Boston-born Floyd Williams had a long career in jazz, first as a musician and then as an educator. In his home town, the drummer was known by his nickname, “Floogie.” No one around now knows how he got it. Later in his career, people knew him as Floyd Williams.
Floyd “Floogie” Williams
His Boston story is an intriguing one. As with many artists of past decades who did not achieve great stardom in New York, there are facts about his story we don’t know. We do know he attended Boston public schools, started on piano as a boy, switched to the drums, gigged with friends while still at Roxbury High School, and studied briefly at the New England Conservatory. I have read that Johnny Hodges was his godfather, and I am still looking into that.
Legendary godfather or not, Floogie Williams earned his own recognition as a drummer in the late 1940s, at a time when Boston was incubating an exciting brand of modern jazz. The numerous G.I. Bill students at the music schools were mixing with the local musicians in the clubs clustered around Mass Ave and Columbus Ave. Disc jockey Symphony Sid Torin called this intersection “the jazz corner of Boston.” Williams was a regular on the bandstand at the Sunnyside Cafe, where he worked with saxophonists Sam Rivers and Gigi Gryce. He also played occasionally in the big band of Jimmie Martin, where he met trumpeters Joe Gordon and Lennie Johnson, and Jaki Byard—who played trombone!
Although Williams identified with the modernists, he was equally adept at playing swing. In 1952 he was with Sabby Lewis, who in the 1940s led the most important swing-era band in Boston, and still had plenty of gas in the tank in the early 1950s. Floyd Williams also worked the resort towns in Maine during the summers with pianist and arranger Hi Diggs, also firmly in the swing camp.
Downbeat Jazz
Floogie made it to a name band in late 1953, joining the Lionel Hampton Orchestra. He stayed with Hamp about a year. Back in Boston, interest in modern jazz was building to a mid-fifties peak. There were some very good working bands in town, like the house band at the Stable with Joe Gordon, and the sextet of baritone saxophonist Serge Chaloff. Tenor saxophonist Jay Migliori was forming another one, and he needed a drummer. Williams got the job, and for almost two years he anchored Migliori’s groups. The first was a quintet featuring Tommy Ball’s trumpet. The second was a septet, with Bill Berry replacing Ball. Williams and pianist Danny Kent were in both, providing continuity and rhythmic drive.
From left: Floyd Williams, Hi Diggs, Malcolm Jarvis; date unknown
Migliori’s quintet was the house band at the Downbeat, a club on Park Square, for much of 1955. They recorded an album for Tom Wilson’s Transition label that November called Downbeat Jazz (unless it was called Jazz Downbeat), but it was not released and the tapes have never surfaced. One tantalizing track, “Something’s Gotta Give,” was included on the label’s sampler album, Jazz in Transition, in 1956. Follow the link at the bottom of this post to hear this gem.
Floyd Williams was back with Hampton for an extended tour of Europe and Africa in 1958; Hampton had been named a “Goodwill Ambassador” and was touring constantly on behalf of the State Department. Williams was fascinated by his experiences in Africa. At the completion of the tour, he remained in Ghana for four months, absorbing the local music and culture. When Williams returned to the U.S., he toured and recorded with Carmen McRae.
In 1959, Williams returned Boston, for what would be his last long stay. He put his big band experience to good use with the Rollins Griffith Nonet. They played on Jazz Night at the Boston Arts Festival in June. But there was less jazz work than there had been a few years earlier, and Williams’s ability fit into any musical setting served him well. For instance, in 1959 he worked one night a week in a Dixieland band at the Jazz Village—and a reviewer wrote, if Williams isn’t on the bandstand, don’t bother going. He also spent time in the house band at Caesar’s Monticello in suburban Framingham, a room that presented the big names in middle-of-the-road pop music. A few years later, he shifted gears again and played with the Chamber Society of New York. The versatile Williams could play percussion in any setting.
