Marcus Belgrave remembered as a legendary jazz mentor

Of course, there was lots of music at today's celebration of the life of Marcus Belgrave. How could there not be?

Detroit said good-bye to its jazz laureate, a world-class trumpeter and extraordinarily influential teacher, who had made the city his home for more than half a century and who died May 24 at age 78.

But what was so remarkable about the three hour-plus service at Greater Grace Temple in northwest Detroit, was that among the dozens of musicians who performed were Belgrave protégés in their teens, 20s, 30s, 40s and 50s: Five decades of musicians that Belgrave mentored — from international stars like pianist Geri Allen, bassist Robert Hurst and saxophonist James Carter, to pillars of the Detroit scene like drummer Gayelynn McKinney and bassist Marion Hayden to gifted youngsters like saxophonists Marcus Elliot and Stephen Grady.

"Each note was touched by Marcus," Oliver Ragsdale, president of the downtown Carr Center, told the audience of more than 1,000 gathered at the church.

Belgrave settled in Detroit in 1963, after having made his reputation working with greats like Ray Charles, Max Roach and Charles Mingus. While Belgrave retained a presence on the national scene, particularly in the 1980s and 90s through his work with Wynton Marsalis and occasional recordings as a sideman, he's best known as a legendary mentor and standard bearer who embodied Detroit's profound jazz heritage.

Belgrave taught formally and informally, running his own Jazz Development Workshop on a shoestring but also holding occasional posts with universities or arts organizations and, crucially, populating his own bands with his most talented students. He graduated numerous protégés to the national scene, among them Allen, Hurst, violinist Regina Carter, saxophonist Kenny Garrett and drummer Karriem Riggins.

Belgrave's role as a teacher was a major theme of today's service. The words "nurture" and "mentor" kept reappearing in speeches like a musical refrain. But other words given wide currency were "love," "service," "beauty," "joy," "master."

"He could handle the most complex musical ideas with beauty and care," said Allen, who also spoke warmly of their student-mentor relationship that dated back to the early '70s, when he conducted workshops at Cass Technical High School. Allen noted Belgrave's ability to spot and nurture the potential of students was a ritual she witnessed decade after decade.

"He brought this spirit of love to every one of us, and he shared his talent and expertise with any musician," she said.

His funeral had a New Orleans frame, opening with a processional-dirge played by a marching band and closing with a rousing second-line parade recessional to the tune of "When the Saints Go Marching In." Octogenarian clarinetist Charlie Gabriel — a Crescent City native who lived in Detroit for decades and worked closely with Belgrave, led the ensemble. (Marsalis was scheduled to participate but was unable to attended.)

A few of the other musical highlights:

■ The Motown Legends Gospel Choir and soloist Hazelette Crosby sang a soulful "Bridge Over Troubled Water."

■ James Carter's virile and virtuosic reading of "Tenderly" on tenor sax had the amen-quality of a preacher on a roll.

■ Belgrave's widow, Joan, a vocalist who wore a colorful skullcap that had belonged to her husband, brought many to tears with a heartfelt version of "Crazy He Calls Me."

■ The sterling trio of Allen, Hurst and Riggins played "Number Three" by the late Detroit composer and drummer Lawrence Williams, a frequent Belgrave collaborator, with an energy and creativity that the trio's mentor would have applauded.

Among the speakers was U.S. Rep. John Conyers, who said Belgrave had frequently played for the Congressional Black Caucus, offering a reminder of the jazz's central place within African-American culture.

The Rev. Daniel Aldridge offered a rousing eulogy that dipped into a large trove of personal stories and reflections. Some were funny, like the time he ran into Belgrave performing with the circus. "You call it circus music," Belgrave told him. "But to me it ain't nothing but notes." Then the kicker:

"They pay well," Belgrave told him.

But Aldridge, who called on the city to erect a statue of Belgrave, also cast the trumpeter as a saint — not because Belgrave was perfect, he said, but because his love for music and his students was so deep and so selfless that he regarded his greatest reward as the success of those he helped. "His kindness and decency spoke as loudly as his horn," Aldridge said.

Aldridge emphasized that Belgrave's willingness to give back to his art form and community had distinguished a long line of Detroit jazz musicians and mentors. Among those Aldridge singled out were Harold McKinney, Donald Walden, Kenn Cox and Roy Brooks — all of whom have passed away — as well as musicians like the major Detroit-born pianist Barry Harris, who continues to teach in New York, and Hayden and Gayelynn McKinney, who are keeping the fire burning at home in Detroit.

To close his eulogy, Aldridge turned to the image of Belgrave arriving at the Pearly Gates. Aldridge evoked the names of many other giants of the jazz trumpet who have passed on and were waiting for Belgrave — Clifford Brown, Lee Morgan, Woody Shaw, Blue Mitchell, Miles Davis, Cootie Williams, Louis Armstrong and more. The Reverend's takeaway:

"Open the gate, because another saint is marching in."

Contact Mark Stryker: 313-222-6459. mstryker@freepress.com