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'It's a Minor Thing' by Dorothy Ashby
'You'd Be So Nice To Come Home To' by Dorothy Ashby
Detroit-born harp master Dorothy Ashby stands as one of the most unjustly under-loved jazz greats of the 1950s.
Why isn't the harp more common in jazz? Besides Rufus Harley, the famous jazz bagpipe player, what other instrumentalists have brought unusual sounds to jazz?
November 15, 2006 - Every generation or so, some enterprising soul comes along determined to haul the concert harp out of the orchestra pit. Today, there's Joanna Newsom, the anti-folk singer and songwriter who just released the characteristically harp-intensive Ys. Before her, there was the mellow Debra Hanson-Conant, and before her, the New Age freak Andreas Vollenweider. Go back another few generations, and you run into the late Dorothy Ashby, the Detroit-born harp master who stands as one of the most unjustly under-loved jazz greats of the 1950s.
Ashby swings, plain and simple. When she plays some mid-tempo scooting-along tune, like her own "Rascallity" (audio) all the stock riffage and jazz bravado common on so many records of this era disappears. Leading her chamber group, Ashby operates in an unassuming way, leaping through intricate arpeggios that no other jazz instrumentalist could attempt. Her single lines may not be terribly fancy, but she selects her notes carefully, and plays each one with a classical guitarist's stinging articulation. Ashby accompanies flautist Frank Wess on "You'd Be So Nice To Come Home To" (audio), sometimes snapping off chords as if the harp were just a bigger guitar, and at other times using its immense range to conjure an enveloping wash of sound in the background.
Given all the peak jazz experiences recorded around 1957 and '58 (Sonny Rollins' Live at the Village Vanguard, Miles Davis' Milestones, and so on), it's easy to understand why Ashby's In A Minor Groove didn't attract a massive audience. She and her groups of the day, here including Roy Haynes on drums, play pleasant, utterly typical and hardly earth-shattering chamber jazz. Still, it's a notably smart and polished version of typical, and anyone who can make a massive instrument like the concert harp dance — and use it to swing in such a cool, low-key way — deserves to be more than a footnote.
Listen to last week's 'Shadow Classic.'
December 23, 2006 - I first became a fan of Dorothy Ashby in the summer of 1970, while living in Chicago. I think it was radio station WSDM where I heard her, and I just had to have her album The Rubaiyat Of Dorothy Ashby. To me, it is a classic and little-known album. My album is still playable, but I would sure like to find it on CD. She played a mean koto and had a lovely singing voice.
November 21, 2006 - This lady swings -- it's like a guitar player with a 40-string (or more) guitar. I would love to have heard her play with MJQ or do some work with John Lewis. I can see how this would not get attention with the bop thing happening at that time, but there is always a place for "chamber jazz."
November 15, 2006 - I couldn't agree with you more. Ashby has been completely overlooked in the "miscellaneous" category of jazz. Thank you for your choice of her with Wess on "You'd Be So Nice To Come Home To." Just stellar!
I recently saw Turiya Aparna (a.k.a. Alice Coltrane) at the SF Jazz Festival. Alas, she did not play harp, but as I sat there, I was comparing her and Ashby. It was like comparing apple juice to hard cider. Ashby has that polite swing to her playing, and Coltrane is just otherworldly with whatever instrument she has in hand. But to me, there is no one out there like Ashby. If there is, sign me up!
November 15, 2006 - Dorothy is a wonderful harpist who plays jazz. It is a shame we don't know more about her and her music.
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