John Levy’s name resonates deeply within the jazz world, not just as a skilled bassist, but more profoundly as a groundbreaking manager who shaped the careers of some of the genre’s brightest stars. This exploration delves into the multifaceted journey of John Levy, tracing his path from the vibrant musical landscape of New Orleans to becoming a pivotal figure behind the scenes of the jazz scene. His story is one of musical passion, business acumen, and a deep-seated commitment to the artists he represented, making him a true legend in music management.
Early Rhythms and the Allure of the Bass
Born in the musically rich city of New Orleans, John Levy’s earliest encounters with music were through the city’s distinctive cultural traditions. He fondly recalled the captivating funeral parades and musical advertisements that were integral to New Orleans life. These experiences immersed him in the sounds of Dixieland jazz, and among the instruments, it was the bass that particularly captured his imagination. The sight of the bassist, bow in hand, drawing resonant tones from the strings, sparked a fascination that would shape his early musical inclinations.
“Any type of parade that came long, going to a funeral or coming back from a funeral or for advertising — whatever was going on in the area at the time — I would go hear this music. So that was my first experience with jazz music, which was Dixieland-type music. And for some reason the bass fascinated me, I just liked the fact that this guy was sitting out there on the end using his bow and hitting the strings, and that sound appealed to me.” – John Levy
His musical upbringing wasn’t limited to the streets of New Orleans. At home, the family gramophone filled their space with diverse sounds, from the operatic voice of Caruso to various musical genres. This early exposure to a wide spectrum of music, including classical vocal performances, laid a broad foundation for John Levy’s appreciation and understanding of musical artistry.
It wasn’t until high school that John Levy began to actively pursue playing the bass. His entry into music was less formal, driven by an innate interest and a hands-on approach.
Learning the Bass: Mentorship and Musical Community
John Levy’s formal training on the string bass was unique, rooted in the supportive community of musicians around him. In high school, he found mentors in established musicians like Milt Hinton and Truck Parham, who generously shared their expertise. This period highlighted a different era in music, one where established players readily assisted those learning their craft.
“The only formal study I had on string bass was from musicians in high school, and that was Milt Hinton and Truck Parham, and a couple of other people that helped me at that time. I just picked it up and started to play it, but I learned the technique of it from these people. In the days that I came along, musicians were very helpful to each other; they’d say you’re fingering that wrong or using the bow wrong, and that’s how I learned.” – John Levy
This collaborative spirit, where experienced musicians offered guidance and constructive feedback, was instrumental in John Levy’s development as a bassist. He observed a shift over time, noting a decline in this kind of communal support within the music scene, with exceptions like John Clayton who continued to champion mentorship for young musicians.
New York and the George Shearing Connection
In the 1940s, John Levy moved to New York City, a pivotal moment that placed him at the heart of the burgeoning jazz scene. His association with the legendary pianist George Shearing came about somewhat later, after John Levy had spent time navigating the New York music landscape.
His initial encounter with George Shearing was facilitated by Leonard Feather, who introduced Shearing to the vibrant 52nd Street jazz scene. Their paths crossed again when Shearing was performing at Birdland (then Eclipse), alongside Buddy DeFranco and Denzel Best. This period saw a dynamic club scene where multiple groups, including Sarah Vaughan’s ensemble and Buddy Rich’s big band, shared the stage.
An opportunity arose with Buddy Rich’s band, and through a recommendation from Jimmy Jones, John Levy stepped in as a bassist for the last week of their engagement. It was during this stint that George Shearing, who frequented the club, noticed John Levy’s playing. Impressed, Shearing offered John Levy a two-week engagement as his bassist, marking the beginning of a significant musical partnership.
This initial collaboration evolved beyond the two weeks, leading to the formation of the renowned George Shearing Quintet. With the addition of Chuck Wayne and Margie Hyams, alongside Denzil Best and John Levy, the quintet was born. They began rehearsing and recording, poised for success until unforeseen circumstances arose. Buddy DeFranco’s deal with Capitol Records created a conflict with the quintet’s impending MGM deal, leading to a necessary separation. The George Shearing Quintet, in its definitive form, then solidified with Marjorie Hyams, Chuck Wayne, Denzil Best, and John Levy, embarking on a journey that would redefine small group jazz.
