Category Archives: Jazz

Dizzy Stops By To Say Hi

November 3, 2023 Hank Hehmsoth Leave a comment

It was 1991 and I was playing happy hour in the atrium at the Omni hotel in downtown Austin. A beautiful space and the piano music wafted thru the interior space of this . I had been playing when I felt a hand on my shoulder. I turned to see Dizzy Gillespie, the legendary jazz trumpet and father of bebop jazz. He said “That sounds great!” and I couldn’t believe my eyes!

Just behind him his tour bus was unloading, and his entire big band was checking in to hotel rooms. Dizzy said, “Keep it goin’!” One of my favorite tunes by Dizzy is Con Alma so I played it. Much to my surprise one of the guys pulled out his flute and played with me. Soon several guys sat down in the bar to listen. We got to talking and they were playing that night at the Paramount.

I didn’t know that Dizzy was suffering and this was his last tour. Dizzy passed on January 6, 1993. I was so lucky to have personally met this icon, and his warmth and outgoing nature really impressed me.

Thanks, Dizzy!

Jazz

Art Show Hank Hehmsoth

December 2, 2022 Hank Hehmsoth 3 Comments

Career, Jazz

Piano Lessons for Jack Lemmon

October 20, 2018 Hank Hehmsoth 6 Comments

It was 1988 I believe, and I had been doing doubles, 6 nights a week at the Hyatt Regency in Austin. I played with a jazz quartet on the bottom floor, in a bar/club called “Branchwater”. I remember Austin radio personality Cactus Pryor was a regular, who would come by to sing “What Are You Doing the Rest of your Life”. That was a 5 to 9 gig, and I had about 10 minutes to put on my tux, ride the elevator to the 17th top floor, to another club called “Foothills”. Foothills had a spectacular view of the city above Town Lake, and was a favorite destination for many people. I had a nice grand, and played solo piano, from 9 to 1AM, Monday through Saturday. Sundays I’d be back to play the Sunday brunch, so you can surmise the Hyatt was my “home away from home” for about 12 years.

og-jack-lemmon-4297 It was a Monday or a Tuesday, about midnight, when Jack Lemmon and his manager came in for drinks. They sat a couple tables away, and I noticed that Jack Lemmon was really listening to everything I was doing. He smiled and we didn’t say anything, and I was done at 1AM. Then next night they were back again, sitting right in front of me. Smoking was still allowed back then, and they would talk and listen, drink and smoke. When I played solo piano back then, I had a couple hundred tunes in my repertoire, including all the Gershwin, Cole Porter, Jerome Kern, Harold Arlen, Johnny Mercer, Richard Rodgers, and Irving Berlin standards. I had my Bill Evans style down and I was totally into playing these tunes well, and getting well paid. This was, for a pianist, the very best gig in Austin.

The next night, before closing, Jack Lemmon’s manager came up to me, and asked if I would stay after hours and keep playing. He said Mr. Lemmon’s private hotel suite was directly below me on the 16th floor, and he’d been listening all night. I said sure, I’d be happy to. And so it came to be, that for the next 4 nights, after the club emptied, Jack, his manager, the bartender, and I would hang until 4AM in the morning. Jack would request tunes. He asked if he could sit just to the left and behind me so he could watch my hands. We started talking, and became fast friends. Jack was in Austin making a movie (I’m guessing it was “Dad” 1989). I didn’t know until years later that Jack had 2 jazz piano albums. He was well known as a pianist. He was so complimentary, and started asking if I would show him some stuff. I explained how I built chords and soloed, and used my classical training to phrase lyrically. We played for each other, and had a great time each night.

What I will always remember, is that at one point Jack Lemmon looked me straight in the eye, and said. “I’d give this all up, if I could play like that!” I was taken aback. I said, “Jack, you have the adoration of millions of people, who love everything you’ve done in the movies, and you’re a world class actor. How can you say that?” He said, “Acting’s easy. I’m really a frustrated jazz piano player.” I said, “the grass is always greener on the other side of the fence. You have the awards, and acclaim from all your peers. You don’t need anymore.”

Jack Lemmon - piano2 On his last night, Jack Lemmon left me an enormous tip. I tried to turn him down, but he wouldn’t think of it. We left like we were friends for life. And I am so happy this happened to me. Thanks, Jack!

Jazz

Poets and Jazzers

April 23, 2017 Hank Hehmsoth Leave a comment

It’s been a pleasure to see the differences and commonalities shared between the art of the poet, the skill of a jazz improviser, and a composer’s creativity. poetrybanner

Mills-Hehmsoth Last night in Round Top, Texas, at the 16th Annual “Poetry at Round Top”, John Mills and I joined the nation’s most exciting and prominent poets for an evening of collaboration in art.

More and more, the kinship between poetry and music, especially jazz, has grown in understanding. In 2014 Harvard University appointed Herbie Hancock the Norton Professor of Poetry. Luminaries like Robert Frost, T.S. Eliot and Leonard Bernstein have held the honorary professorship. And for the last 3 years, jazz has been a new addition to the Poetry at Round Top annual festival.

