DAN MORGENSTERN ON JIMMY ROWLES, RACE RELATIONS, THE BLESSINGS OF JAZZ, WHICH INCLUDE POTATO SALAD (March 3, 2017)

This is the fourth part of a series of interviews I was fortunate enough to do with Dan Morgenstern on March 3, 2017: here are the ones already posted, with first-hand commentary on everyone from Lester Young to Tommy Benford, soul food, and more.

The interview that follows began with my asking Dan about the irreplaceable pianist and singer Jimmy Rowles, but it soon moves away from a remembrance of Rowles to larger matters: jazz as a place “where the dark and the light folks” could meet in safety and love, and Dan’s own experiences with race relations during his military service in Columbus, Georgia, and a record shop he remembers as “Dr. Jive.”  I found this  article on the founder of that record shop, eventually four record shops, and various record labels — Ed Mendel, a man wholly exemplifying the blessed color-blindness we are still striving towards, eighty years later.

Dan mentions Sherman’s BBQ — which closed about five years ago — and remembers their potato salad as the best he’d ever eaten.  In memoriam, I offer this photograph:

More interviews to come, of course.  For potato salad, you’re on your own.

May your happiness increase!

“AND UNCLE TOM COBLEY (or COBLEIGH) AND ALL”

I just received this now out-of-print “Chronogical” Classics disc.

With all respect to Feather, journalist-publicist, promoter, pianist, composer, arranger of record sessions, I bought this rare item for the company he kept:

From left: Robert Goffin, Benny Carter, Louis, Feather, 1942

For me, the appeal of this now-rare disc in in sessions featuring Bobby Hackett, Leo Watson, Pete Brown, Joe Marsala, Joe Bushkin, George Wettling, Ray Biondi, Benny Carter, Billy Kyle, Hayes Alvis, Artie Shapiro, Cozy Cole, Buck Clayton, Coleman Hawkins, Oscar Pettiford, Remo Palmieri, Tiny Grimes, Jack Lesberg, Morey Feld, and two sessions featuring swinging British players.  I knew far less about trumpeter / singer Dave Wilkins, reedmen Andy McDevitt and Bertie King, pianist Will Solomon, guitarist Alan Ferguson, string bassist Len Harrison, or drummer Hymie Schneider.

These musicians (with Feather on the final two selections) were presented as LEONARD FEATHER AND YE OLDE ENGLISH SWYNGE BAND, and they recorded for Decca in London on September 12, 1938.

Here’s the personnel for the disc:

Listening in sequence, I discovered this side, which is now an instant favorite:

I hadn’t known this traditional English folksong, obviously updated, but the parade of names is very funny and definitely 1938 hip. I’m sorry the take is so short, because the band has a good time with the simplest material. A similar band had backed Fats Waller on recordings in April.  Was the idea of jamming on traditional folk material was modeled on Maxine Sullivan’s 1937 hits LOCH LOMOND and ANNIE LAURIE, perhaps on Ella Logan’s performances of folk songs swung, or a way for a recording company to avoid paying composer royalties.  Or both.

I searched for more information about WIDDICOMBE FAIR and found this wonderful animated film, hilarious and deft both:

Here are the complete lyrics — an oral narrative too long to reprint here, the moral being caution about lending important objects / animals / possessions. But a secondary moral is that anything can swing, in the right hands.

May your happiness increase!

“NOT A SCIENCE EXPERIMENT”: IAN DATE, NIGEL DATE, BOB BARNARD, JONATHAN ZWARTZ / CHRIS O’DEA, STAN VALACOS, ANDREW DICKESON

To paraphrase Aquinas, to those who can hear, no explanation is necessary.

You might not recognize the musicians, and the song might be unfamiliar, but it is unmistakably Good Music, as Milt Hinton would have called it:

and then there’s the issued version, with useful visuals:

To reiterate the obvious (it goes with my job description) this is a new CD created by (electric) guitarist Ian Date and his brother Nigel, who plays acoustic guitar, string bassist Jonathan Zwartz, and the heroic Bob Barnard on trumpet. JUST MY LUCK was recorded in Sydney in March 2016, and it’s a delight.

I confess that even though I did not know Ian’s music well, when I saw that he and Nigel had recorded this with Bob, I entreated a copy.  Bob is one of my true idols: a gentle, witty man in person, and a truly melodic player — he carries on the great legacy of Bobby Hackett and others while making acrobatics seem both easy and plausible.  Although Bob is mildly older than I am, nothing that he plays has an iota of strain or effortful gracelessness.  And the three other players are brilliantly easeful as well: Ian compares them to four blokes sitting around playing cards.

The result is music that is truly conversational and collaborative — no competition, just a deep awareness that song and swing are the essential cosmic forces.  It’s beautifully recorded as well, and the songs are a pleasure.  I don’t know who came up with the title song — an obscurity from Broadway — but I wish more bands would play it.  And the others are all simultaneously deeply rewarding but not overplayed: MIS’RY AND THE BLUES / COCKTAILS FOR TWO / MAD ABOUT THE BOY / YOU’RE MY THRILL / MOON SONG / IT’S WONDERFUL / BY MYSELF / YOU ARE TOO BEAUTIFUL.

Incidentally, once I’d heard JUST MY LUCK, I looked up Ian’s recording career and found that he was on a dozen or more CDs with Dan Barrett and Tom Baker — CDs I’d treasured for years.  So, Ian, I apologize for not putting your name in cyber-lights sooner, and hope this little nosegay makes up for it slightly.

