Raise Up Off Me: A Portrait of Hampton Hawes

by Hampton Hawes, Don Asher, Gary Giddins (Introduction)

Hampton Hawes [1928–1977] was one of jazz's greatest pianists. Among his peers from California the self-taught Hawes was second only to Oscar Peterson. At the time of his celebration as New Star of the Year by downbeat magazine (1956), Hawes was already struggling with a heroin addiction that would lead to his arrest and imprisonment, and the interruption of a brilliant career. In 1963 President John F. Kennedy granted Hawes an Executive Pardon. In eloquent and humorous language Hampton Hawes tells of a life of suffering and redemption that reads like an improbable novel. Gary Giddins has called it "a major contribution to the literature of jazz." This book includes a complete discography and eight pages of photographs.

Genres: Music, Jazz, Biography, Memoir, History, Nonfiction, Autobiography

216 pages, Paperback

First published January 28, 1974

Reviews

[ColumbusReads · Rating 5 out of 5]

This is absolutely one of the best autobiographies I've ever read. It's considered one of the best music (auto)biographies of any genre ever written by many critics. Hampton Hawes was one of the best jazz pianists ever. Ever! The book was favorably received on publication by critics who recognized it by its "vivacity, humor and authenticity." It's extremely raw with much of the book related more to Hawes extensive bouts with drugs more than his incredible piano history. There's a long period in this book where he's enlisted in the army and most of this period he's battling a serious heroin problem. Serving in the US Army in Japan in the early 50's didn't stop his drug use in fact in many ways he only increased his drug use overseas.

What was so fascinating about this book and what I so enjoy about the great jazz biographies, memoirs and autobiographies are the incredible first hand accounts of some of the all time great artists in jazz: Billie and Bird, Miles, Monk, Rollins, Oscar Peterson, Dizzy and so on...This book is on par with the Miles Davis incredible autobiography Miles: The Autobiography written with Quincy Troupe in that it truly is raw with the language, drug use, sex etc... However, unlike that biography this one details more of the drug life Hampton Hawes experienced. Unfortunately, that is one of the faults of this biography. There's about a 75-25 drug to music ratio in this book and I would have much preferred maybe a 50-50 split. Because drugs played a big part of his life, maybe if he could have added another 50 to 75 pages and talked more about his music it would've been even better.

Another downside to this book is the use of unnecessary footnotes, often one word footnotes to explain certain things in the book. Example phrase: "but it was only the cops jamming brothers." (Harassing brothers). Ok, that's rather self-explanatory for anyone.

Those are small quibbles here and take away from nothing!

Hampton Hawes was busted in a sting on 11/13/58, his 30th birthday, with 16 cents in his pocket. He got 10 years and served 5 only because he requested and received an executive clemency from President Kennedy, 8/16/63. Ironically, Kennedy was assassinated three months later. This is a large part of the Hampton Hawes story or what he is remembered for.

Hampton Hawes was a natural and gifted pianist. He had so many opportunities thrown his way because of his immense talents but drugs just hijacked them. He followed the path of Yardbird Parker in that drugs were uppermost in his mind and not recording or the next gig.

It's so unfortunate that this book is not more well known and more importantly that Hampton Hawes is not more well known. He is one of the greatest jazz pianist ever and a rather colorful one. Highly and thoroughly recommended!

[Smith dobson · Rating 5 out of 5]

Perhaps this and Straight Life by Art Pepper are the most brutally honest and entertaining autobiographies ever written, (coincidentally both were jazz musicians that came out of the L.A. central avenue Bebop scene in the 40's). But Hawes' book is a bit more heartfelt, and his story is absolutely crammed with incredible global imagry, spanning from his L.A. roots, to Japan, to Europe,
to various prisons. The book includes a shocking presidential pardon by John F. Kennedy when Hawes was incarcerated unjustly for heroin abuse, and even a nervous breakdown by Hawes where he stripped down naked in the middle of a house party in London! Most importanlty, Hawes is certainly the most down-to-earth philosopher when it comes to the many tough-luck realities of the Jazz lifestyle, never coming off in a complaining, woeful way, he always seems optimistic and prepared for whatever curveballs the future may have in store for him. It's an inspiring and quick-paced, liquid read.

