JAM: August/September 2002 Issue: Luqman Hamza

TURNING FROWNS INTO SMILES

Singer, Pianist & KC Jazz Legend LUQMAN HAMZA
Is Still Hitting the High Notes

by Roger Atkinson

There aren't many sure things in this musical world.

A "can't miss" CD or performance? Very rare.

But, an evening with Luqman Hamza is almost guaranteed to leave you smiling, because Hamza himself wears that good feeling on his sleeve (and face) every time he performs.

"The tune I wrote, 'When a Smile Overtakes a Frown,' sort of expresses the theory," Luqman says. "You can't perform mad! People don't come to catch you up there going nuts, or not being an entertainer. They come to relax! I'll hear them say, 'You made my day; I can make it now.' Or, 'My mother and father fell in love over your music, that's why we're here.' It almost makes you think you're doing something good for humanity."

Such an outlook has made it possible for Luqman Hamza to enjoy a career that is now in its sixth decade. It all began here in Kansas City, when he was still in high school.

"I sang with 'The Five Aces,' a vocal group that included my childhood friend Sonny Kenner, plus Reco Kemp, Lucky Wesley and Eddie Saunders. I also took piano, but I didn't really think about training on it. I just wanted to sing. My concentration was only on that."

There were also performances with Ahmad Alaadeen, Daahoud Williams, and many others during this time when Luqman was mainly a vocalist. He credits his vocal teacher from KC's Lincoln High, John S. Williams, with teaching him "the proper technique."

It was Kansas City itself, however, that was the real training ground.

"My music school was KC. Jazz was out in the park, with people playing guitars and going over the repertoire. And the people you would meet! I used to see Charlie Parker and Joe Turner walking down the street where I lived. It was a common thing back then. You just couldn't hardly miss the osmosis, with all of the music being so available."

On to St. Louis & Chicago
In the early 1950s Luqman moved to St. Louis where he performed in a variety of rooms. In 1953 he recorded the single "When You Surrender," on the Damon label (later purchased by Decca). Would we recognize Luqman today on that recording?

"My voice was much lighter then. When a vocalist is at an early stage, the voice isn't completely full. But 15 years later, the voice matures, and if the dedication is still there, the sound blossoms, and the quality manifests itself. It's about growth, and that's what I'm still reaching for, even now. I have certainly grown from that day when I recorded 'When You Surrender.' Back then I was just trying to find myself."

_________________________________________________________

"I used to see Charlie Parker and Joe Turner walking down the street
where I lived. It was a common thing back then. You just couldn't
hardly miss the osmosis, with all of the music being so available."
_________________________________________________________

In the late '50s Luqman moved to Chicago, and he now recalls that period as one of his favorites.

"I heard a number of good people in Chicago over those years. And I was exposed to a lot of great singers and piano players at the Playboy Club, where I worked. The Playboy Club was a place where people had a chance to display their talents. They always had a jazz room, and I worked there as a single playing piano, and also as an act with a trio playing behind me. I really enjoyed Chicago. There was always something good going on."
There was also an initial inspiration upon his arrival.

"When I got to Chicago, I had a quarter in my pocket and a half tank of gas. That'll inspire you -- smack dab in the middle!"

As rock took over in the 1960s, and as many jazz-oriented singers had difficulty maintaining an active schedule, Luqman continued to thrive.
"For me, being able to sing and play, and doing my own accompaniment, I was always able to find work."

He returned to Kansas City in 1971, where he enjoyed a long stint at the downtown Playboy Club atop the old Continental Hotel. The room eventually closed after a decade-long run, and Luqman played a variety of KC clubs before moving back to St. Louis in 1991. There he continues to have a large following, especially for his appearances at "Jazz at the Bistro," the premier jazz room in town.

The Piano Room
Now back in KC, Luqman's schedule is much less hectic than it was in his earlier career when he was working five or six nights a week. Currently, he has a regular Wednesday night gig at The Piano Room (see "Club Profile"), makes occasional appearances at the Blue Room at 18th & Vine, and will be performing every Monday night in August and September at The Club at Plaza III.

The Piano Room is an intimate club that enables Luqman to best connect with his audience. At these gigs, Luqman always accompanies himself on piano and the repertoire is vast. He will mix standards (including an occasional Ink Spots tune) with originals and more modern jazz and pop classics "from beyond my childhood." A crowd favorite is an obscure lyric by George V. Johnson, Jr. set to John Coltrane's "Moment's Notice," originally recorded by Johnson on a late '70s Pharaoh Sanders LP, Rejoice.

The standards are not always the most familiar ones. "Weaver of Dreams," for example, has a limited number of recorded versions. And "Nothing Ever Changes My Love For You," which Nat Cole recorded on his This Is Nat "King" Cole album, is part of Luqman's repertoire. "All great tunes," he says. In a typical set, the songs come one after another at a quick, Chris Connor-like pace.

There is no question that many of these standards have had a renewed popularity over the past 20 years. And Luqman knows why.

"Because they're NEW again! The things that I know, they are new to the younger audiences and musicians! I try to do a lot of tunes that reflect my childhood because, to me, it was the greatest period one can ask for. It's nice to do tunes that the audience can relate to -- tunes about people, places and things -- and I get great satisfaction in reaching people in this way."