On the Road with the Duke
In the early 1960s, Williams was back on the road with Carmen McRae, and also with Della Reese. There was another long tour with Lionel Hampton in 1963.
Floyd Williams had one more notable experience on the road, a long stay as a substitute with the Duke Ellington Orchestra. This is one of those engagements that’s hard to place in time. Williams often talked about the gig, but didn’t mention when it was or for whom he was subbing. He noted that he filled in when Duke’s drummer was absent for a medical reason—in one telling, the fellow had broken his foot. Williams implied the gig lasted for several months. I’ve been unable to identify the who and when, but one possibility is 1960-61, during one of Sam Woodyard’s absences from the band. This is only a guess.
Williams was dogged by poor health, and the rigors of the road eventually became too much for him. In 1964 he settled into New York and turned his attention to composing and studio work. In 1965, Williams formed a songwriting team with lyricist Gene Lees (former editor of Down Beat and future publisher of the Jazzletter). The two signed with publisher Hollis Music, but had only limited success. Tony Bennett performed their song “The Birthday Gift,” but I don’t know if he recorded it. Years after the duo ended their partnership, Meredith D’Ambrosio recorded their “Self-Defense Waltz” on her 1982 album, Little Jazz Bird.
Floyd Williams, 1970
Meanwhile, Floyd Williams had tired of the New York scene in general and the music publishing industry in particular. He and his wife moved first to Mexico, then to the town of Warren, Pennsylvania, north of Pittsburgh, near the New York border. There he built a new life in music for himself, and that is a subject for another post. At the time of his death at age 68 in 1994, he was director of the Allegheny Jazz Lab at Allegheny College in nearby Meadville.
I hope to fill the holes in the Floyd “Floogie” Williams story. He was a man of many musical talents, and it is always rewarding to recognize people like Williams, even in their absence.
When Williams died, his son, also named Floyd, was asked if his father had any hobbies. “No,” he answered, “no hobbies. Just music, music, and more music.”
Something’s Gotta Give
So with that, let’s go to the music. Floyd Williams recorded with Hampton, and on a number of Carmen McRae albums including Comes Love (1961). But only one example of his Boston years survives: “Something’s Gotta Give,” from 1955. Jay Migliori and Tommy Ball go to town on it, and pianist Danny Kent, bassist Paul Morrison, and Williams supply a driving rhythm.
I studied drums with Floyd at Allegheny in the late 80s and he was so talented and had so many stories. I was getting warmed up for my first lesson freshman year and he walked in and said “you’re from Boston”. Said he could always tell a Boston drummer because of our precision. Some times we would just jam, he would always teach and often share stories. I remember him well and was so lucky to know him. I also took a history of jazz class with him. One of my favorite classes. Forever missed but not forgotten.
“You’re from Boston” — that’s a fascinating anecdote, and thanks for sharing it. Another aspect of the Boston school of jazz drumming.
Great research. Great Article. I started piano lessons with Floyd shortly after he came to Warren (maybe about 1970?) Floyd was teaching at First Lutheran Church. Later he moved to a second-floor studio on Pennsylvania Avenue. Still later he turned one of the outbuildings at the Yankee Bush farm into a studio where he taught and where he ran a summer program for several of us area students. In the summer program he would do things like give us a musical theme—we’d all have our horns and we’d sit for hours doing variations on that theme. The Yankee Bush Farm belonged to Liz’s parents (the Andersons). Liz and her parents were also amazing people. The Andersons lived in Jamestown.
I had some memorable musical adventures with Floyd. He took me to see Count Basie in Jamestown. Floyd was good friends with Bobby Plater and Bobby sat with us during the breaks. Floyd introduced me to many band members and, of course, Count Basie. The most memorable was Floyd taking several of us students to the Duke Ellington band at Chautauqua. Floyd walked right up to the stage and the Ellington band members went nuts to see Floyd. I remember Floyd hugging Duke and the two of them chatting and, of course, meeting the band members. Later, at Allegheny, Floyd took me backstage to meet Buddy Rich. Just like Count Basie and Duke Ellington, Buddy knew Floyd well. I was in awe. Buddy let me hang backstage during his performance. Buddy had two attractive young ladies traveling with him!
