1 Heath Brothersare trom a | acitional family that nag a ceep respect and love for ine music of the “blues people.” | recently spoke witn two of them wno nave earnec a unique place in | the jazz idiom—Percy and Jimmy Heain. At one time Percy, Jimmy, anc brother Albert, all pertormed wan tne legendary Modern Jazz Quartet. They left the MJO to form tneir own band in 1974, known as the Heatn Brothers. “it felt gooa when we got togetner,” says Percy. “There's a family thing there. It was sont of on the back burner the whole time we were in the Quartet. I'm sure Pop would have dug it.” For more than two decades, Percy had been the bassist in this, Quartet that helped to take jazz out of the backrooms and into the con- cert nalls where Black musicians could earn their due. Percy's swinging, melodic style was developed while performing with Cnariie Parker, Dizzy Gillespie, Miles Davis, and other paceset- ters. Jimmy's contribution as a jazz giant is still being fell. He is a hignly respected saxopnonist who has earned the praises of his peers. He has also shared his taients with others for the past ten years dy neiping students develop their creative genius at the Jaz2- meaie Workshop in New York. ‘Tne greatest influence on tne Hearn Brothers were their parents. ‘Their father was born in North Carouna, their mother in South Carouna. Percy Heath was born in ngton, N.C. on 30 April 1923. E.gnt months later," he says. “the famuy moved to Philageipnia wrere James Edward Heatn was bern on 25 October 1926." Their bretner Albert and sister, Eliza- etn, tollowed. By this time their ner nad begun to ecucate them musically. The senior Heath piayec tne clarinet, and his wite sang at the Eix's Club. Her motner sang in the 19th Street Baotst fen choir in Philageipnia rey Says mS tather instiiec a ‘ove tor traditional Afro-American Botn Percy anc Jim: ny agree reir tainer remained tn ¢ greatest jence in those eariy years. re prougnt eacn of his cnicren their first instruments. Perey piayec violin in fAign school. Jimmy played saxophone and ‘lute. Tooue later masterec tne crums, ane young Elizabeth took piano lessons. in 1846 Percy took up bass after spending 2°: years as a fighter pilot in the Air Force. “! pought a Dass witn my severance pay, learned some cnorcs and scales, and joined the union.” Back in the world, Jimmy earn- ed the nickname of “Little Bird’ (as in Charlie “Bird” Parker) and mastered both soprano sax and flute. The two brothers joined forces in 1948 and traveled on the roag with be-bop trumpeter Howard McGee. By 1950 they were both playing witn Dizzy Gil- lespie. in 1951 Percy joined Milt Jackson and the Mocern Jazz Quanet. The difference between jazz and any other music is the feeling. Jazz is the feeling of the drum of the African... Percy has deep convictions about passing on his knowlege to the next generation anc strong feelings about the negiect the Mecia and airwaves gives to jazz. | askec him about the effect of disco music on jazz. He wanted 10 get sometning off his cnest about this. “Disco is a threat . .. not only to the jazz idiom, but also to all art forms. It's childish, and very amateurish. The eatly jazz arrangements of tne 20s were more complicated. t coesn’ Geserve all of the airpiay ang atten- tion it receives. It's a mag tad. The most cangerous effect :nas on ine youtn is that they are iett out on hearing other kinds ot music. sammy disagrees. “Disco is no more ot a threat than anything ese that is Soteading aroune. If tis a threat, t's minimal.” Percy persists. “Arvining sim- patiec to sell, any gimmick, wnat- ever orevails at te moment is ine music nat gets over. The aitter- music in hem oelore they coud | ence cetween jazz anc any oiner fe rieain Brothers is to wa music is the feeling. Jazz 1s tne en anc near us live! lL 9. feeung of the drum of tne African, tne sanctiied rmyinm tambourine beat—aiong witn the element ot the clues. Anyone who deviates from tnat is not ‘crossing over’, Dut ‘doubie crossing"! “it | may say something here,” Jimmy interrupis,"|azz has always been able to absorb or incorpo- rate otner types of music into its feeling. The mainstream ot jazz will go on, Dut people nave to be mature enough to appreciate the improvisation and _communica~ tion of thought it identifies. Sim-. plied or condensed, if you have to alter your music—educate people to uncerstand jazz and its legacy. ‘Speaking of disco, | asked them what they thought of the success ‘of Jimmy's son, James Mtume (by his first marriage), producer and co-writer of Stephanie Mill's debut album, now producing Phyllis Hyman. Jimmy said, “He's doing the best ne can, he's a gifted com- poser, and he likes to wnte ballads. | think ne’s doing okay. Percy, not surprisingly is a little bit more conservative. “He has music in him but nis music is just like tne rest. Don't get me wrong, | coule write ballaés ano sell a million copies. | like“a little “Hot Stutt." | can tap my-teet to “Shake Your Booty." But that should not be oresented as the only culturar expression of American Blacks. stening to them speak, | Noticed throughout an air of mutual respect between them. Percy's voice is not bitter, just urging. Uro- ing the cisco-dazed to awaken to the ‘act jazz is nere to stay. The Heatn Brothers now include Staniey Cowell, Keith Copiang, anc Tony Purrone. They say they woud love 10 perform at military bases Decause Dases are a great spet 12 meet a lot of young Biack peccie wno haven't been exposed fo tne jazz legacy. So even with Albert in Los Angeles piaying with nis own band anc Zlizapetn tiving in Phila~ ceicnia marned anc no longer at wore on ine piano, wimmy ang Percy meatn continue to create, 2s Percy ‘The best way to Eagie & Swan, November 1979 v7