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Billy Bang’s Energy, compassion Won
over listeners and Musicians Alike
Violinist Billy Bang’s music came from contrasts:
He delved into his instrument’s history
in swing while creating a new mingling of
free improvisation within a chamber ensemble.
He also recorded serene hymnals that reflected
his harsh memories of serving in the Vietnam
War. Optimistic to the end, Bang died at age 63
in New York on April 11 of complications from
lung cancer.
“That celebration in Billy’s sound made him
such a charismatic performer, people just got
happy hearing him,” said violinist Jason Hwang.
“He would win over the musicians in the band
and the audience just because of that transcendent
kind of enthusiasm.”
Bang was born in Mobile, Ala. (as William
Walker), but moved with his mother to New
York’s Harlem shortly afterwards. Although
Bang studied violin and flute and played drums
informally while he was growing up, he didn’t
actively pursue a career in music. Then he was
drafted and served as an army combat squad
leader during the war.
Returning from Vietnam and struggling
with post-traumatic issues, Bang picked up the
violin after hearing Ornette Coleman play the
instrument. He studied intensely with Leroy
Jenkins and became prominent in New York’s
1970s loft scene along with such
longtime friends as William Parker.
Hwang saw what made Bang’s
sound distinctive.
“He loved to use ricochet bows
percussively, when the bow bounces
against the string—playing the
violin like a drum,” Hwang said. “It
would be like the left and right hand
of congas. He would make a note
sing, which was his very personal
use of vibrato. Where and how
much he let a note bend and then
resonate with vibrato was like a
great singer. You could hear Leroy Jenkins, Stuff
Smith—Billy was aware of all the history, but he
was by no means derivative.”
In 1977 Bang co-founded the String Trio of
New York with guitarist James Emery and
bassist John Lindberg. The group featured new
compositions for the format that combined the
musicians’ jazz experiences with their own
takes on classical inspirations. Bang began recording
more actively under his own name in
the 1980s, including such discs as The Fire
From Within (Soul Note), and served in Sun
Ra’s Arkestra as well as Kahil El’Zabar’s Ritual
Trio in the ’80s and ’90s.
JacK vartoogian/frontrow photos
Billy Bang
“I always felt a sensitive collectiveness with
Billy,” El’Zabar said. “He was a dynamo who
could share on the stage and encourage other
people to shine.”
During the past few years, Bang revisited his
experiences in Vietnam for such recordings as
Vietnam: Reflections, Vietnam: The Aftermath
(Justin Time) and Prayer For Peace (Tum).
“There was an intensity to him, and he would
talk about his time in Vietnam,” said trumpeter
James Zollar, who played on Prayer For Peace.
“But he was gentle. Billy was proud that he went
over there the first time with a rifle, and returned
there years later with a violin.” —Aaron Cohen
JULY 2011 DOWNBEAT 17