Shortly after I started piano lessons with Floyd he introduced me to composition. Floyd was as great a composer as he was drummer. I have a dozen or so lead sheets of tunes that Floyd wrote, including several with Gene Lees. “Rain Seems to Do It” is my favorite. “Almost There” brings me to tears. I recorded a bunch of Floyd’s tunes with him on the two grand pianos at the Womens’ Club in Warren. I’d love to know if those tapes still exist.
Floyd was intimidating. In my first interview he told me that if I was going to be his student I’d have to learn modes, how to transpose on sight, and a bunch of other things I didn’t understand. When he introduced me to composition he drilled me in music theory. I don’t know when or how, but Floyd had studied Walter Piston’s work and Floyd could drill the rules like nobody’s business. (After college I took music theory at CMU and it was a cakewalk because Floyd had pounded the rules so thoroughly.)
Floyd and I went to Allegheny together. My dad died in 1968 and Floyd took me on my college visit to Allegheny in ’75 or early ’76. We toured the campus, visited a friend of his in the English department, and spent a long time in the music department. One thing led to another, and Floyd began teaching at Allegheny in 1976, the same year I matriculated. I took several classes from him and played in the jazz band that he eventually led.
I learned a good deal more from Floyd than piano and composition. In the absence of a father, I was blessed to have Floyd push me to do things I assumed were way beyond my abilities. He had me tackling Beethoven and writing for multi-piece groups at a young age. We played chess. We gardened. The most important thing I learned from Floyd was his concept of musical honesty. If I wrote something he thought was contrived, he would push me to throw it out and come up with a melody line or chord progression that came from the heart. Floyd told me that the best compliment he got was when someone told him his music moved them.
Wonderful remembrances of Floyd Williams and your time with him. Thanks for writing, and for sharing it here.
You’re most welcome! It’s so good to see “Fluj” (the way I remember him spelling it, but my memory certainly may be failing me) get the recognition he so deserved!
“Fluj”…another little mystery to add to my research list, the preferred spelling of the nickname. I am sure your memory is correct. And thanks for adding your name to this growing list of Friends of Fluj|Floogie!
Richard: you’re quite welcome!
Wow! Amazing to find this site about Floyd! I was his first student at Allegheny College not long after he moved to PA. I studied piano with him. He was a mentor and more and I wouldn’t have had the professional career in music I did had it not been for him. Floyd was a very, very special individual.
And again it bears repeating…Mr Williams had many friends. Always happy to have them stopping by to say hello.
I met Floyd at a craft fair at Panama Rocks in 1976. I was 17 at the time, wearing a colonial outfit and playing fifes and flutes that I made and sold, and he came up to me and asked if it would be OK if he got out a drum. Sure, I said, so he went and got a single snare drum out of his car, set it up, and started playing. My jaw dropped, I had never heard anyone that good on a simple snare drum. After a while, he asked if I was going to play, I had forgotten I had an instrument in my hands.
After that, I took lessons from him at his studio on Yankee Bush Road (near Warren). He was such a gifted jazz teacher, but also gifted at teaching classical music. He actually started out as a classical pianist, but there were not many opportunities for a black man to play classical music at the time. And of course, Duke Ellington was not looking for another pianist, so Floyd moved to drums.
His wife was warm and charming, his children young and cute. I had completely lost track of them all, it was good to read this here.