At The Piano Room, when Scamps bassist and longtime friend Lucky Wesley joins in each week (see "For the Record"), Luqman does a set he calls "Memory Lane," where the two reach back. Way back. A recent set included "This Is Worth Fighting For," a song recorded during World War II that is certainly relevant today, and the Ink Spots' "If I Didn't Care" and "Just For a Thrill," both featuring Wesley's spoken vocal.

Coming out of the Memory Lane segment, Luqman and Lucky get more current with things like Bill Withers' "Hello Like Before." The number of songs they both know is amazing; and many are surely new to this listener.

"Lucky and I do this thing, Memory Lane, and I surprise him by throwing some tunes. I'll say, 'I remember the time we were at your house, eating at your table, and we heard this.' Oh yeah, I can do it just like it was then, hear the whole orchestration, hear the whole thing, hear what direction it's moving to. Good musicians, you can talk over certain things, and then just lock in."

He adds, "I can pick out a song for every occasion. And I can sing in a club for a whole month and never repeat a tune."

Two Stellar CDs
You probably won't find the original "When You Surrender" at your local record shop, but you can enjoy the mature Luqman on his two most recent CDs, With This Voice and When A Smile Overtakes A Frown. Both received stellar reviews in JAM (Dec./Jan. 2001 and June/July 2000, respectively) and included on Smile is an update of "When You Surrender," a highlight of that session.

One key difference in the two albums is that Luqman provides the piano accompaniment on With This Voice while Simon Rowe is the pianist on Smile. Luqman enjoys the challenges of either setting.

"Right now I'd like to concentrate more on my vocals, without accompanying myself. On 'Smile' Simon did the piano, and I enjoy that feeling. That's how I started out! Just concentrating on the vocals. So yes, I prefer working with a nice pianist playing behind me, where I can extend myself more. But I'm glad to be able to cut myself in half to be a pianist and vocalist at the same time and to phrase in contrast with what I'm playing. You know, having fun going against the beat, phrasing against the beat. I like that. But it is harder to properly sing in the mike and use your diaphragm when singing while playing. It's harder to project that way."

"When You Surrender" stands as an example of Luqman's early writing talent. He also penned three other cuts on Smile and plans to do more writing in the future. Some new songs will appear on his next CD, a work in progress scheduled for a fall release.

"Music is the prime force for my kind of spirit," Luqman says. "I love music! And it doesn't matter to me about being no star. I'm blessed to be at my age and be able to sing, play and make people enjoy. That makes you rich."






