Los Angeles Jazz Hero
They call bassist Henry Franklin “The Skipper,” and with good reason. The big man wielding the double bass in the ensemble signifies that the ship will successfully navigate the musical waters—no matter how tumultuous–and he’ll guide it into port smoothly. As a player, bandleader, and jazz griot, Franklin has been a consistent fixture in Southern California jazz since the early 1960s.
One of Henry’s important early associations was with the Roy Ayers Latin Jazz Quartet. Bandleader Willie Bobo heard Henry and offered him a job, during the percussionist’s Spanish Grease period. That was Franklin’s ticket to New York, where he lived for a year. Playing with Victor Pantoja, Patato Valdés, and Blue Mitchell on one hand, and Archie Shepp’s band on the other, put Henry in exciting company.
Back in California, Franklin joined South African trumpeter Hugh Masekela’s band. The bassist learned the African rhythms and Masekela hit big with “Grazing in the Grass.” That success fueled the Chisa label, which recorded Masekela, Letta Mbulu, actor Yaphet Kotto, and others–all with Henry’s ubiquitous bass.
Henry played in John Carter and Bobby Bradford’s pioneering Los Angeles free jazz quartet. Bradford appreciated the bassist’s great time and willingness to go into uncharted musical areas. “Henry would have been a regular in our band,” Bradford acknowledges, “but he got real busy.”
Franklin’s strong, pliable bass served as the musical spine of pianist Gene Russell’s Black Jazz label. Functioning like the Strata East of L.A., the grassroots imprint documented cutting-edge California black players such as keyboardists Walter Bishop Jr., Doug Carn, and Roland Haynes, and guitarist Calvin Keys.
That experience gave Henry a practical grounding that made him a father figure to the 1990s Leimert Park jazz renaissance, which continues today. Musicians who’ve passed through Franklin’s band include trumpeter Nolan Shaheed; trombonist Phil Ranelin; saxophonists Herman Riley, Charles Owens, and Teodross Avery; pianists William Henderson, Kirk Lightsey, Cecilia Coleman, and Theo Saunders; and drummers Carl Burnett, Michael Carvin, Sonship Theus, and Willie Jones III.
New York-reared Theo Saunders has been playing with Franklin since the 1970s, and noted his love of John Coltrane. “In Henry, I immediately heard a bassist who compared favorably to players like Reggie Workman. You always hear more bass than amplifier with him.” Franklin modestly says: “We’re not shooting for the moon. We’re shooting for the heart.” A fitting motto for a true Jazz Hero.
—Kirk Silsbee