So how do jazz and poetry talk to each other? In some ways, a poet and a composer both deal in perfection, working days, months, even years to create, revise, and perform a finished work. But in jazz, improvisation is at the center of the art form. Unlike the poet or the composer, the jazz improviser can’t go back and ‘get it right’. It has to be ‘right’ the first time. And it’s not written down. The one very deep commonality between all three art forms is it is a deeply personal thing. And all three share the importance of tradition in their art form. There is a component of rhythm that is a shared love between the three, too.

Round Top Stge So want happens when poetry, composition, and jazz are asked to collaborate? The history goes back to the 40’s and 50’s American Beat poets like Jack Kerouac, for example. We viewed the music as a support and an intensifier to the poetry rather than the poetry’s being an addendum (or introduction) to the music.

jazz/poetry collaboration has a long tradition, going back (albeit patchily) some 70 years or so. There is no reason why these two forms, currently enjoying greater-than-usual popularity, should not combine more frequently.

Poetry and jazz speak to things deep in our human psyche: a love of patterned language and a love of the unpredictable, for a start.

I am sure John and I hope to do this again!

Jazz

My Jazz Concert With Miss Beverly Sills

April 17, 2017 Hank Hehmsoth 3 Comments

Rob Roy In the 1980’s, I played piano non-stop for corporations, grand openings, and big gala events.

Everybody wanted a live pianist in a tux, and I was glad to oblige. High-end homes sprang up in West Austin at that time, and Rob Roy was the newest premiere gated private neighborhood community. A fund raiser for the March of Dimes was held at 65 Pascal Lane, a gorgeous huge 4 million dollar home, that was purchased by a corporation to hold lavish parties.

The night was pleasant… limos and evening gowns, good food, and pleasantries. Suddenly, all heads turned, and in stepped Beverly Sills. I didn’t know until years later, that Beverly was the National Chair of the March of Dimes’ Mothers’ March on Birth Defects, and helped to raise over $80 millions during her tenure.

Everyone wanted to meet her, and the excitement was palatable. I was playing background jazz, and at these classy events I always play tunes with strong recognizability, like Gershwin, Harold Arlin, and Cole Porter. I noticed that Beverly Sills kept looking at me while she was chatting with people. She kept staring at me and smiling. I only knew her as the great operatic diva, so I thought she must just like piano. She came over and started a conversation with me. She liked my playing, and I told her that I worked with many jazz singers. She told me that she loved jazz, and used to sing in clubs when she was younger. I asked her if she wanted to sing a tune, and she said, “Yea! Let’s do it!”. We decided on 3 Gershwin tunes, “Summertime”, “Someone To Watch Over Me”, and “Our Love Is Here To Stay“. Everyone at the event stopped their conversations, took seats informally around us, to watch and listen to this impromptu concert. Sills

Beverly Sills never asked, and never told me what key to play. She just let me play the music, and she would sing. Do you know how remarkable that is? She could sing in any key, it didn’t matter. Her voice was like silver, always so natural (and jazzy!), and she was the consummate professional. She was wonderful, and a delight to watch. She naturally commanded everyone’s attention with not only her voice, but with her smile and persona. She gave me space musically to improvise and take a solo on all the tunes, too. With just eye contact she knew to come in on the bridge, and we had fun making up tag endings. I found out later that she had done TV shows, appearing with Frank Sinatra, Carol Burnett, Danny Kaye, and Ann Margaret.

sills_sinatra

After our little concert, it was we were like old friends. I have always felt that after you play music with someone, you know a lot about them. If I play music with you, I know your name, and I know you forever. This was a very special and unforgettable evening. When Beverly was ready to go, she made a point of coming by once more to say how much fun that was. And I got a little kiss, too!

Thanks for the great night playing with you, Beverly!!

Beverly

Composer, Jazz

A Private Lesson with Aaron Copland

April 16, 2017 Hank Hehmsoth Leave a comment

Aaron Copland in 1961

In 1974-5, I had the remarkable opportunity to meet and have a lesson with the legendary composer Aaron Copland. At that time, I was immersed in my music studies, completing my undergraduate degree and embarking on my graduate studies. Although I had taken an extra year to finish my undergraduate degree to focus on a recital, I had already accumulated 15 graduate hours towards my Master’s degree. My musical activities were diverse and engaging. I had delved into the extensive piano repertoire of Igor Stravinsky, performing works such as the piano/violin duo version of “L’Histoire du Soldat” on a mini-concert tour. I had also played Three Movt. from “Petrouchka” for James Dick, declined his invitation to be his student, and explored the thrilling 2-piano version of “The Rite of Spring,” arranged by Stravinsky himself, with Tom Wells.