Alt text: The George Shearing Quintet, featuring John Levy on bass, performing live in a smoky jazz club, showcasing their innovative sound.
From Bassist to Manager: An Unforeseen Transition
John Levy’s shift from performing bassist to a highly influential manager was a natural progression, rooted in his inherent organizational skills and business acumen. Throughout his time touring with various bands, he consistently found himself taking on responsibilities beyond his musical role. He became the de facto “straw boss,” handling logistical and business aspects for his fellow musicians.
This inclination towards management became more pronounced during his time with George Shearing. As Shearing’s fame surged, particularly after the success of “September in the Rain,” the need for structured management became evident. Shearing’s wife, Trixie Shearing, initially managed his affairs, with John Levy often advising her on the intricacies of the American music business, including union regulations and financial arrangements in different cities.
Recognizing the increasing demands, John Levy suggested they needed dedicated management. His proactive involvement led to the inevitable question: “Why don’t you take over as road manager?” This marked the inception of John Levy’s management career.
Initially, John Levy experienced a slight pang of nostalgia for playing the bass. However, he was not a soloist by nature, viewing his strength as an accompanying bassist, the foundational element of an ensemble. He found fulfillment in his managerial role, especially within the successful George Shearing Quintet. Shearing granted him autonomy and respected his judgment, which further solidified John Levy’s confidence and reputation in the industry.
Navigating the Music Business as a Black Manager
In an era marked by racial prejudice, John Levy’s position as a Black manager was groundbreaking and presented unique challenges and triumphs. Crucially, he had the unwavering support of George Shearing, whose prominence in the music scene provided John Levy with significant leverage. As the manager of the number one group in the country, John Levy commanded respect and influence.
“Well because I had the full support of George Shearing and we were the number one group in the country, I had the clout.” – John Levy
John Levy and George Shearing entered into a business partnership, formalizing John Levy’s role in management and paving the way for him to represent other artists. This venture marked the beginning of an unprecedented career for a jazz musician turned manager, especially for a Black man in a predominantly white industry. While managers were common for mainstream entertainers, they were rare for jazz musicians. John Levy’s understanding of the business, honed through his experiences and relationships with figures like Phil Moore and Benny Carter, enabled him to guide artists effectively. He emphasized establishing business entities and managing publishing rights for his clients, ensuring they retained control of their creative work, a practice that was uncommon at the time.
Life on the Road: Overcoming Prejudice and Building Respect
Touring in mid-20th century America presented John Levy and his musicians with stark realities of racial discrimination. Despite meticulous planning, prejudice was an ever-present challenge. John Levy recounted a particularly jarring incident in Salt Lake City where, despite having reservations, the group was denied accommodation at a hotel due to their race.
“We walked into a hotel in Salt Lake City and we had reservations and everything and Chuck Wayne’s wife carried a little dog with her, she had a little pet, and [the hotel] had a long lobby, you know, to the desk, and the clerk at the desk said loud and clear ‘No dogs or niggers in this hotel.'” – John Levy
George Shearing’s resolute stance in response to this blatant racism was pivotal. His declaration, “Well if they can’t stay here, then nobody’s going to stay here,” led the entire group to leave in solidarity. While a promoter eventually arranged alternative lodging, John Levy and his Black bandmates still had to stay in separate quarters.
These experiences were not isolated incidents. The constant struggle to find welcoming restaurants and accommodations led to practical adaptations. The band decided to procure food and eat on the road, avoiding establishments where they might face discrimination. George Shearing’s unwavering refusal to patronize any place that did not welcome his entire group was a testament to his solidarity and respect for his bandmates.
