As a child, Henry was encouraged to take music seriously and with that he understood its emotional power. Though he would take to the clarinet, piano and tap dancing early, it wasn't until the day he picked up the bass that music began to define him. So began Henry's life-long love affair with music.
"It just felt natural," he said.
Soon there were lessons - arranged by Sammy - with some of the classical bass players that helped establish his foundational knowledge of the instrument. Later Henry studied with Al McKibbon and George Morrow and spent many hours pouring over the offerings of such bassist greats as Paul Chambers and Doug Watkins.
Henry was still attending the Manual Arts High School when he played with his first professional band - the Roy Ayers Latin Jazz Quintet.
"Roy went to a different high school from me", he said, "but we played together along with Bill Henderson, Carl Burnett and Elmo Jones." Around that same time, Henry met and worked with Harold Land and Hampton Hawes. Years later he would tour Europe with Hawes and record five albums with him.
"I was influenced very much by Hawes and Land - I still am," Henry said. "Those guys are great heroes to me."
Jazz continued to heat up the scene in Los Angeles, with scores of clubs packing the houses from Adams Boulevard to Sunset and Hollywood Boulevards to across Central Avenue. Jazz was king in L.A. and a young Henry Franklin held court with the likes of Ornette Coleman, Don Cherry, Billy Higgins and Scott LaFaro.
Henry continued to study, listen and hone his craft, but in 1968 received a call from Willie Bobo. The call led to a year-long tour of the East Coast, where on his off days, he worked gigs with Archie Shepp, Lamont Johnson, Beaver Harris and Roswell Rudd. Then one night, Hugh Masekela heard Henry play and made him an offer. Three and a half years later the two would collaborate on Grazing in the Grass and then part ways with a great friendship and a gold record.
Henry's touring continued over the next few years, working internationally with singer O.C. Smith, The Three Sounds, Freddie Hubbard and Count Basie. Henry collected another gold record with Stevie Wonder on The Secret Life of Plants.
Henry began experimenting outside of the bebop genre with John Carter and Bobby Bradford and produced two albums: Self-Determination Music and Secrets. His style was more avant-garde - but only for a short time.
"I always try to fit in - whatever the musical occasion, but it's not permanent," Henry said, referring to his affinity for tradition. "I guess I've been a bebopper all of my life."
The jazz world continued to embrace him and Henry's work continued to be elevated. He would team with Dennis Gonzales, John Purcell and William Richardson and perform with them on five albums that were critically acclaimed throughout Europe. Henry also played extensively with Pharoah Sanders, Joe Williams, Sonny Rollins, Bobby Hutcherson, Sonny Fortune and Milt Jackson.
There are more than 100 albums on which Henry appears, with many of them produced under his leadership. They include: The Skipper and The Skipper at Home (Black Jazz label), Three Card Molly, Bassic Instincts, The Hunter, Bass Encounters (Resurgent Music label), Colemanology, Ears Wide Open, Three Worlds, A Musical Tribute to Gene Harris featuring Three More Sounds, Summer Serenade (Beezwax Records), Shalabongo, We Came to Play (Jeru Records), Tribal Dance (Catalyst Records), Blue Lights (Ovation Records), Sakura (WJ3 Records), All God's Children (SP Records), Music to the 5th Power (SP Records), 3Bop (SP Records), and If We Should Meet Again (SP Records). Henry also published a method book for all bass players entitled, Bassically Yours.
The Skipper has performed for over ten years with his group at The Mission Inn in Riverside, California. His presence there is especially appreciated. He also continues to produce artists on his SP Label - including his latest CD Oh, What a Beautiful Morning! - to keep his and the world's love of jazz alive.
"I strive and work hard to do the best for Jazz," Henry said. "It's America's only art form."
You Are So Beautiful
Henry Franklin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And I am a fool for beauty
Fooled by a feeling that because I have found you
I could have bound you too
You are too beautiful for one man alone
For one lucky fool to be with
When there are other men
Love does not stand sharing
Not if one cares
Have you been comparing
My every kiss with theirs
If, on the other hand, I'm faithful to you
It's not through a sense of duty
You are too beautiful
And I am a fool for beauty
Love does not stand sharing
Not if one cares
Have you been comparing
My every kiss with theirs
If, on the other hand, I'm faithful to you
It's not through a sense of duty
You are too beautiful
And I am a fool for beauty
Henry Franklin's song "You Are Too Beautiful" is a powerful ballad that captures the essence of love, beauty, and the complexities of relationships. The lyrics express a man's admiration for his beloved, and the struggle he faces in competing against other suitors who may also be captivated by her charm.
The opening lines establish the beauty of the subject, and the vulnerability of the singer. He admits to being a "fool for beauty," which may imply that he is willing to risk his heart for the sake of experiencing it. Additionally, by stating that his love interest is "too beautiful" and "to be true," he suggests that he cannot believe his luck in finding such a remarkable partner.
The lyrics go on to illustrate the singer's fear of losing out to other men who may be enamored with her as well. He acknowledges the fact that he is not the only one who sees her beauty, and expresses concern that his affection will not be enough to keep her loyal to him. The fear of inadequacy in the face of other suitors is palpable in the line, "You are too beautiful for one man alone." However, the singer is also aware that true love does not stand sharing, and is not prepared to compete with others for her affection.
In the end, the song speaks of the singer's absolute devotion to his love interest, stating that his faithfulness is not out of duty or obligation, but because she is simply too beautiful to let go. The repetition of the line "and I am a fool for beauty" at the end reinforces the idea that love can make one vulnerable and even foolish, but it is also a deeply rewarding experience that is worth the risk.
Line by Line Meaning
You are too beautiful, my dear, to be true
You are such a stunning person, my love, that it is hard to believe you are real
And I am a fool for beauty
I am easily tricked by the allure of attractive things
Fooled by a feeling that because I have found you
I have been deceived by the notion that just because I have discovered you, I can keep you all to myself
I could have bound you too
I could have possessed you entirely
You are too beautiful for one man alone
You are so gorgeous that one man does not deserve to have you exclusively
For one lucky fool to be with
Only a fortunate and foolish man could ever hope to call you his partner
When there are other men
Considering there are other eligible bachelors out there
With eyes of their own to see with
Who have their own perspectives and preferences when it comes to attraction
Love does not stand sharing
True love cannot endure if it must be shared with others
Not if one cares
One cannot genuinely care for someone if they are willing to share them with others
Have you been comparing
Have you been evaluating my affections against those of others
My every kiss with theirs
Comparing the intimacy of my kisses with that of others
If, on the other hand, I'm faithful to you
Conversely, if I remain loyal to you
It's not through a sense of duty
It is not out of obligation or responsibility
You are too beautiful
Your beauty is too extraordinary to be held by just one person
And I am a fool for beauty
And I am a fool for being captivated by your remarkable beauty
Lyrics © CONCORD MUSIC PUBLISHING LLC
Written by: LORENZ HART, RICHARD RODGERS
Lyrics Licensed & Provided by LyricFind