[Max · Rating 5 out of 5]

One of the best books I've ever read about music -- and one of the best memoirs. Anyone interested in jazz or New York or black America or just simple, beautiful and balletic writing should find a copy of this. Or I'll lend you mine

[Distress Strauss · Rating 4 out of 5]

As a pianist, Hawes was always a bit too delicate for my taste, but as a junkie, jailbird memoirist, he's aces.

[Daniel Mcbrearty · Rating 5 out of 5]

For anyone interested in jazz, this is an essential read. Hawes, as well as being one of the greats of jazz piano, was an honest and often amusing story teller, and he pulls no punches in his account of life as a nascent be-bopper in 50s America and Japan. From his beginnings as the son of, from the sound of it, a somewhat sanctimonious and hypocritical minister, to his meeting and playing with Charlie Parker (which he describes as the moment that he found God), to his time in Japan with the military (where he was able to service his heavy heroine habit by befriending a local prostitute), his story is told with a pithiness which draws the reader forward.

Without reference to his wonderful recordings, this would be mere social history; but accompanied by listening to his early work (such as the wonderful "Late Night Sessions" with Jim Hall) and the reader may be led to a sense of wonder, even hope, at how such beauty emerged from a time of such injustice and darkness. An unmissable jewel in the literature of jazz.

[Kurt · Rating 5 out of 5]

This is a well-written autobiography of a major jazz musician. It’s written in an informal voice, as if talking to a fellow musician of the era. The book is pretty short and he describes his own actions pretty unsparingly.

The book is light on musical detail and focuses more on Hawes’ struggles with heroin addiction, his marriage, and his non musical personal life. As a musician I would have liked more information on the music, but the book probably has more mass appeal this way.

The best jazz autobiography, and best autobiography I’ve read period, is Art Pepper’s “Straight Life.” I would recommend that over this book, but this is worth reading.

[Max · Rating 5 out of 5]

Crystal clear, vivid journey through the life of a jazz musician from a series of deep years in both jazz and U.S. history. Hawes utilizes a simple, evocative language and narrative but always deep and insightful. Highly recommended for devotees of history, music and much more. Great reading just generally, in fact.

[Simon Sweetman · Rating 5 out of 5]

One of the best music memoirs I've read in a while, gives off the actual vibe and mood of jazz and the setting and scene/s. Also a great (grim) junkie tale. A must-read. Magic. Always loved his playing - but his voice is so strong here in this largely unapologetic tale of gettin' it done.

[John Marr · Rating 5 out of 5]

An outstanding jazz memoir that reads like Straight Life minus the egomania.

[scoffs, calumnies, etc. · Rating 5 out of 5]

probably in its way the best book every written about jazz and one of the best books ever written about music and race in american life.

[Scott · Rating 4 out of 5]

When I read Ted Gioia’s "West Coast Jazz," I was bothered by how much time he spent on the addictions of the musicians, because initially it seemed a distraction from the story of the music. By the end of the book, I had come to accept that addiction was a necessary piece of west coast jazz history and worth the attention. One of the figures Gioia spends the most time on is the pianist Hampton Hawes, someone whose name I knew but otherwise knew little about. Gioia talks admiringly about Hawes’ autobiography "Rise Up Off Me," so I decided to read it. As with the Gioia, I am bothered by how much space Hawes gives to his addiction (heroin). He actually spends far more time on his addiction than on the music. This book really becomes the story of Hampton Hawes’ addiction.

He begins with his childhood and his attraction to the piano, but once he becomes a professional jazz musician after graduating from high school the story becomes more and more about the addiction that comes to rule his life rather than the music which was, at least initially, his first love. Without being moralistic or preachy, but unsparingly detailed and realistic, "Rise Up Off Me" becomes a cautionary tale rather than a musician’s autobiography. It is as if Hampton Hawes primary identity becomes that of an addict rather than a jazz pianist, and that is a significant loss, particularly as his playing and his career get less and less attention as the book moves toward the five years he spent in jail in the late 1950s and early 1960s..

Once out, he kicks the addiction and tries to restart his career in the mid-1960s, when rock is ascending and jazz is in decline. The jazz world once again recognizes his greatness, but he can’t make a living at it any more, not in Los Angeles or the US. This hard reality for jazz–compounded by the rising racial tensions of the period (i.e., the Watts rebellion/riot)--is also covered by Ted Gioia, Horace Tapscott, and many of the interviewees in Clora Bryant’s "Central Avenue Sounds: Jazz in Los Angeles." Addiction and jail stole what should have been Hampton Hawes prime years for success, and by the time that he is out of jail and ready to return to the music and move the narrative of his life away from the drumbeat of addiction, that opportunity has passed him by. Still, the rest of the world remembers and appreciates him, and like so many jazz musicians he found success in Europe and Japan. But once he returns home: crickets again.