Hi Rich, I was a drum student of Floyd in Warren, PA at Biekarck’s Music. I know his family well. I worked w/ Floyd to become a drummer, at jazz and mostly rock through today. I still play actively at the semi-pro level on guitar and drums, in Philly w/ my band E.D.O. and in Warren with a 20-person collective called Allegheny River Monsters. I went with him to Allegheny for two summer programs with another guitar student of his Joe Holmberg. At Allegheny I got to play w/ a Cincinnati Orchestra percussionist, and a bunch of bright players doing creative ensembles. The highlight, though, was always learning from the jazz band of pros that Floyd pulled together most summers.. and Floyd would still astound everyone with his drumming and entertaining presence. He told me to go buy Kind of Blue when I was 15, and I immediately understood the power of Miles, and then got into Weather Report, Billy Cobham, Vince Guaraldi. Thanks for sharing this history which I never knew.
Floyd had many Allegheny friends…and I’ve enjoyed telling a story that’s new to them. Thanks for stopping by and sharing yours.
Wow!!!! Thank you Vickie Jamison for sending me this link!!! I too was a student of Floyd’s at Allegheny and one of the founding members of the Allegheny College Jazz Lab. I played guitar and one season I played Bass. I first met Floyd the beginning of freshman year in the fall of 1979. When he first saw me he said that I looked like Charlie Christian! I had no idea who that was at the time but I did play guitar! Lol! Floyd was like a father to me away from home! I owe him so much! Not just for the music education, but for setting me straight when I needed it! Ironically enough, after Allegheny I mov d back to New York, became a professional musician and educator! Another incredible coincidence is that a very dear friend of mine named Wesley “Wally Gator” Watson (R.I.P.) was the drummer for the Lionel Hampton Orchestra!!! In fact! At times, Gator was the drummer for Lionel’s Band, Cab Calloway’s Band and the Duke Ellington Band! When Hampton had his stroke, it was Wally who helped Hampton learn to play again! I was fortunate to record on Hampton’s last record date with pianist Jim Martinez!
Hey Fred McGowan! Are you the same Fred McGowan who owned and operated McGowans Music Store on Chestnut Street in Meadville, PA.? If so, this is the same Steve Brown form the college who used to come in all the time and sit and play guitar in your store! Sometimes “Cootie Harris” would come by and sit with us. I really enjoyed those moments of fellowship hanging with you guys! If this is you please let me know! Stebo4677@gmail.com
I’ve kept Floyd in my heart all of these years. I even encouraged some of my former students to attend Allegheny! Imagine how proud I felt when I attended their graduation ceremony! Of course I made sure that they knew about my Music Department Professors and Jan Hyatt the dance instructor and my Mom away from home! I just wish that like Jan and Alec Chien and Ward Jamison that they could have met Floyd!!! I know he would have been pleased and very proud!!!
Thank you for posting this information. I was fortunate to have Floyd as a professor at Allegheny College shortly before his passing. It wasn’t until his memorial service at the college that I learned additional details of his remarkable biography. He was an excellent musician and teacher. He lessons remain with me to this day.
I can’t believe I found this. I have been searching for years on the internet for more information about this remarkable man. I was a student at Allegheny college and studied with Floyd in the early 90s. I learned so much from him not only about music but about life as a musician. He was truly a godsend to me. He was taken from us way too early. Rest in peace my friend.
My mother was friends with his wife Lizzie Anderson Williams. Wonderful to read up on his amazing career.
Dick, I can’t recall precisely but guess around ’61.
I was lucky enough to see Floogie at Club 47 playing with Paul and John Neves. Midway through the set Alan Dawson came in and sat in on vibes! This was prior to 47 becoming a folk haven.
Frank, when would this have been?
Thanks for putting this up.
You’re most welcome. It’s like I’ve been saying: another hundred or so artists and I’ll be caught up on the backlog. Thanks for stopping by.
Richard: this is an outstanding piece! Thank you for the careful research you conducted, and for posting this. I was a student of Floyd’s when I was at Allegheny in ‘84 -‘88. I took several courses from him, played in the Jazz Lab for all four of my years, and spent countless hours hanging out in his office listening to his stories. He was a brilliant player, teacher, mentor, and friend. Thank you again for memorializing him here!
Thanks for the good words, Chris!