Thank you, George Carlin. Now, musical variations on this most crucial theme — whether local or global.
Clarence Williams’s performance of a composition by Cecil Scott and Don Frye, with an interesting personnel as notated by Tom Lord: unknown (cnt), Cecil Scott (cl,ts) unknown (as) unknown (ts) or 2nd (as), prob. Don Frye (p) Cyrus St. Clair (tu) prob. Floyd Casey (d) Little Buddy Farrior (vcl), New York, June 28, 1934. (This is the session, famous or not in the annals of jazz discography, where Brian Rust suggested, on some fragment of hopeful hearsay, that Lester Young was in the band. If he was, he’s not soloing.)
All I can add to the commentary is that the cornetist seems to be playing into a metal derby, and that the whole record is a wonderful example of jazz genres subtly in transition: solos and vocal over riffing ensembles.
Take Two. The message is so important we need to hear it twice:
That’s positive and romantic. Tampa Red’s version from May 10, 1940 (which I learned about thanks to the very candid Carl Sonny Leyland) is much more direct. Tell the truth OR ELSE:
Now, go out and live the message, please. Thanks to AJS for encouragement.
May your happiness increase!