What is hopeful, though, about the end of "Raise Up Off Me" is Hawes shift back to music and family, reviving and shaking up his personal and musical lives. This hopefulness is undercut by my further reading about him: the electric jazz he took up was unsuccessful, and he dies of a massive stroke at the age of 48 in 1977. So the book ends up being a cautionary tale about choices and circumstances and less a story about jazz.

What strikes me throughout the book is Hawes’ laissez–faire, live and let live, existential attitude toward and everything that comes at him. His father is a preacher for whom life has a very clear meaning, but he does not force his beliefs on his son. He is not an authoritarian, so when Hampton Hawes doesn’t choose the church but a bohemian path it is simply a choice, good or bad or neutral, that leads him on to other choices, good or bad oe neutral. That he spins the ending of the book–new woman, new family, new music–positively doesn’t belie his existential belief in choice.

[Sara · Rating 4 out of 5]

Jazz pianist Hampton Hawes and his co-author collaborate to tell Hawes' best stories. I was thoroughly entertained reading his profane account of his childhood, career, career-killing addiction to heroin, misspent years in the Army, time in prison and the fits and starts of his comeback. It felt like we were together, and he was telling me his story, so remarkable was the way they captured his voice. So charming and incredible that I couldn't even be offended by the ways he refers to women (spoiler alert: it's not good).

[Frank Murtaugh · Rating 4 out of 5]

This book was recommended by a good friend, and was my introduction to Hampton Hawes. Remarkably well-written reflection of a turbulent but quite singular life. Extraordinary talent, but a Black American coming of age in the middle of the 20th century. Drug addiction. Prison. Love found and lost. I should have known more about Hawes before reading his autobiography. He tells his story eloquently, like sharp-but-gentle notes from his piano.

[Seth Shimelfarb-Wells · Rating 3 out of 5]

Very good at times and very unenjoyable at times. More than anything, I appreciate and am impelled to sit with his use of the word ‘nervous’. The way “he” writes about Lady is also very moving. However—this book is racist and treats women as objects so it falls short quite often. Still wild to think about the whole pardon situation

[Rico Caraco · Rating 4 out of 5]

Great jazz autobiography full of life and told with a kind of feverish restlessness. He played with everyone and everything ! Has piqued my interest in the period and I'm going to try 'Straight Life' by Art Pepper next.

[Erik · Rating 4 out of 5]

Could use more insight into "music making" nerdery. A good ringside seat to the Bebop heroin cult that Charlie Parker started. Compelling voice, very readable.

[Matthew Conroy · Rating 4 out of 5]

One of the truly great jazz autobiographies. Hawes, an under appreciated pianist who emerged from the LA scene in the post-Bebop era, takes a clear-eyed view of himself, society and the forces that drove him to self-destruction, eventually landing him in prison before a late career renaissance.

[Drucifer · Rating 5 out of 5]

filled with great language and rhythm, this is an excellent counterpoint to art pepper's "the straight life" as it takes place during the same time frame and involves many of the same people and venues. both pepper and hawes survived nasty heroin addictions and became worthy contributors to the west coast jazz canon.

[Tom · Rating 5 out of 5]

Excellent "warts and all" autobio of a major bebop pianist.

[Tim · Rating 5 out of 5]

one of the best jazz books and best biographies period i've read. swinging.

[Fabrizio · Rating 4 out of 5]

Strong, hard, sad, extremely funny. But most of all, real.
Best book i've read in a long time.

[Ali Miremadi · Rating 4 out of 5]

Excellent autobiography. I really enjoyed it. Also listening to his 1950s recordings, which I hadn't come across previously.

[Daniel J. Rowe · Rating 4 out of 5]

I thoroughly enjoyed this book. It bounces with a rhythm not unlike jazz and pounds with a realism not unlike the era. Highly recommend this book. Great read.

[Giovanni García-Fenech · Rating 5 out of 5]

Angry, dark, and witty. Beautifully written. More about heroin than jazz.