953. After playing with Hampton's band in the States, Gryce was invited to join the band for their European tour.
While the style of the Hampton band was outdated and overly commercialized in Gryce's eyes, the opportunities and connections made on the European tour were largely what propelled Gryce into success as an artist. In Hampton's band, Gryce played with Anthony Ortega, Clifford Solomon, Clifford Scott, Oscar Estelle, Walter Williams, Art Farmer, Clifford Brown, Quincy Jones, Al Hayse, Jimmy Cleveland, George "Buster" Cooper, William "Monk" Montgomery, and Alan Dawson. Gryce became particularly close friends with Clifford Brown, with whom he found much in common. The Hampton tour did not pay well, and Gryce and others frequently sought recording opportunities on the side, particularly in Stockholm and Paris, where Europeans were eager to record touring Americans. There was already some tension in the band between young bebop-influenced musicians and the more established swing musicians, and Hampton did not react well when he heard his musicians were recording on the side.
The recordings Gryce made with Clifford Brown and others on the tour were often hurried and done on the fly, yet they were instrumental in building his career, particularly as a composer. Notable of these European recordings were "Paris the Beautiful", featuring tonal centers a third apart and a Parker-influenced solo by Gryce; "Brown Skins", a concerto for a large jazz ensemble; "Blue Concept", recorded by the Gryce-Brown sextet; and "Strictly Romantic", which oscillates between A flat and G major. In addition, Henri Renaud recorded an entire album exclusively of Gryce's work, which did a great deal to build his reputation.
Career in the United States
Gryce and the other personnel from the Hampton Band returned to New York in November 1953, where the hard bop scene was just beginning to gain traction. This was the perfect time for Gryce to arrive on the scene. Soon after his return, he recorded with Henri Renaud, and Art Blakey recorded seven of Gryce's songs for EmArcy records. Gryce formed a quintet with Farmer in March 1954, which first recorded for Prestige Records in May of that year. Personnel included pianist Horace Silver, bassist Percy Heath, and Drummer Kenny Clarke. Gryce's works with Farmer are some of his most influential and best known. In June of that year Gryce again recorded with Farmer, this time exclusively as composer and arranger. By the time Farmer and Gryce began their third project, they had hit their creative stride.The record made in May 1955 by the Farmer-Gryce quintet featured pianist Freddie Redd, bassist Addison Farmer, and drummer Art Taylor. This session exemplifies Gryce's feel for thematic development, all of the pieces artfully composed and arranged. Later in 1955 Gryce also played for Oscar Pettiford's octet, and got the opportunity to play alto in Thelonious Monk's session with Percy Heath and Art Blakey for Signal Records .
The final ticket to Gryce's success was his third recording with the Farmer Quintet in October 1955 and his nonet recordings for Signal Records immediately after. The Farmer record featured non-standard forms, and adventurous arrangements which pushed the limits of the hard bop idiom. His Signal Records arrangements were influenced by the style and instrumentation of Miles Davis's Birth of the Cool group, and were well received by the jazz community. By the mid-1950s Gryce was a major figure in jazz, known as a great individualist, a competent studio musician, and an innovative composer.