[Congressional Record (Bound Edition), Volume 147 (2001), Part 18]
[Senate]
[Page 25049]
[From the U.S. Government Publishing Office, www.gpo.gov]



                        TRIBUTE TO VERNON ALLEY

 Mrs. BOXER. Mr. President, earlier this year our country was 
treated to ``Jazz,'' the latest documentary by Ken Burns. The 
ambitious, multi-part series traced the personalities, culture and, of 
course, music of jazz from its origins in turn of the century New 
Orleans until the present day. Like his critically acclaimed 
documentaries on the Civil War and baseball, Mr. Burns' production was 
as much a meditation on America and the nature of our democracy as it 
was an overview of jazz itself. For those who have not yet had a chance 
to see this wonderful exploration, I highly recommend it.
  Jazz is a distinctly American art form, born of many different 
influences and nurtured in a wide variety of contexts and communities. 
Although often over-shadowed by cities such as New Orleans, New York 
and Kansas City, San Francisco was and remains one such community. Over 
the years, it has been home and played host to many of jazz's greatest 
talents.
  Perhaps no musician better personifies San Francisco's connection and 
contributions to jazz than bassist Vernon Alley. Vernon Alley is a 
longtime San Franciscan. He grew up in the City and has maintained a 
band here off and on since the mid-forties. As jazz vocalist Jon 
Hendricks once remarked, ``[Vernon is] the dean of San Francisco 
jazz.''
  Mr. Alley began his lifelong association with San Francisco and jazz 
when he accompanied his parents to see a performance by the 
incomparable Jelly Roll Morton at Maple Hall. Thus inspired, Vernon 
went on to dedicate his life to music. Arriving in New York as a young 
man at the high point of the swing era, he played with some of the 
biggest names in the business, including both the Lionel Hampton and 
Count Basie Orchestras. Always a sought after accompanist, in later 
years he would play with such other legends as Duke Ellington, Ella 
Fitzgerald, Dizzy Gillespie, Erroll Garner and more.
  Although he may have been able to gain wider exposure or acclaim if 
he remained in New York, Vernon returned to San Francisco after World 
War II. Here he is beloved, not only for the power, warmth and lyrical 
quality of his music, but also for his great personal charm. I have had 
the pleasure of meeting Vernon Alley and seeing him perform. He is a 
gifted and gracious man and certainly a Bay Area treasure.
  Vernon was honored this year at the prestigious San Francisco Jazz 
Festival with the SFJAZZ Beacon Award for his achievements in music and 
as a stalwart in the community. Mayor Willie Brown declared October 30, 
2001 ``Vernon Alley Day.'' That evening Vernon joined 15 friends on the 
stage for a three and a half hour tribute concert. By all accounts it 
was night filled with joy and an appreciation of how the gifts of one 
man can be gifts to us all.
  I am greatly encouraged by what I see as a renewed sense of love for 
America and respect for its traditions and achievements. In Jazz, we 
see a reflection of ourselves at our finest. And in Vernon Alley we see 
the embodiment of jazz at its finest. For keeping this art form alive, 
we owe him our deepest thanks.

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