John Levy developed a resilient approach to these challenges. He adopted a mindset of proactively earning respect through professionalism and direct communication. His method was not confrontational but assertive, grounded in clear expectations and mutual respect. He aimed to establish ground rules upfront, ensuring that engagements were based on equitable treatment and understanding.
Alt text: John Levy, a pioneering African American music manager, in a business meeting with musicians, carefully reviewing contracts, showcasing his expertise and dedication.
Ascending to the Pinnacle of Music Management
By the 1960s, John Levy had solidified his position as one of the most influential managers in the music industry. His ascent was driven by a combination of talent, integrity, and a bit of serendipity in representing top-tier artists. Notably, John Levy did not actively seek out clients, with one exception: Shirley Horn. Upon hearing her voice on the radio, he was compelled to manage her, marking a rare instance of him proactively pursuing an artist.
Initially focused on instrumentalists, John Levy expanded his clientele to include vocalists, starting with Teddi King at George Shearing’s suggestion. However, it was Nancy Wilson who became a major focus in his singer management career. Recognizing the shifting musical landscape and the rise of pop music, John Levy strategically positioned Nancy Wilson not just as a jazz artist but as a crossover pop artist. He leveraged the same promotional machinery at Capitol Records used for pop icons like Frank Sinatra and The Beatles, ensuring Nancy Wilson received comparable industry support.
This strategic shift required John Levy to forge new relationships and navigate different sectors of the music industry, including pop venues and record labels. He seamlessly adapted, understanding that fundamental business principles applied across genres. He booked Nancy Wilson in diverse venues, from Las Vegas showrooms alongside Sammy Davis Jr. to the Coconut Grove, a premier venue in California not typically associated with jazz. He collaborated with arrangers like Luther Henderson to create sophisticated performances, drawing inspiration from the presentations of artists like Lena Horne, aiming to elevate Nancy Wilson’s performances to similar heights of artistry and presentation.
Legacy of Integrity and Artist Empowerment
When reflecting on his career, John Levy hoped to be remembered for his integrity, honesty, and a guiding principle that transcended mere profit. He viewed his purpose as helping artists realize their full potential.
“I hope that people will remember me, you know, as a person of integrity and honesty and with beliefs that I was put on earth here for something other than making money. I’m not that religious but I do feel that I was put on earth to try to help people reach their full potential.” – John Levy
For each artist he managed, John Levy adopted a tailored approach, understanding their individual aspirations and career goals. He then dedicated himself to assembling the right support systems and collaborations to facilitate their artistic and professional growth. His focus was consistently on the artist’s success and fulfillment, devoid of personal aggrandizement.
Defining the Essence of Jazz
In discussing the unique qualities of jazz, John Levy emphasized improvisation rooted in deep musical understanding. He recounted a conversation with Ben Webster, who underscored the importance of knowing the melody and lyrics of a song to truly improvise upon it. Webster’s improvisational approach was holistic, focused on developing a theme rather than simply navigating chord progressions.
“As Ben Webster once said to me, ‘I can’t understand how any horn player or any soloist trumpet player or musician in jazz can possibly improvise on a melody if they don’t know the melody and the lyrics of the song that they are playing.’ In other words, if they don’t know the melody of the song, and they don’t know the lyrics or what the story is about of the song, then they can’t improvise on it.” – John Levy
For John Levy, this melodic and lyrical understanding distinguished jazz improvisation from other forms of music. It required not just technical skill and feeling, but also a profound knowledge of the musical narrative. This intellectual and emotional depth, he believed, was central to the integrity and distinctiveness of jazz music.
Conclusion
John Levy’s journey from a New Orleans childhood immersed in music to a towering figure in music management is a remarkable narrative of talent, resilience, and integrity. His contributions extended beyond his musical abilities as a bassist; he redefined artist management in jazz, championing the careers of legends like George Shearing and Nancy Wilson. His legacy is one of breaking racial barriers, advocating for artist empowerment, and upholding the highest standards of ethics and artistry in the music business. John Levy remains an inspiring figure, remembered not only for his professional achievements but for his profound impact on the lives and careers of the artists he so passionately supported.
