In memoriam: Melvin Rhyne

The death of legendary jazz organist Melvin Rhyne last week really got me thinking: another Indianapolis cultural icon gone with little notice and zero fanfare. As I contemplated Rhyne's vast artistic contribution to the cultural heritage of our state and the relatively disproportionate appreciation he's received in his hometown, sculptor Fred Wilson entered my thoughts.

In 2011 the Bronx-born Wilson was embroiled in controversy when his proposal for a commissioned piece on the Indianapolis Cultural Trail was opposed by a concerned citizens' group primarily composed of African-Americans.

Indianapolis is said to rank second only to Washington D.C. in the number of civic monuments dotting our urban landscape. As Wilson toured Indianapolis he noted that the only African-American represented on the city's many monuments is the image of a freed slave depicted at the base of Downtown's Soldiers and Sailors Monument. Wilson's piece proposed to reproduce this freed slave, but re-imagined as a figure of African liberation.

The aforementioned opposition group rejected Wilson's proposal, suggesting the image of the slave presented a negative portrayal of black culture. Initially I was perplexed by this backlash. I sided with the artist and wrongly assumed those in protest were too shortsighted to appreciate the critical message contained in Wilson's proposed design.

But in the wake of Rhyne's death, the resentment directed towards Wilson's failed proposal became very clear to me. It wasn't so much a rejection of the artist's conceptual proposition, but a demand from a historically marginalized community that the city of Indianapolis begin to seriously acknowledge its enormous cultural contributions in a substantial and dignified manner.

Born in Indianapolis in October, 1936, Melvin Rhyne will forever be remembered for his role in the career of Wes Montgomery. A member of the Wes Montgomery Trio, Rhyne's connection with the guitar great earned him status as music royalty amongst hardcore jazz fans around the world.

Rhyne would go on to cultivate a significant career of his own, particularly during his reemergence as a recording artist in the early 1990s. But I always viewed Rhyne as a living embodiment of the glory days of Indiana Avenue.

During the early to mid-20th century, Indiana Avenue was the center of African-American culture in Indianapolis. It was the place where Rhyne and so many other Indiana jazz greats honed their craft and it was also the spot where Rhyne and Montgomery were discovered by saxophone titan Cannonball Adderley.

During its prime years the Avenue represented something akin to Indy's version of the Harlem Renaissance - - the birthplace of a cultural explosion where the arts flourished, and great careers were born. The collective output of the musicians associated with the Avenue represent what is in my opinion Indiana's greatest contribution to the arts.

Melvin Rhyne was one of the last remaining giants from this golden age of Indianapolis culture. A few others are still around, Larry Ridley and David Baker chief among them. But Indianapolis has let its greatest cultural heroes languish in obscurity for far too long. It's past time for Indianapolis to take serious steps to preserve and honor what may stand as our city's most significant artistic legacy. Perhaps a monument to Rhyne and other Indiana Avenue jazz greats would be a good step toward paying back a culture and people that have given so much and received so little.

Throughout his six decade career Melvin Rhyne maintained an impossibly high standard of excellence. Rhyne never strayed from his soulful, hard bop roots, and every title in his catalog is worth hearing. The following list presents five highlights from Rhyne's discography.

Wes Montgomery Trio - A Dynamic New Sound (1959) All of Rhyne's recordings with the Wes Montgomery Trio are essential listening. But this edition comes highly recommended for the's trio's beautiful rendition of Thelonius Monk's "Round Midnight." Rhyne's subtle shading provides the perfect backdrop for Montgomery's nuanced performance.

Melvin Rhyne - Organ-izing (1960) Rhyne's first solo outing, and it's a classic. A brilliant showcase for Rhyne's unique skills on the Hammond B3.

Uncle Funkenstein - Together Again (1983) Rhyne lays down a blistering piano performance on the stomping jazz groover "Uncle Funkenstein," from Russell Webster's legendary double LP celebrating Indy's jazz heritage.

Melvin Rhyne Quartet - Boss Organ (1993) Rhyne's second solo LP, released 33 years after his 1960 debut. Featuring sax superstar Joshua Redman, Boss Organ is packed with soulful performances. Boss Organ was the first in a series of "comeback" recordings Rhyne would make for the Netherlands-based Criss Cross label, which helped to permanently establish his reputation as one of the all-time great jazz organists.

The Dixon-Rhyne Project - Reinvention (2008) Rhyne shines on this funky collaboration with Indy sax player Rob Dixon. A soul-jazz masterpiece for the hip-hop era.

Each edition of A Cultural Manifesto features a mix from Kyle Long, spotlighting music from around the globe. This week's selection features classic recordings by Melvin Rhyne.

1. Wes Montgomery Trio - 'Round Midnight

2. Wes Montgomery Trio - Freddie the Freeloader

3. Melvin Rhyne - Things Ain't What They Used to Be

4. Uncle Funkenstein - Uncle Funkenstein

5. Melvin Rhyne - Oriental Flower

6. Melvin Rhyne - Search for Peace

7. Melvin Rhyne - Killer Ray

8. The Dixon-Rhyne Project - Johannesberg

9. The Dixon-Rhyne Project - Mel's Groove

10. Wes Montgomery Trio - Moanin'