September 25, 2006: Preliminary Notes

Most jazz biographies are about performers — singers and instrumentalists. Not only are they usually more famous than, say, arrangers or recording engineers, but their work is something that the public understands. Some composers become famous enough to merit a biography (even a movie) – think Cole Porter, George & Ira Gershwin… — but not often does an arranger get the spot light. Still there are a few including Peter Levinson’s “September in the Rain : The Life of Nelson Riddle” and Stephanie Stein Crease’s “Gil Evans: Out of the Cool“). One of the many challenges I face is how to give the reader a real understanding of the nuances of musical creativity, defining the fine lines between writing a melody, hearing a harmony, arranging for appropriate instruments, developing themes, orchestrating, composing, and re-imagining.

I have already completed the preliminary research and book proposal for Seeking Harmony, which Scarecrow Press has slated for publication in 2008. But I will flash back so you can appreciate the full journey. Here’s the most basic sequence of steps:

Look for the story

Assemble the basic chronology

Write proposal

Conduct research and interviews

Deepen the chronology and create lists of people and events themes and issues

Chapter outline – identify the conflicts

Consider the best approach. point-of-view, and voice for the story

Write and rewrite drafts

Edit drafts and “polish”

This may seem like a sequential list, but the process is never strictly linear. To begin with, I had to do a significant amount of research just to assemble the initial chronology of Luther’s life. I say “initial” for two reasons. First, because it is not by any means complete. And second, even when it becomes more complete, it will only be a timeline from which I will select what is to be included in the story and what will not make the cut.

Some degree of research is ever ongoing, and as I work with the material, ideas and thoughts emerge that might cause me to rethink a prior decision, and possible send me back few steps.

So far I have done interviews with Geri Allen, Andre de Shields, Bea Arthur, Polly Bergen, Susan Birkenhead, David Alan Bunn, Kenny Burrell, Dick Cami, Chico Hamilton, Sharlene Cooper Cohen, Sheldon Epps, Arthur Faria, George Wolfe, Billy Goldenberg, David Hajdu, Hope Clark, Murray Horowitz, Ken Page, Leonard Oxley, Joe Lovano, Bruce Lundvall, Mercedes Ellington, Pam Koslow, Simon Rattle, Dianne Reeves, Regina Carter, Richard Maltby, Ruben Santiago-Hudson, Gene Watts. I have also spoken at length with Luther’s widow, Billie Allen Henderson, his daughter, Melanie, and his step-son, Duane Grant. I still have a huge list of people to speak with, and some people I will want to talk with more than once.

Research-wise, I will soon be spending a few days in New York City at the Schomburg library as they have a collection of Luther’s music and personal papers that he donated to them many years back. The last seventeen years of files were given to the Library of Congress but I was in Luther’s office and went through a lot of those records before the transfer was made so I am not sure yet whether I will need to go there as well. Another repository I plan to visit is the Museum of Radio and Television so I can watch some of those old variety shows and specials that Luther worked on. And back in New York, I also hope to walk some of the neighborhoods where Luther lived and worked, look at the buildings, and tour some of the theatres where he spent so many hours. Of course much has changed, but you never know what you might find…or feel by standing there, in person. All of this is crucial if I hope to reconstruct scenes in such a way that readers can feel like they, too, are there.

Also percolating somewhere in the recesses of my brain are thoughts about possible structures for the story. In some ways it seems that Luther’s musical life began and ended with Duke Ellington, so one possibility is to begin and end the book with Ellington-related material. The Classic Ellington project, a full-length concert of Ellingtonia orchestrated by Luther for a symphony orchestra plus jazz soloists, was performed in Birmingham England and at Carnegie Hall in New York City. It was Luther’ last major work, accomplished despite his ongoing battle with cancer. Sometimes it works well to begin a story near the end, then flash back to the beginning and tell the story in sequence.

Another possibility, similar in form, is to begin with Luther, quite literally on his death bed, being told he was to receiving the NEA Jazz Master Award. His one word response was uttered with satisfaction: “recognition.” Or I could begin with his funeral in New York or the memorial service in Los Angeles as I did in the sample chapter. Or, or, or…Chances are that I will write multiple starts and we’ll just have to see what flows best.

Another issue that is weighing on my mind is how best to integrate Luther’s own words into the story. The more I can let him speak for himself, the better, but the available material is not consistent throughout. I have, for example, a rather philosophical essay he wrote as a youngster in school and some philosophical writings from the later years, but have not yet found anything comparable in the middle. Also, I have a few stories from his early years that he set down on paper when he planned to write his own story, hoping, I believe, to have his say and set the record straight. Interviews done by others are useful, too, especially the longer oral histories such as the one done by the Smithsonian. Of course, there is much more research to be done and perhaps I will find more in Luther’s own words.

I am also extremely aware that as a 51-year-old white woman it will be a challenge for me to present Luther’s life with the authenticity that I believe is crucial. To help me achieve that goal I will be consulting with several people, some of whom knew Luther personally and others who have personal experience as well as academic expertise in African-American history.

So that’s where I am at this moment.