Clint Houston

Clinton Joseph Houston (June 24, 1946 – June 7, 2000) was an American jazz double-bassist.[{{AllMusic|class=artist|id=p8779/biography|pure_url=yes}} Allmusic biography]

Houston played with George Cables and Lenny White in the house band at Slug's, a club in New York City, then played with Nina Simone (1969), Roy Haynes (1969–70), Sonny Greenwich and Don Thompson (1970),Sackville LP, CBC - C 2002-2 Roy Ayers (1971–73), Charles Tolliver (1973–75), Stan Getz (1972–77), and Woody Shaw (1977–79). In 1972 he began collaborating with Joanne Brackeen, working with her through 1986; he also played with Pepper Adams (1983), Slide Hampton (1981), Frank Foster (1984–86), and Roland Hanna (1986).

Career

Clint Houston was born in New Orleans, and spent his early childhood in Washington, D.C. before spending his adolescence in Queens, New York. At the age of 10, he began piano lessons. He started playing jazz in his early teens after hearing Cannonball Adderley on the radio. After being turned down for a pianist role in his high school band, Houston switched to the double bass. Houston began playing in bands outside of high school, with Lenny White, George Cables, Billy Cobham, Steve Grossman and Charles Sullivan, all of whom grew up in the same neighborhood. In his early years, he played in a band called the Jazz Samaritans,Rinzler, Paul; Kernfeld, Barry, [http://www.oxfordmusiconline.com/subscriber/article/grove/music/J071100 Cables, George], Grove Music Online. Oxford Music Online. Oxford University Press, retrieved December 18, 2014 playing Latin-style music at local parties and drawing inspiration from Art Blakey. At the age of 19, Clint Houston won a Jazz Interactions competition, leading to an encounter with Paul Chambers who encouraged him to pursue his music further.{{Cite journal|last=Mandel|first=Howard|date=January 1978|title=Clint Houston: Building a Bass Career|journal=Down Beat|pages=17}}

After high school, Houston's parents encouraged him to attend the Pratt Institute to study Architecture, but he transferred to Queens College to study music before eventually obtaining a degree in Graphic Art from Cooper Union. During his higher education, Houston spent his weekends playing alongside Cables and White at Slugs' matinées. Their playing impressed the various bandleaders who performed at the club and the three of them began working more extensively with better-known artists. Houston was a founding member of musical co-operative Free Life Communications, alongside Dave Liebman, becoming more immersed in the loft jazz scene of 1970s New York.{{Cite book|last1=Feather|first1=Leonard|title=The Biographical Encyclopedia of Jazz|last2=Gitler|first2=Ira|publisher=Oxford University Press|year=2007}}

By 1972, Clint Houston was playing alongside Joanne Brackeen in Stan Getz' band. Their combined efforts provided a supportive and flexible framework during his live performances. According to journalist Ted Panken:

"Stan explained to me quite a few times backstage at Keystone Korner that ‘I have never felt as free and as totally supported as I do with this band with Joanne Brackeen, Clint Houston, and Billy Hart. They are happy and free to go with me wherever I go.'”{{cite web |title=Description from Resonance Records, Moments in Time |url=https://resonancerecords.org/shop/stan-getz-moments-in-time/ |website=resonancerecords.org |access-date=11 April 2020}}

Houston and Brackeen's collaborations continued, playing in clubs such as the Surf Maid on Bleecker Street in New York, and appearing in many of Brackeen's early records.

Instruments and playing style

During his time with Roy Ayers, Clint Houston played both electric bass and upright bass, but found that he was increasingly being asked to play electric, to his frustration. He played a clear-bodied Plexiglas electric bass, and 'Gertrude,' his Czechoslovakian double bass built in 1940. He found this bass for sale in a recording studio. Houston also learned how to play acoustic guitar, and played it on his album Inside the Plain of the Elliptic (1979) on the title track and on "Geri".Houston, Clint (1979) Inside the Plain of the Elliptic (Timeless): Liner notes

Houston preferred an upright bass with the E and A strings set higher above the fingerboard, for greater resonance, with the G and D strings having a lower action to aid fast-tempo playing. By 1978, Houston was using Barcus-Berry and Polytone pickups on his double bass. Houston favored a combination of the German and Italian-style finger positionsHilgenstieler, Eric, "The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire" (2014). Dissertations. 269: 6 in his left hand, teaching this hybrid style to his private students.