During that time, I was privileged to serve as the director of the New Music Ensemble, which had found a permanent performance space in the Art School surrounded by contemporary art and sculptures. Additionally, I had the opportunity to explore jazz and Middle Eastern music in a band led by the now-conductor Howard Hudiburg. My composition teacher was Karl Korte, who has remained a respected figure in the music world. As a teaching assistant, I had the honor of working with Kent Kennan, who had orchestrated Igor Stravinsky’s visit to Austin in 1967, although I had been in high school and unaware of the great composer at that time.

It was through Karl Korte’s friendship with Aaron Copland that I found myself in a truly unforgettable experience. Copland had arrived in Austin to conduct a performance with the Austin Symphony, and Korte invited him for a luncheon at the Erle Stanley Gardner room in the Academic Center of our school. Only a select few professors were present, and I was asked to attend because I was currently preparing Copland’s Piano Fantasy for performance.

The moment Mr. Copland entered the room at noon, his radiant smile, vibrant energy, and impeccably dressed appearance immediately caught everyone’s attention. After the introductions and handshakes, he approached me with genuine interest and asked me to introduce myself. I humbly stated that I was a student studying piano and composition and that I would be performing his Piano Fantasy. Showing his characteristic enthusiasm, Copland requested that I play it for him, and although I felt a mix of nerves and excitement, I agreed.

Following the luncheon, the group made its way from the Academic Center to the old music building, hastily preparing a large classroom on the second floor for the impromptu performance. Whether it was Copland’s suggestion or a collective assumption, the gathering unexpectedly turned into a private one-on-one lesson. While I can’t recall precisely which sections of the Piano Fantasy I performed, I must admit that my understanding of the piece at that time was quite limited. Nevertheless, Copland’s insightful questions and guidance during our interaction revealed new layers of the composition to me.

At one point, Copland inquired about my passions and interests, and when I mentioned my love for jazz, his eyes gleamed with excitement. He shared his own affinity for jazz and encouraged me to play some for him. Without hesitation, I launched into an F blues, followed by Miles Davis’s iconic tune “So What,” and perhaps a fragment of a ballad, most likely “Stella by Starlight.” Copland’s infectious enthusiasm and warm encouragement instilled a newfound confidence in me. He emphasized the importance of pursuing my dreams and continuing to work diligently.

As our lesson progressed, a mention of Copland’s scheduled rehearsal that afternoon abruptly interrupted our time together. Recognizing the need for him to depart, the lesson came to an abrupt end. However, what remains etched in my memory to this day is the sheer energy in Copland’s speech, his comfortable and engaging conversational style, and the genuine focus he bestowed upon me during our encounter. His willingness to spend time and offer personal inspiration has left an indelible mark on my musical journey.

Reflecting on that experience, I realize that I have subconsciously adopted Copland’s approach in my own teaching today. I strive to provide my students with the same attention, encouragement, and belief in their potential that Copland so generously shared with me. I am immensely grateful for the privilege of meeting Aaron Copland and cherish the lasting impact he has had on my life and career.

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Jazz

Some Compositions

March 28, 2017 Hank Hehmsoth

Two Desert Dances

You can view the score here:

Two Desert Dances

Hank Hehmsoth, a faculty member in the School of Music at Texas State University-San Marcos, has been selected as the MacDowell Colony Norton Stevens Fellow. Hehmsoth was awarded a MacDowell Fellowship in 2011

Hehmsoth was selected for this honor based on the spirit of his work and importance to the world community of artists.

In 1975, in honor of Colony fellow Aaron Copland, the Norlin Foundation established an endowment to provide the fellowship for composers. The MacDowell Colony Norton Stevens Fellowship is one of the highest awards given in the United States to artists. The MacDowell Colony is the nation’s leading artist colony. The Colony nurtures the arts by offering creative individuals of the highest talent an inspiring environment in which they can produce enduring works of the imagination.

I was awarded a MacDowell Fellowship in music composition for 2011 for a 2010 composition, “Two Desert Dances,” a jazz and string ensemble piece featuring live performance with 60-year-old recordings of Native American dance from the John Donald Robb Archive of Southwestern Music.

“These two dances are inspired by field recordings of New Mexican Native Americans,” Hehmsoth said.
“Arroyo Storm is derived from a Taos Jemez Indian dance. The source material for Blue Moon Mist is a four-note melody played on a pito, a Native American flute, similar to an ocarina. Both were recorded in the 1950s.”

In order to find these two pieces I spent hours listening to almost all 6,000 recordings on line at the Robb Archive. Both fascinated me in many ways, both for their seeming simplicity, and yet full of musical content. I transcribed both, deconstructed them in terms of harmony, melody and rhythm, and ultimately wrote a contemporary jazz composition that allows a live ensemble to perform in sync with the 60-year-old recordings.

Research helps me to interpret and seek patterns from multiple sources, test concepts simultaneously, and ultimately decide and finalize a concept and personal artistic vision.

I was invited to speak about Creativity at UT during the summer of 2021: