Earl May - R.I.P.

[Lois Gilbert]

I am so sad to bring you this news. I saw Earl at Giants of Jazz at the end of October. He was as great as always and apparently no health problems. I understand that this was sudden.
My heart goes out to his lovely wife, Lee and their family.

Earl May, born in Bellevue hospital on September 17, 1927 to Vernon and Monica May, spent several hours in discussion with Loren Schoenberg about his storied career of 60+ years. May’s grand career began in 1949 in New York City, when he began honing his craft in places like Minton’s Playhouse, where he sat in on bass for Chocolate Williams (a bassist who played and recorded with Art Tatum and Herbie Nichols), and recalled meeting vibes legend Milt Jackson and Hot Lips Page there. He also performed at Minton’s with Carmen McRae, and was deeply impressed by “the way she read a lyric, telling a story.” (He spoke of previous Harlem Speaks guest Gloria Lynne in the same light.)

His extended family lived in Jamaica, Long Island: “I was raised by everyone in my family,” he told us. This is where he discovered that he wanted to play music, after hearing the guitar playing on “China Boy” on the Victrola. His father, raised in Cuba and who worked for the Swift Meat Co., studied classical voice. He would take May to rehearsals. He also recalled his father and his dad’s brother singing duets together.

He also spent part of his youth in Harlem and the Bronx. After living at 112th St. between St. Nicholas and Lenox avenues, he and his mom moved to 165th St. in the Bronx. He attended a variety of schools, including Ben Franklin, where he decided to take up drums. But the class was too full, so he was sent to the bass class, where he met Walter Bishop!

When he was 14 his mom—“a sweetie pie”—bought him an acoustic bass for $15. During these days he was enthralled with Slam Stewart and Oscar Pettiford, who later became like a guru to May. “Every place I went with him, everyone would call him ‘Maestro’. No matter whose bass he’d play, he sounded like himself. He was an American Indian, a sweetheart who came from a large family where everyone played music.”

Of Slam Stewart: “He was a very basic bass player who knew that the function of the bass was to put the bottom in the band. When I played with Dizzy, he’d say ‘Play the lowest notes possible’.”

May had his first professional gig in the Bronx at the 845 Club, with an ensemble playing opposite bassist John Kirby’s band. He was so young that some had their doubts, but Kirby told them: “Let him play his bass!” Later at the club, Louis Armstrong told him to “Keep it up, you’re doing fine.”

May certainly did keep it up, getting so good that drummer Connie Kay tapped him for a gig at the Audubon Ballroom with Lester “Pres” Young. While playing with Pres, May met Dr. Billy Taylor, with whom he also performed with Mercer Ellington’s small band. Taylor invited him to join his trio in 1951. May then gave up his day insurance job to play professionally full-time. The Billy Taylor Trio played regularly in such clubs as the Hickory House, Birdland and the Downbeat Club.

May’s memory of Harlem in those days: “We didn’t live in fear; you could leave your door unlocked or even sleep in the roof.” In addition to also living on 127th and Lenox early in his life, he also lived at 157th Street and Amsterdam Avenue, near drummer Rudy Lawless and the peerless “father of the tenor saxophone” Coleman Hawkins. Lawless, a previous Harlem Speaks guest, was in attendance and guffawed at May’s memory of their early days, when May would take inner tubes from car tires, stretch it out on flower pots, and play them like a drum!

As mentioned above, May loved Harlemite Gloria Lynne’s style, and recalls playing in her band at the Copacabana lounge, and at the Apollo Theatre with artists the caliber of Nancy Wilson, Lambert, Hendricks, and Ross and the headliner, Ahmad Jamal, being on the bill. He also recalled times at the Apollo with Pigmeat Markham and Mom Mabley, with whom he made a trio record.

Of Coleman Hawkins, May remembers riding in taxis: “He was wonderful, and would tolerate me. Billy Taylor and I played with Hawk in Cleveland, Ohio and stayed at the Sheraton Hotel. We took a cab to the outskirts of town to a Chinese restaurant, where this dignified man proceeded to order a Chinese bowl of chitlins!”

While playing with Dr. Billy Taylor in the early ‘50s, May wasn’t yet satisfied with his playing (I still gripped the top of the bass like older bassists”), so Taylor told him: “I think you need study with Charles Mingus.”

May: “Mingus was a genial man of good humor. And he was a great teacher. He taught me how to break up one hour of practice into quarters. First, finger exercises for 15 minutes. Then scales for fifteen, then reading. Lastly, learn a tune or play with records or write out a solo. Once, when I played with Bags [Milt Jackson] and Dizzy in the South of France, Mingus was standing in the wings looking on with pride. He told them, ‘He’s my student!’”

May discussed several bands he played in during the 50s and 60s, and musicians he admires: “I was in Cat Anderson’s big band for a while. He heard me play with Connie Kay at the Baby Grand on 125th Street, and he said, “You gotta play with me!” On Christian McBride: “If I had to pattern myself after a bassist of today, it would be Christian McBride. He well-schooled and can do it all, soulfully.” Of Charlie Smith, little-remembered drummer on the one surviving film of Charlie Parker: “He was phenomenal. Every person he played with, he made sound great.” Of Kenny Clarke: “When I played with him, I was in heaven.” He had similar sentiments about playing with drummers Connie Kay and Max Roach. Of playing in Small’s: “On any given night you’d see anyone, Redd Foxx, for example.” Of Gene Ramey: “He told me, ‘When you’re dissatisfied with your playing, it’s okay, because that means you’re going up another notch.”

Interviewer Loren Schoenberg, executive director of the National Jazz Museum in Harlem, leavened the discussion by playing examples of May’s great artistry. He played “For the Fat Man” from a 1951 date that May recorded with Gene Ammons and Sonny Stitt; “You’re Mine,” with the Billy Taylor Trio with Jackie Paris singing and trumpeter Charlie Shavers swingin’ lyrical riffs; Monk’s “Straight, No Chaser” with the Buddy Rich Big Band; “Trane’s Slo Blues” from John Coltrane’s Lush Life; and the great opening bass line to “Comin’ Home Baby” from Herbie Mann’s classic recording, Herbie Mann Live at the Village Gate.

Rudy Lawless was just one of several previous Harlem Speaks guests in attendance. Recent honoree Norman Simmons: “Earl May has ham and bacon in his sound. No wonder everyone called him! After Joe Williams died, May established me on the New York scene.”

Barry Harris: “I remember hearing him, this left-handed bassist, at the Hickory House. Now I’m playing with him. And since he sometimes has trouble getting to the gig on time, I call him early may, Earl may show up on time!” Lawless: “We were neighbors. He helped me through a lot of family problems. His playing is most magnificent.”

And drummer Kenny Washington, who will host several Jazz for Curious Listeners sessions on the late, great drummer Max Roach for the jazz museum in September 2007, said: “I remember listening to you with Gloria Lynne on “Sweet Pumpkin,” and Trane on “I Love You.” I used to practice with records that you were on, turning down the treble, to see what it was supposed to be like. You guys messed me up! I thought that all bassists were supposed to play as well as you, but when I came out here, guys didn’t know the tunes or the changes!”

Washington asked May about the historic sessions with John Coltrane. May said: “’Trane was a wonderful person. We went to Rudy Van Gelder’s place, where he had the studio in his mother’s living room. I was scared. And I like to lock in with drummers, but I was too far from Arthur Taylor.”

But the recording came out wonderfully anyway, since May’s bass walking, Taylor’s riding cymbals, and John Coltrane’s genius meshed together to create a classic. And that’s one way to describe Earl May: a living classic! For proof of this claim, make sure to attend the very next Harlem Speaks, featuring Junior Mance: May played in his trio for many years.

[Tom Marcello]

Earl May was one of the few who could make the Fender bass sound warm enough for a jazz group, as he did in Dizzy's quartet. He made it fit in beautifuly.