Houston's bass solos are characterized by rapid, fluid playing. In an interview with Down Beat magazine, he stressed:

"What I'm really looking for in this instrument and through my kind of bass playing is texture. My notes are very definitely selected, because they have to go through the changes, but there's a texture I hear. It's like if you play fast enough, you can almost play single notes like a chord. If you play an arpeggio on the piano fast enough, it's like you just hit the chord, and sometimes you can just about get it on the bass - at the proper tempo."

Long-time collaborator Joanne Brackeen said of his playing:

"Clint played a little different from everybody else, and he really liked to solo. He played a solo more like a horn player than like a bass player, but it had a certain rhythm [...] that was what he loved to do, that was his thing. Yeah, no motive other than that."{{cite web|url=https://ethaniverson.com/interview-with-joanne-brackeen/|title=Interview with Joanne Brackeen|last1=Iverson|first1=Ethan|website=ethaniverson.com|date=23 February 2018|publisher=Ethan Iverson|access-date=11 April 2020|ref=8}}

Personal life

Clint Houston, who had at least one daughter, was divorced. His wife Gerry Houston, who died in 2009, worked the door at the Village Vanguard and was known for her 'dry, caustic sense of humor' which was useful for dealing with customers at the club.{{Cite web|url=https://jazztimes.com/features/columns/marty-elkins-engrossed-in-the-music/|title=Marty Elkins: Engrossed in the Music|last=Leitch|first=Sylvia Levine|date=27 October 2014|website=Jazz Times|access-date=11 April 2020}} In 2010, JazzTimes dedicated a series of columns profiling 'people behind the scenes' at New York's jazz clubs to her memory.{{Cite web|url=https://jazztimes.com/features/columns/in-service-of-jazz-an-introduction/|title=In Service of Jazz: An Introduction|last=Leitch|first=Sylvia Levine|date=9 November 2010|website=Jazz Times|access-date=11 April 2020}}

Discography

=As leader=

Watership Down (Storyville, 1978) with John Abercrombie, Joanne Brackeen, Onaje Allan Gumbs, Al Foster
Inside the Plain of the Elliptic (Timeless, 1979) with Rubens Bassini, Ryo Kawasaki, Joanne Brackeen

=As sideman=

With Pepper Adams

Conjuration: Fat Tuesday's Session (Reservoir, 1983 [1990])

With Joseph Bonner

Triangle (Whynot, 1975)

With Joanne Brackeen

Invitation (Freedom, 1976 [1978])
New True Illusion (Timeless, 1976)
Tring-a-Ling (Choice, 1977)
AFT (Timeless, 1978)

With Marc Copland

Friends (Oblivion, 1973)

With Stan Getz

The Master (Columbia, 1975 [1982])
Getz/Gilberto '76 (Resonance, 1976 [2016]) with João Gilberto
Moments in Time (Resonance, 1976 [2016]) with Joanne Brackeen, Billy Hart

With Sonny Greenwich

The Old Man and the Child (Sackville, 1970)

With Louis Hayes

Light and Lively (SteepleChase, 1989)
The Crawl (Candid, 1989)
Una Max (SteepleChase, 1989)
Nightfall (SteepleChase, 1991)
Blue Lou (SteepleChase, 1993)

With John Hicks

Hells Bells (Strata-East, 1980 [1998]){{Cite web|url=https://www.discogs.com/John-Hicks-Hells-Bells/release/717839|title=Discogs entry|website=Discogs}}

With Terumasa Hino