Remembering Jodie Christian: Modest giant of Chicago jazz

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They don't make jazz pianists like Jodie Christian anymore.

The admired Chicago artist, who died last year at age 80, sounded like no one else in jazz, the ingenuity of his harmonies matched by the luster of his touch.

So when musicians from across the country convene on the South Side this weekend for a "Remembering Jodie Christian" concert, they'll be saluting a pianist whose gifts far exceeded his fame.

"People outside our scene didn't realize the kind of genius he was," says trumpeter Brad Goode, a former Chicagoan who's flying in from Boulder, where he's associate professor of jazz studies at the University of Colorado. "I learned most of what I know about how to play jazz from playing with Jodie. He was just a very, very incredible musician – a very underrated musician."

Anyone who heard Christian never forgot it. A striking presence at the keyboard, Christian produced a glistening, full-bodied sound, but with a pervasive lyricism at its core. At the same time, his fingers could fly at considerable velocity, as in his work with Ira Sullivana's Chicago Jazz Quintet on the "Bird Lives!" album of 1962.

That Christian collaborated with no less than Stan Getz, Lester Young, Coleman Hawkins, Benny Carter, Gene Ammons and other jazz legends tells you something about the esteem in which he was held by his peers. Jazz stars who came through Chicago wanted Christian's uncommonly empathetic, responsive playing behind them.

Christian came by his signature style through a circuitous route, starting with the inspiration of his parents' pianism. His mother played in church, his father in speakeasies, and young Jodie earned nickels dancing at taverns near Chicago's steel mills before he was old enough to go to school, he said.

Though he attended the Chicago School of Music and Crane Junior College (now Malcolm X College), he believed that his most valuable musical training came from less rarefied settings.

"Most of the things I learned were in the street, from other musicians, singers," Christian told the Tribune in 1992. He sang in choirs that performed "everything from light opera to blues. I sang all the parts sometimes, because I had a real high voice. A lot of times I wouldn't know a song, but I could anticipate what was coming next because I had experience doing that, singing parts."

That practical knowledge of how individual voices interweave informed Christian's pianism and distinguished him from peers. When Christian discovered jazz as a teenager in the late 1940s at the Savoy Ballroom in Chicago, he realized he'd found a musical language and a home for his art.

"I had never been to a place where they played this music live before," he told JazzTimes magazine in 2002. "Gene Ammons played, and the crowd loved it. Charlie Parker was a guest. He was sick when he came out the first time, and they booed him. He got himself together for the second set – I guess he got a fix. I'll never forget it. I used to love to dance, but that whole night I stood right next to the bandstand. That's what really indoctrinated me into jazz."

By the 1950s, Christian was recording with a Getz and Chet Baker, and in the '60s he toured with tenor saxophone masters Hawkins and Eddie Harris. Christian surely made a lasting contribution when, in 1965, he was a co-founder of the Association for the Advancement of Creative Musicians (AACM), a group of Chicago musicians that was reinventing ways of creating jazz and disseminating it. Recordings with Harris, Johnny Griffin, Dexter Gordon, James Moody, Sonny Stitt and others attested to the breadth of Christian's work.

But he never attained a visibility anything like that of the stars he accompanied.

"He preferred to be a sideman and an accompanist, rather than being a leader," says Goode. "He really liked to be in the piano chair behind horn players. … I think being a sideman prevented him from becoming a known artist."

Moreover, Christian was working in a town that piano virtuoso Oscar Peterson long ago dubbed "Piano City."

"Chicago has been a great town for piano players, and that's how Jodie got lost in the shuffle," says pianist Miguel de La Cerna, who's leading the Christian tribute with Goode.

"He didn't get his due (because) there are so many great ones" from Chicago, including Herbie Hancock, Ramsey Lewis, John Young and Ahmad Jamal (whose national career was launched here).

Each of these artists deserved all the acclaim they received, but so did Christian, whose idiosyncratic way around the keyboard may have led some to underestimate him.

"People said that Jodie couldn't read (music) – that wasn't true," says de la Cerna, who was introduced to Christian's art by Goode in the 1980s. "He wasn't a great reader, but it didn't matter, because he created his own style that everyone could feel. They could feel his passion and know what he was talking about in his music."

"Today, you've got a lot of (music) schools and a lot of music is very codified," adds de la Cerna. Christian "was pretty much self-taught like everybody at that time," and put together ideas in unorthodox ways.

It wasn't until the latter years of his career that Christian made his recording debut as leader, with the 1992 album "Experience," earning much-delayed critical praise for its inventive solo tracks, subtle trio passages and, of all things, some remarkable whistling. Subsequent recordings with various collaborators, such as "Rain or Shine" (1994), "Soul Fountain" (1998) and "Reminiscing" (2001) documented the range of his work.

For Friday night's homage at West Pullman Park, tenor saxophonist Ron Blake and others will join Goode and de la Cerna in performing Christian originals, jazz standards that the pianist loved to play and music inspired by him.

The latter includes Horace Silver's classic "The Jody Grind," says Goode, who believes the name was misspelled on Silver's famous album.

"I had a chance to meet Horace with Jodie" at a Chicago jam session long ago, recalls Goode. "And they were hanging out, reminiscing, telling stories. I didn't realize that they were really close friends.

"And later I asked Jodie, 'Hey, is that tune written for you?'" adds Goode, referring to "The Jody Grind."

"And, reluctantly, he said, 'Yes, it is.'"

If that's the case, Christian's muted acknowledgment was thoroughly in character for a most unassuming piano giant.

"Remembering Jodie Christian" starts at 7 p.m. Friday at West Pullman Park, 401 W. 123d St.; presented by the non-profit Jazz Institute of Chicago and the Chicago Park District as part of the JazzCity series; free; 312-427-1676 or

Frank D'Rone farewell

The life of the great Chicago singer-guitarist Frank D'Rone, who died last Thursday at age 81 in his Wheaton home, will be celebrated from 4 to 9 p.m. Sunday at Rago Brothers Funeral Home, 7751 W. Irving Park Rd.; 773-276-7800. In lieu of flowers, the family requests that donations be made to the Lutheran Church of the Resurrection, 8450 N. Shermer Rd., Niles.

To read more from Howard Reich on jazz, go to

Twitter @howardreich

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