GEORGE WETTLING’S RIGHTEOUS RAGE

The man in the picture looks serious, intent, but hardly dangerous.  He is George Wettling — known for his wonderful drumming with Eddie Condon, Max Kaminsky, Jimmy McPartland, Artie Shaw, Paul Whiteman, Benny Goodman, Bud Freeman, Ruby Braff, Pee Wee Russell, Art Hodes, and many others. 

In my recent, quite amiable discussion of Moldy Figs and Mossy Stones with Nate Chinen, one of my friends, drummer Mike Burgevin, brought up a piece of jazz legend: he had read somewhere that “George Wettling flattened a critic.”

Inquiring minds want to know, of course, and so Stompy Jones (my Canadian ally) asked me what I knew about this incident.  I knew nothing, but suggested that the critic in question might have been Leonard Feather, who expended a great deal of energy in the Forties making fun of the Condon bands — so much so that Condon dedicated a mocking title to him, and later on Muggsy Spanier made a record called FEATHER BRAIN. 

I inquired of fellow scholars and drummers Hal Smith and Kevin Dorn, but no one seems to have particular details of this incident.  And the less I know about it, the more it piques my interest.  Let us assume that it actually happened, of course.  Did Wettling read something in DOWN BEAT, say, by Mike Levin, the critic who compared Lester Young’s tone to cardboard, meet him on the street, swing once, connect, and leave Levin horizontal?  Or was it a critic who actually came to hear Wettling in person who may have told George that his style of drumming was old-fashioned.  “Stop playing that bass drum.  Go take some lessons from Tiny Kahn or Max Roach.”  BOOM!

Those with information are invited and encouraged to write in; aspiring playwrights are also encouraged to submit five-minute playlets on the theme. 

And then, when we’ve collectively solved this mystery, perhaps someone can explain the astonishing and continuing interest in photographs of Billie Holiday’s “man,” Louis McKay.  Hundreds of people seem to be searching for Mr. McKay.  With all due respect, why?

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10 responses to “GEORGE WETTLING’S RIGHTEOUS RAGE

  1. Pingback: GEORGE WETTLING’S RIGHTEOUS RAGE

  2. Stompy Jones

    ‘Tis said that a drummer named Wettling
    Had a talent for argument-settling:
    Whenever a critic
    Got too analytic,
    [ta-dum ta-da-dum ta-da-dum-dum]

    A valuable prize goes to anyone who can provide a last line for this limerick.

  3. Interesting. I’ve just begun reading Randall (Randy) Sandke’s new book, “Where The Dark & Light Folks Meet”. In the first chapter in writing about the feckless critics, he says Feather was called the “empty suit” by musicians.

  4. “A sock in the jaw stopped his mettling.”

    I give that a B- for ingenuity, and in limericks anything is possible.

    A valuable prize?

  5. Good one Stompy! Michael!

    ‘Tis said that a drummer named Wettling
    Had a talent for argument settling:
    Whenever a critic got too analytic,
    By George, OUR George,
    Why he just went ballistic!
    His fists flying out like a gun gettling.

    Sorry!

  6. Stompy Jones

    There’s no prize more valuable than my heartfelt respect.

  7. So say we all! (Although some hamantaschen would have been nice, too.)

  8. I can remember this subject coming up more than 20 years ago. George T. Simon said that Muggsy Spanier did indeed deck Feather and that bassist John Simmons had also punched him on a different occasion.

    After Feather had moved to LA in 1959, his reputation did not improve. There were all sorts of Leonard Feather jokes from that era.

  9. Hi, well Max Roach could certainly play the bass drum, audible, for instance, on the famous Gillespie / Parker: Massey Hall concert 1953.
    Cheers:
    http://peroldaeus-musicandart.blogspot.com/2010_01_01_archive.html

  10. I wonder if Mr. Feather ever told Frank Sinatra his vocal style was old fashioned and that he should take some lessons form Elvis Presley.If he had he’d have spent his remaing days drinking through a straw.

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