Renowned tenor saxophonist and composer Benny Golson, celebrated for his sophisticated compositions that have become jazz standards, died at the age of 95 on September 22 at his home in Manhattan.
Golson was one of the last surviving jazz legends from the vibrant 1950s era, a time when bebop evolved into the more accessible modern jazz that gained popularity in film and television scores. He began his career in big bands before transitioning to smaller ensembles and eventually making a name for himself in film and television composition, returning to jazz performance later in life.
His passing leaves fellow tenor saxophonist Sonny Rollins, also 95, as the last surviving member of the 57 master jazz musicians photographed in Art Kane’s iconic 1958 image, “A Great Day in Harlem.”
While Golson may not have been the improvisational equal of Rollins, he played with impressive vigor and taste in the straight-ahead post-bop style of the late 1950s. Charming and articulate, Golson continued performing until 2020, when the COVID-19 pandemic halted live music. Despite diminished stamina, he engaged audiences with entertaining anecdotes about his interactions with various musicians and celebrities, showcasing his gift for storytelling.
Many of these stories are documented in his 2016 memoir, Whisper Not, co-authored with Jim Merod. The book is named after Golson’s famous composition, a captivating minor melody written for the Dizzy Gillespie Big Band in 1956, which has been recorded by numerous artists including Miles Davis and Ella Fitzgerald, with lyrics added by jazz journalist Leonard Feather.
Golson also composed the poignant ballad “I Remember Clifford” in honor of the brilliant trumpeter Clifford Brown, who tragically died at 25 in a car accident. Although originally written for Gillespie’s band, the song was first recorded by the talented but troubled trumpeter Lee Morgan.
Unlike many of his contemporaries, Golson avoided the substance abuse issues that affected his peers and became a devout Jehovah’s Witness at 40. He clarifies in Whisper Not that those seeking tales of jazz musicians’ misbehaviors should look elsewhere, but the memoir is rich with fascinating insights.
Born into a working-class family in Philadelphia, Golson began playing the tenor saxophone at 14, studying music with future jazz legend John Coltrane. Reflecting on a 1945 concert featuring Dizzy Gillespie and Charlie Parker, he described their performance as “exuberant delirium,” recognizing it as a groundbreaking moment in jazz history.
Philadelphia nurtured many talented young musicians, including Golson, Coltrane, drummer Philly Joe Jones, and pianist Red Garland, among others. Golson briefly attended Howard University before joining various big bands, including Lionel Hampton’s, where he became lifelong friends with aspiring arranger Quincy Jones.
Golson’s writing and arranging flourished after joining the Dizzy Gillespie Orchestra. In 1956, he composed “Stablemates” for Coltrane, which became a jazz classic featured on Coltrane’s first album with Miles Davis.
Following this success, Golson left Gillespie to join Art Blakey’s Jazz Messengers, a group pivotal to the hard bop movement. Their rendition of Bobby Timmons’ “Moanin’” is now a jazz standard.
In 1959, Golson formed the Jazztet with trumpeter Art Farmer, featuring pianist McCoy Tyner, who later became integral to Coltrane’s quartet. However, the Jazztet’s polished style lacked the adventurous spirit emerging in the jazz avant-garde, leading Golson to disband the group in 1962 and relocate to Hollywood.
There, he collaborated with Quincy Jones on music for popular television shows, including MASH*, although he did not compose the show’s iconic theme. During this time, Jones’ recording of “Killer Joe,” originally written for the Jazztet, garnered renewed attention for Golson’s songwriting.
In the mid-1970s, Golson returned to New York to revive his performing career, reuniting with Farmer in the 1980s to record new albums.
Golson’s significant contributions to jazz were recognized with numerous honors, including a 1996 Jazz Masters Award from the National Endowment for the Arts, an honorary doctorate from Berklee College of Music in 1999, and induction into the International Academy of Jazz Hall of Fame in 2009.
As a prominent figure in post-World War II American culture, Golson’s legacy, especially as a songwriter, will endure.
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