Loved the guy.

[Valerie]

damn, damn!!! i also am SO sad to hear this news. i can't even begin to recall all the times, places and years i've enjoyed his playing. i guess the last time i saw and heard him was at Walter Booker's memorial a year ago.

when i read where he lived as a young man, i immediately thought about Walter Bishop as he lived a block away from Earl. it's no wonder that they managed to hook up.

what a loss. my deepest condolences to his family and friends.

[bluenoter]

That's a priceless photo, Tom!

Several wonderful recent photos here, along with photos of others (scroll down):

http://www.jazzmuseuminharlem.org/photos81.html

R.I.P.

[Ron Thorne]

Damn, what a loss!



R.I.P., Earl May~

[hornplayer]

That's terrible news!

Condolences to his family and many friends and colleagues.

[Cymbal groove]

So so sad!!! I have alot of friends that played with Earl a bunch. My brother Tom did as well and loved Earl! We were going to see him with Barry Harris last time I was in NYC but ended up not going because of family stuff that popped up. So sorry I missed it!! RIP Earl!!

[Chaz Longue]

Originally Posted by Tom Marcello

Earl May was one of the few who could make the Fender bass sound warm enough for a jazz group, as he did in Dizzy's quartet. He made it fit in beautifuly.

Loved the guy.

Earl May is irreplaceable...a big loss.

Hey - Is that Al Gaffa? Did the faddish sideboards on Faddis, man!

[Lois Gilbert]

Funeral for Earl

Thursday, January 10, 2008 at 11:00 a.m.

BETHANY BAPTIST CHURCH
275 Market Street
Newark, NJ

[topbone23]

Lois,


Thanks for the info on Earl's service, however, Newark's Bethany Baptist Church is 275 West Market Street, not Market Street, which is more than a few blocks away.

Earl is already missed!

AJ Johnson

[Lois Gilbert]

Originally Posted by topbone23

Lois,


Thanks for the info on Earl's service, however, Newark's Bethany Baptist Church is 275 West Market Street, not Market Street, which is more than a few blocks away.

Earl is already missed!

AJ Johnson

Thank you so much AJ for the correction. Yes, he is missed, he was such a great player and such a sweet man. It's really a sad shock

[clinthopson]

Adios Earl May, may your music live forever.

[jyoung07424]

I came to NYC back in 1959 with Marian McPartland and Earl was the bassist that I worked with when I arrived. He was so warm and solid both as a player and a soon to be friend! He actually taught me how to pack my Road luggage so that I wasn't carrying around many suit cases as well as my drumset. Playing with him over the years has always been a joy. As many others, I was unaware of any health problems he may have been experiencing but I was shocked to hear of his sudden passing. His playing and his everpresent beautiful smile will be sorely missed by those of us who loved him both as a player and as a fine person. I will miss him greatly, but I'm sure he will be warmly welcomed in Heaven! God Bless You Earl!!!

[Valerie]

Originally Posted by jyoung07424

I came to NYC back in 1959 with Marian McPartland and Earl was the bassist that I worked with when I arrived. He was so warm and solid both as a player and a soon to be friend! He actually taught me how to pack my Road luggage so that I wasn't carrying around many suit cases as well as my drumset. Playing with him over the years has always been a joy. As many others, I was unaware of any health problems he may have been experiencing but I was shocked to hear of his sudden passing. His playing and his everpresent beautiful smile will be sorely missed by those of us who loved him both as a player and as a fine person. I will miss him greatly, but I'm sure he will be warmly welcomed in Heaven! God Bless You Earl!!!

thanks so much for your post. it's so heart-warming at a time like this to hear from people who not only were fans of Earl's but who knew him as a special person as well.

[Xavier]

I saw the Earl May Quartet play this past June at the New Jersey Jazz Festival. Classy quartet with a generous allottment of solos for all the musicians. Earl sounded great, and appeared delighted to be playing in front of such an appreciative audience. I've been playing his fine quartet recording with Arbors lately. Sad to hear the news.