Loving Tribute for Higgins
Emotional riffs by Sanders, Lloyd
Philip Elwood, Chronicle Jazz Critic
Thursday, March 22, 2001
©2001 San Francisco Chronicle

URL: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2001/03/22/DD189742.DTL
 

As he strolled from Yoshi's stage through the audience to ailing drummer Billy Higgins' booth, Pharoah Sanders blew mellow tones like woodwind incantations through the amphitheater-shaped club. Continuing his wandering minstrel role, playing his tenor sax in a mournful, sustained-note manner, Sanders faced Higgins' booth, and as the music's emotions intensified, the packed club seemed drawn together. From that early moment on, Tuesday's tribute/fund-raiser for Higgins became a multifaceted expression of praise and love.

"Oh, how long have I known this man, this poet on the drums. Drummers are the soul of our music; we just can't have this country without the drums," said the contextually irrepressible saxophonist Charles Lloyd as he and his quintet replaced Sanders', which had begun the evening's program. The liturgical atmosphere of the performances was enhanced by the presence of two vocalists, Kamau Daaood with Lloyd, Dwight Tribble with Sanders. Daaood, an engaging poet-singer from Los Angeles -- where, in fact, Higgins and Lloyd met 45 years ago -- delivers his message in staccato phrases, which bassist Larry Grenadier and drummer Tony Austin of Lloyd's combo accompanied. Lloyd laid down a flowing undercurrent of saxophone harmonies, matched by 13- year-old Julian Lage's sophisticated guitar lines.

A good portion of the evening's musical excitement was generated by the presence of vibist Bobby Hutcherson, also a member of the 1950s Los Angeles jazz scene, who joined both featured ensembles during their sets. Shortly after Daaood had sung of the sounds of freedom, Lloyd kicked off the syncopated intro to "Sweet Georgia Bright" -- with its brilliant stop-time intervals -- and instrumental freedom took over. Bassist Grenadier drove the beat mercilessly throughout the number's 12-minute performance. Hutcherson swapped riffs with the astonishing guitarist Lage; Lloyd blew melodic phrases (matched by Hutcherson) on top of the pulsing bass; Hutcherson and Lloyd decorated the concluding choruses with instrumental duets -- and finally the whole group closed down the number with an eruption of notes, bouncing them back and forth and across the stage.

After beginning the evening's proceedings in solo tribute to Higgins, Sanders, elegantly attired in a shimmering white satin floor-length cloak and cap, returned to the stage, playing to the soul with his quintet, frequently working in duet with Tribble's high-tenor lines. Sanders' instrumental colleagues, pianist William Henderson (a Sanders band veteran), bassist Robert Hurst and drummer Ralph Penland, had little playing time during the show's initial set. They got in some licks, however, when they joined the Lloyd-Hutcherson group as it swung into the romping grand finale. Particularly intriguing was the duo-bass team of Grenadier and Hurst, as they switched roles in bowing or plucking their basses.

Great times were had by all -- including honoree Higgins, who soon will face his third liver transplant in six years. Contributions to Billy Higgins, c/o PO Box 5816, Santa Barbara, CA 93150.

©2001 San Francisco Chronicle