He passed away Thursday, Jan 29th 2009 at his home. He was 74.
“My approach to playing is vocal. It’s not a technical approach. It’s like singing. You can almost hear the words instrumentally.†Hank Crawford
Hank Crawford has been an alto sax sensation since he stepped out of the Ray Charles band back in 1963. A signature piercing, full bodied, blues, soul, and gospel drenched tone, sets him apart from the alto pack. He has an instantly recognizable voice, and his excellent choice of material suits his style perfectly. He is a bluesman turned preacher on the sax, and the sermon is always on time.
Hank Crawford & David "Fathead" Newman in Ray Charles' Band around '60
Blues is the wellspring of everything Hank Crawford plays. Like B.B. King, Bobby Bland, Ray Charles, and other bluesmen with whom he’s been associated, Hank Crawford is also a blues singer—one who sings through his horn.
Biography
Born in Memphis, Tennessee on December 21, 1934, Hank Crawford (Bennie Ross Crawford, Jr) began formal piano studies at age nine and was soon playing for his church choir. His father had brought an alto saxophone home from the service and when Hank entered high school, he took it up in order to join the band. He credits Charlie Parker, Louis Jordan, Earl Bostic and Johnny Hodges as early influences.
At school, he hung out with Phineas and Calvin Newborn, Booker Little, George Coleman, Frank Stozier and Harold Mabern—all of whom would go on to become important jazz figures. "We had a pretty good education just by being around each other," Crawford says now.
Before he had finished high school, Hank was playing in bands led by Ben Branch, Tuff Green, Al Jackson, Sr. And Ike Turner. They were frequently called upon to back such up-and-coming blues singers as B. B. King, Bobby Bland, Junior Parker, Johnny Ace and Roscoe Gordon and the Palace Theatre, the Club Paradise and other Memphis venues.
In 1953, Crawford went away to Tennessee State University in Nashville, Tennessee. While at TSU, he majored in music studying theory and composition. There he developed his arranging skills as a leader of the school dance band, the Tennessee State Jazz Collegians, which included vocalist Leon Thomas. During the evening, he led his own rock 'n' roll quartet called "Little Hank and the Rhythm Kings". Discovered one night at the Subway Lounge by country producer Roy Hall, the group cut "The House Of Pink Lights" and "Christine" for a local label with Crawford as featured vocalist.
In 1958, Crawford met Ray Charles. They all thought he looked and sounded just like Hank O'Day, a legendary local saxophonist, and that's when they nicknamed him Hank. Baritone saxophonist Leroy “Hog†Cooper had just left the band, and Charles offered Crawford the baritone chair. “I learned a lot about discipline and phrasing from Ray,†Crawford says. “He would keep me up a lot of nights and dictate arrangements to me. I learned how to voice and get that kinda soulful sound. I think I kinda had it before, but being around him just helped that much more.â€
"Sherry", Hank's first composition and arrangement for the Charles septet, was recorded for the Ray Charles At Newport album shortly after he joined the band. He also contributed three tunes and six arrangements to Fathead Newman's debut albums later in 1958.
In 1960, Charles expanded to full big band size and appointed Crawford musical director. (Crawford also switched to alto around this time.)
When Crawford left Ray Charles in 1963 to form his own septet, he had already established himself with several albums for Atlantic. From 1960 until 1970, he recorded twelve LPs for the label, scoring such pre-crossover hits as "Misty", "The Pepper", "Skunky Green", and "Whispering Grass".
After signing with Creed Taylor's Kudu label in 1971, he cut one album a year over the next eight years. At Kudu, Crawford wasn't allowed to write his own charts and was instead handed lavish arrangements in the then-fashionable CTI crossover mold.
Crawford returned to classic form upon signing with Milestone Records in 1983, playing alto saxophone and often writing for little big band in the soulful manner that first made him famous. Six of his albums for the company—Midnight Ramble, Indigo Blue, Roadhouse Symphony, Night Beat, Groove Master, and one track of South-Central—featured the churchy, Ray Charles inspired piano and organ of Dr. John. In 1986, the saxophonist began working with blues-jazz organ master Jimmy McGriff. They’ve recorded four co-leader dates for Milestone—Soul Survivors (with guest artist George Benson), Steppin’ Up (with Billy Preston), On the Blue Side, and Road Tested—and have performed numerous club dates and concert dates in the U. S.
"Don't Cry Baby" on Night Music with David Sanborn
"The Peeper" on Night Music
Hank Crawford late 70's
Myspace Editor