	Search our site:		TURNING FROWNS INTO SMILES Singer, Pianist & KC Jazz Legend LUQMAN HAMZA Is Still Hitting the High Notes by Roger Atkinson There aren't many sure things in this musical world. A "can't miss" CD or performance? Very rare. But, an evening with Luqman Hamza is almost guaranteed to leave you smiling, because Hamza himself wears that good feeling on his sleeve (and face) every time he performs. "The tune I wrote, 'When a Smile Overtakes a Frown,' sort of expresses the theory," Luqman says. "You can't perform mad! People don't come to catch you up there going nuts, or not being an entertainer. They come to relax! I'll hear them say, 'You made my day; I can make it now.' Or, 'My mother and father fell in love over your music, that's why we're here.' It almost makes you think you're doing something good for humanity." Such an outlook has made it possible for Luqman Hamza to enjoy a career that is now in its sixth decade. It all began here in Kansas City, when he was still in high school. "I sang with 'The Five Aces,' a vocal group that included my childhood friend Sonny Kenner, plus Reco Kemp, Lucky Wesley and Eddie Saunders. I also took piano, but I didn't really think about training on it. I just wanted to sing. My concentration was only on that." There were also performances with Ahmad Alaadeen, Daahoud Williams, and many others during this time when Luqman was mainly a vocalist. He credits his vocal teacher from KC's Lincoln High, John S. Williams, with teaching him "the proper technique." It was Kansas City itself, however, that was the real training ground. "My music school was KC. Jazz was out in the park, with people playing guitars and going over the repertoire. And the people you would meet! I used to see Charlie Parker and Joe Turner walking down the street where I lived. It was a common thing back then. You just couldn't hardly miss the osmosis, with all of the music being so available." On to St. Louis & Chicago In the early 1950s Luqman moved to St. Louis where he performed in a variety of rooms. In 1953 he recorded the single "When You Surrender," on the Damon label (later purchased by Decca). Would we recognize Luqman today on that recording? "My voice was much lighter then. When a vocalist is at an early stage, the voice isn't completely full. But 15 years later, the voice matures, and if the dedication is still there, the sound blossoms, and the quality manifests itself. It's about growth, and that's what I'm still reaching for, even now. I have certainly grown from that day when I recorded 'When You Surrender.' Back then I was just trying to find myself." _________________________________________________________ "I used to see Charlie Parker and Joe Turner walking down the street where I lived. It was a common thing back then. You just couldn't hardly miss the osmosis, with all of the music being so available." _________________________________________________________ In the late '50s Luqman moved to Chicago, and he now recalls that period as one of his favorites. "I heard a number of good people in Chicago over those years. And I was exposed to a lot of great singers and piano players at the Playboy Club, where I worked. The Playboy Club was a place where people had a chance to display their talents. They always had a jazz room, and I worked there as a single playing piano, and also as an act with a trio playing behind me. I really enjoyed Chicago. There was always something good going on." There was also an initial inspiration upon his arrival. "When I got to Chicago, I had a quarter in my pocket and a half tank of gas. That'll inspire you -- smack dab in the middle!" As rock took over in the 1960s, and as many jazz-oriented singers had difficulty maintaining an active schedule, Luqman continued to thrive. "For me, being able to sing and play, and doing my own accompaniment, I was always able to find work." He returned to Kansas City in 1971, where he enjoyed a long stint at the downtown Playboy Club atop the old Continental Hotel. The room eventually closed after a decade-long run, and Luqman played a variety of KC clubs before moving back to St. Louis in 1991. There he continues to have a large following, especially for his appearances at "Jazz at the Bistro," the premier jazz room in town. The Piano Room Now back in KC, Luqman's schedule is much less hectic than it was in his earlier career when he was working five or six nights a week. Currently, he has a regular Wednesday night gig at The Piano Room (see "Club Profile"), makes occasional appearances at the Blue Room at 18th & Vine, and will be performing every Monday night in August and September at The Club at Plaza III. The Piano Room is an intimate club that enables Luqman to best connect with his audience. At these gigs, Luqman always accompanies himself on piano and the repertoire is vast. He will mix standards (including an occasional Ink Spots tune) with originals and more modern jazz and pop classics "from beyond my childhood." A crowd favorite is an obscure lyric by George V. Johnson, Jr. set to John Coltrane's "Moment's Notice," originally recorded by Johnson on a late '70s Pharaoh Sanders LP, Rejoice. The standards are not always the most familiar ones. "Weaver of Dreams," for example, has a limited number of recorded versions. And "Nothing Ever Changes My Love For You," which Nat Cole recorded on his This Is Nat "King" Cole album, is part of Luqman's repertoire. "All great tunes," he says. In a typical set, the songs come one after another at a quick, Chris Connor-like pace. There is no question that many of these standards have had a renewed popularity over the past 20 years. And Luqman knows why. "Because they're NEW again! The things that I know, they are new to the younger audiences and musicians! I try to do a lot of tunes that reflect my childhood because, to me, it was the greatest period one can ask for. It's nice to do tunes that the audience can relate to -- tunes about people, places and things -- and I get great satisfaction in reaching people in this way." At The Piano Room, when Scamps bassist and longtime friend Lucky Wesley joins in each week (see "For the Record"), Luqman does a set he calls "Memory Lane," where the two reach back. Way back. A recent set included "This Is Worth Fighting For," a song recorded during World War II that is certainly relevant today, and the Ink Spots' "If I Didn't Care" and "Just For a Thrill," both featuring Wesley's spoken vocal. Coming out of the Memory Lane segment, Luqman and Lucky get more current with things like Bill Withers' "Hello Like Before." The number of songs they both know is amazing; and many are surely new to this listener. "Lucky and I do this thing, Memory Lane, and I surprise him by throwing some tunes. I'll say, 'I remember the time we were at your house, eating at your table, and we heard this.' Oh yeah, I can do it just like it was then, hear the whole orchestration, hear the whole thing, hear what direction it's moving to. Good musicians, you can talk over certain things, and then just lock in." He adds, "I can pick out a song for every occasion. And I can sing in a club for a whole month and never repeat a tune." Two Stellar CDs You probably won't find the original "When You Surrender" at your local record shop, but you can enjoy the mature Luqman on his two most recent CDs, With This Voice and When A Smile Overtakes A Frown. Both received stellar reviews in JAM (Dec./Jan. 2001 and June/July 2000, respectively) and included on Smile is an update of "When You Surrender," a highlight of that session. One key difference in the two albums is that Luqman provides the piano accompaniment on With This Voice while Simon Rowe is the pianist on Smile. Luqman enjoys the challenges of either setting. "Right now I'd like to concentrate more on my vocals, without accompanying myself. On 'Smile' Simon did the piano, and I enjoy that feeling. That's how I started out! Just concentrating on the vocals. So yes, I prefer working with a nice pianist playing behind me, where I can extend myself more. But I'm glad to be able to cut myself in half to be a pianist and vocalist at the same time and to phrase in contrast with what I'm playing. You know, having fun going against the beat, phrasing against the beat. I like that. But it is harder to properly sing in the mike and use your diaphragm when singing while playing. It's harder to project that way." "When You Surrender" stands as an example of Luqman's early writing talent. He also penned three other cuts on Smile and plans to do more writing in the future. Some new songs will appear on his next CD, a work in progress scheduled for a fall release. "Music is the prime force for my kind of spirit," Luqman says. "I love music! And it doesn't matter to me about being no star. I'm blessed to be at my age and be able to sing, play and make people enjoy. That makes you rich." RETURN TO AUGUST/SEPTEMBER 2002 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2002. All rights reserved.