Dave Chapelle commented that it is African tradition “When a Griot dies it’s as if a library burns down.”
What is a Griot?
As described by the Donald Meade Legacy Foundation, the Griot emerged from West
Africans traditions as a storyteller historian, chronicler and keeper of the timeline. The
Griot/historian in short, remembers through word and song all of the important events
and experiences of a particular community. The Griot holds sacred the collective
memory of a community preserving it for future generations.
The history of jazz has often depended on the reports of witnesses regardless of how far removed. One cannot argue with the veracity of informed accounts by knowledgeable participants. One cannot argue with living history! Winston Churchill said “The farther backward you can look, the farther forward you will see.”
Dr. Willis F. Kirk Bio
Dr. Willis F. Kirk PhD is one of the faithful stewards of the oral history of jazz. Born in
Indianapolis, Indiana in 1928 Willis began his musical education studying percussion
instruments at PS #37 as a fifth grader under Russell Brown and Norman Merifield. He
played in the band and orchestra at Crispus Attucks High School. By age 14, he was
playing professionally in and around Indianapolis.
Having grown up with up with the Montgomery brothers, Wes, Monk and Buddy as with members of the Hampton family-Luckey, Maceo, Slide, Duke and Cannelita, Willis was challenged early in his musical life. He and his friends set standards for others to
follow such as Slide Hampton, David Baker, Freddie Hubbard, Larry Ridley, James
Spaulding, Virgil Jones and Melvin Rhyne, all from lndianpolis.
In 1953 Kirk toured with Lionel Hampton, when he met and played with Quincy Jones,
Clifford Brown, GeeGee Grice, Art Farmer, Monk Montgomery and other great young
players who were unknown at the time. Willis graduated from Butler University in 1956
with a degree in music education.
Dr. Kirk played at many venues in and around Indianapolis while teaching instrumental
music in the public schools there. He received his Masters degree in music from Butler University in 1964 and a Doctorate degree in 1975 from Walden University.
Willis worked with many bands during that time and also played percussion with his own
trio in various clubs. At the Embers, an upscale club night spot, Kirk’s ensemble backed acts such as Mel Tonne, June Christy, Peter Appleyard, Jackie Cain and Roy Kral,
Barbara McNair and Julie Harris.
After moving to San Francisco in 1968, Willis became active in the musical life of the
city. He was the percussionist for shows with Tony Bennet, John Hendricks, The Ebony
Fashion Show, The Marines Memorial Theater, and also recorded with the San Francisco All Star big band under the leadership of another Indianapolis native, David Hardiman and featured Michael Howell and Tricky Lofton.
In 1969, Dr. Kirk began his administrative work at City College of San Francisco,
serving in several positions before becoming president of City College of San Francisco
two years before retiring in 1991.
Dr. Kirk continued to stay active after retirement. His insatiable desire to make music and to serve community was evident He served as Vice President of the San Francisco Arts Commission for two four-year terms having been selected by two different mayors, and was a board member of the Friends and Foundation of the San Francisco Public Library.
Dr. Kirk wrote Brushfire, an instructional book for playing drums with brushes, and
considered by many to be an authoritative book on the subject. Rejoice! Rejoice!, a jazz
oratorio was composed and conducted by Dr. Kirk before audiences at the International
Association of Jazz Educators in New York, in 2002 and Long Beach, California in 2003.
In 1982, Kirk recorded with Earl Fatha Hines during a weeklong engagement in Sao
Paulo, Brazil. He also presented a workshop on his book. Upon his return home, he
composed the tune “Santos by the Sea”.
As a spokesman for jazz, he was asked to be in a panel discussion about the art and
history of jazz in America. that took place in Sacramento California. He spoke and
played in the Bay Area for other jazz groups.
As a young musician, he was influenced by Indianapolis musicians-Jimmie Coe,
saxophonist and J. J. Johnson, trombonist. Willis was highly influenced by Charlie
Parker who he played with as a sub for Max Roach in 1949. Max Roach was his idol
from the first time he heard him play with Benny Carter’s band in late 1940s. Duke
Ellington and Count Basie were also his idols. Willis lived a few doors from Joe
Henderson and came to know him. Joe’s style, his writing and his approach on the sax
was influential to Kirk’s musical outlook in later years.
Some musicians Willis played with over the years:
Wes Montgomery, Buddy Montgomery, Monk Montgomery, Joe Pass, Joe Williams, Mel
Torme, Charlie Parker, Dizzy Gillespie, J.J. Johnson, June Cristy, Lionel Hampton,
Clifford Brown, Carl Perkins, John Hendricks, the Mills Brothers, Freddie Hubbard,
Eddie Henderson, Tony Bennet, Benny Golston, John Handy, Paul Weeden, Jimmie Coe, Everett Greene, Melvin Rhyne, Jack McDuff, Jimmy Scott, Earl Fatha Hines and Duke Ellington
Interviews and Recordings
Interviews
“Jazz Oratorio” by Church Workman July 2001; Lany College
“Brushfire” with Betty Wright;
“Rejoice! Rejoice! -about the oratorio- Larry Ridley; Goals of the College” – March 1989
Recordings/Tapes
S.F. all Star Big Band Recording;
Earl Hines -Recording;
“Tribute to Joe Henderson Tape by David Hardiman Band;
David Baker Religious Work- Butler University Recording