Home » Jazz Articles » Book Review » Whisper Not: The Autobiography Of Benny Golson
Whisper Not: The Autobiography Of Benny Golson
By
Benny Golson and Jim Merod
335 Pages
ISBN: 9781439913338
Temple University Press
2016
Philadelphia has always been a cradle for outstanding jazz talent, though when it comes to durability surely none can match Benny Golson, who began playing seventy years ago. At 87, Golsonan NEA Jazz Masterstill leads small ensembles and fronts big bands who play his charts. "Killer Joe," "I Remember Clifford," "Stablemates," "Whisper Not" and "Along Came Betty" are bona fide jazz standards that have cemented the tenor saxophonist's place in the jazz pantheon. Golson continues to make his mark in the studio too, as the originals on his most recent outing Horizon Ahead (OA2 Records, 2016) demonstrate. Yet as this autobiography co-written by Jim Merod underlines, Golson's significance and legacy go far beyond a handful of standards that remain basic currency for straight-ahead jazz bands the world over.
Merod, the man behind the BluePort Jazz label and author of The Political Responsibility of the Critic (Cornell University Press, 1987), brings an erudite though not overly scholarly touch to Golson's tales, while the liberal sprinkling of literary references are just the stock in trade of a Professor of Literature and Humanities. Avoiding the typical chronology of many jazz autobiographies, the narrative of Whisper Not instead jumps back and forth in time, with Golson reflecting on the main signposts in his career, and the key individuals who shaped his music and life and vice versa.
Any readers looking for salacious detail will be disappointed, as apart from a passing admission of serial infidelities during his first marriage"I was an adulterer of the highest order"Golson, a dedicated family man, has led a drug-free, disciplined life with religion as one of his pillars.
Golson's first pillar, however, was always jazz. From the moment that Golson's mother bought him his first saxophone he seemed destined for a life in jazz, describing how his, and childhood pal

John Coltrane
saxophone1926 - 1967
Teenage epiphanies included seeing

Lionel Hampton
vibraphone1908 - 2002

Dizzy Gillespie
trumpet1917 - 1993

Charlie Parker
saxophone, alto1920 - 1955
Following stints in Jimmy Johnson's Ambassadorsfrom which he and Coltrane were unceremoniously axedand a tour with

Billy Eckstine
vocals1914 - 1993

Art Farmer
flugelhorn1928 - 1999

McCoy Tyner
piano1938 - 2020
Arguably, however, the most significant person in Golson's life was his mother, whose fierce sense of duty, hard toil and unrelenting sacrifice not only gave Golson a sound base from which to kick off from, but likely instilled in him the terrific work ethic and humility that are central to his persona. Golson describes the privations and injustices of rented accommodation for poor black families in 1930s Philadelphia as "an extension of pre-Civil War conditions," adding that "black landlords were seldom more compassionate or helpful than white landlords." Golson also acknowledges the racial hierarchy that was exhibited in attitudes amongst blacks themselves, based on the relative darkness or lightness of their skin.
These sort of insights into race and race relations, and the socio-economics of Depression-era urban America are fascinating but too infrequent to elevate Whisper Not above the usual biographies/autobiographies of famous jazz musicians. The relative lack of socio-political/historical depth in Golson and Merod's collaboration is arguably the major weakness in an otherwise engaging read.
On the other hand, perhaps Merod and Golson felt they didn't need to labor the point. Golson's observation on present-day America, for example, says plenty. "Although I love my country, no-one needs to travel far to witness conditions similar to those of the Third World," Golson states. "America's inner cities are hollowed out by despair and impossibility."
In a career of many highlights, and inevitably a few low points, perhaps Golson's greatest impact was on the fortunes of

Art Blakey
drums1919 - 1990
Through Golson's unstinting efforts, Blue Note was persuaded to record the Jazz MessengersGolson had invited a doubting Alfred Lions to one of their gigs small clubs gave way to more upscale venues and the band broke into Europe for the first time.
With

Bobby Timmons
piano1935 - 1974

Lee Morgan
trumpet1938 - 1972

Jymie Merritt
bass1926 - 2020
Golson's move to Los Angeles to pursue a career in film composition and his abandonment of his horn to that end marked a bold career move (the year of the move is not specified) for Golson, and one not without risk. He and wife Bobbiwho had given up a promising career as a ballerina so that Golson could pursue his own dream to the fullestdid not have an easy ride; Golson relates having no work for the first two years and how he and Bobbi were forced to pawn instruments, jewellery and furs to get by.
Golson's subsequent success, notably composing for the hit TV show M*A*S*H*, and later collaborating with director Steven Spielberg on the film The Terminal, is already well documented. Less well known, however, is the story of Golson's return to his first love, the saxophone, and the trials and tribulations in reconstructing a career as a band leader in the early 1980s after a decade or so immersed in the studios of California. "Returning from the tyranny of creative loss," says Golson of the transition, "was a musical resurrection for me."
A significant part of the book is given over to Golson's recollections of and appraisals of the musicians he most admired. Yet despite paying homage to giving personal insights into the talents of

Duke Ellington
piano1899 - 1974

Coleman Hawkins
saxophone, tenor1904 - 1969

Thelonious Monk
piano1917 - 1982

Sonny Rollins
saxophoneb.1930

Miles Davis
trumpet1926 - 1991

Earl Bostic
saxophone, alto1913 - 1965

Tadd Dameron
piano1917 - 1965

Geoffrey Keezer
keyboardsb.1970

Art Tatum
piano1909 - 1956
Women musicians, in this as in so many similar works, are all but absent in the narrative, reflecting the lack of opportunities and the prevailing sexism during the so-called Golden Age of Jazz. Golson, however, acknowledges that the times are changing in this regard. He compiles an admittedly partial list of contemporary female instrumentalists and recognizes the artistic power of women, adding that he hopes women's talent as jazz instrumentalists can be recognized without reservation. Perhaps more than the four paragraphs or so dedicated to this subject might have helped the cause in addressing the ongoing gender imbalance.
An honest portrayal of one of the twentieth century's most significant jazz figures, the personality behind the music, with Merod's significant input, is sympathetically revealed, making Whisper Not essential reading for Golson fans. If the book has a message as such, it's that unrelenting dedication to one's art, focus, determination and a willingness to take risks are the cornerstones of success. There's a lot in Golson's story, as in his music, that could inspire young, up-and-coming jazz musicians today.
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