From a slightly earlier session, here’s DINETTE:

Here’s the somewhat quirky cover:

Don’t let the homegrown, slightly satiric cover fool you.  This CD is consistently delightful: I plan to keep a copy in my car to use as a Blindfold Test, should I have passengers who think themselves knowledgeable about the music, so that they can say, “Michael, WHO are those people?  Damn, they are superb!”  The overall ambiance of the disc is — sonically and spiritually — Mainstream — but it is so good that it is hard to describe.  The quintet plays the blues convincingly, ballads in emotive yet swinging ways.  At times, I thought of an imagined Herb Ellis session or another track from the 1939 Charlie Christian – Jerry Jerome – Pettiford session.  Nothing’s imitative: there’s no effort to Evoke An Era, but the end result is wonderfully reassuring, as if reminding us that such music can still be made, and made superbly in this century.  Incidentally, Ian and Nigel are sometimes advertised as “Gypsy jazz,” but what they’ve taken from that sometimes distorted genre is a deep feeling for melody, for lyricism, for swing — rather than having the fretboard burst into flames.  I think they remember that Django’s original inspirations were Louis, local melodies, and dance bands . . .

If anything, what I’ve written is a sedately restrained understatement.  The songs are DANCE HALL BEAT / SI TU VOIS MA MERE / LULLABY OF THE LEAVES / POINCIANA / SEGMENT / I’LL NEVER SMILE AGAIN / DINETTE / THERE GOES MY HEART / MMF BLUES / A SAILBOAT IN THE MOONLIGHT, and Ian’s comrades are brother Nigel, guitar; Chris O’Dea, tenor saxophone; Stan Valacos, string bass; Andrew Dickeson, drums.  From the first rimshot to the last notes (an instrumental flourish that suggests late Louis) of SAILBOAT, I was delighted — and I’ve played it half-a-dozen times.

To purchase a copy of LET’S PLAY, visit here.

I suspect that this would be another good place to visit for those who would like copies of these CDs.  But here more modern folks can download JUST MY LUCK for a mere pittance.  What beautiful, warm, and vibrant music these fellows make.

And just because Ian can, and I can, here’s another sample of his talents:

May your happiness increase!

SOLITUDE, THEN RUSHING WATER: TIM LAUGHLIN, CONNIE JONES, DOUG FINKE, CHRIS DAWSON, KATIE CAVERA, MARTY EGGERS, HAL SMITH at the SAN DIEGO JAZZ FEST (November 30, 2014)

I am not a certified Hoarder, although perhaps someone scrupulous would look at the books and music in the room I’m writing this in and say otherwise.  (I like clear paths in and around objects.)  But if I am guilty of Hoarding, it would be of video recordings of performances by the Tim Laughlin – Connie Jones All Stars, such as the two that follow, recorded at the San Diego Jazz Fest in November 2014).  You’ll understand why evidence of this magical orchestra is precious to me in about four bars.  Melodic, gentle, intense, swinging.  Tim, clarinet; Connie, cornet; Doug Finke, trombone; Chris Dawson, piano; Marty Eggers, string bass; Katie Cavera, guitar; Hal Smith, drums.

Irving Berlin’s ALL BY MYSELF:

and the folk-tinged favorite, DOWN BY THE OLD MILL STREAM:

This band won’t come again, but if JAZZ LIVES’ readers want to see and hear more, all that is needed would be to type in “Tim Laughlin” and “Connie Jones” into the magic Search box, and the whole day could be deliciously spent on things more uplifting than the news.  And . . . Tim, pianist David Boeddinghaus, and Hal have recently created the second volume of Tim’s “Trio Collection,” which I am told will soon be available to the eager public, of whom I am one.

May your happiness increase!

TWO BY EDDIE: RAY SKJELBRED, DAWN LAMBETH, MARC CAPARONE, CLINT BAKER, KATIE CAVERA, JEFF HAMILTON at the SAN DIEGO JAZZ FEST (Nov. 25, 2016)

Eddie Condon (pictured above in 1946) has a well-deserved reputation as a superb leader, a musical catalyst, a guitarist — but not as a composer of popular songs. He wrote only a few, but their melodies are memorable.

By way of illustration, a 1944 record label:

Although we associate Eddie more with the hard-charging small-band jazz he loved so well (think of Wild Bill, Pee Wee Russell, Lou McGarity, Gene Schroeder, Bob Casey, Cliff Leeman playing RIVERBOAT SHUFFLE) it’s clear he had a deeply romantic spirit, and WHEREVER THERE’S LOVE — not only De Vries’ lyrics — exemplifies this.

Ray Skjelbred, Marc Caparone, Dawn Lambeth, Clint Baker, Katie Cavera, and Jeff Hamilton admire Eddie and his musicians, thus they happily gave shape to Marc’s tribute to Eddie as composer, which happened at the San Diego Jazz Fest last November 25, 2016.

Here is Dawn’s tender version of WHEREVER THERE’S LOVE:

and Eddie’s LIZA — written with George Rubens, not Gershwin — first performed on the 1927 McKenzie-Condon Chicagoans date:

For me, the test of a song is that it lodges in my ear and memory.  Those two Condon compositions do, helped immeasurably by the passion and swing of these musicians.

May your happiness increase!

A RARE LADY DAY SIGHTING

It’s a truly gorgeous photograph, new to me, and the signature looks completely authentic.  I cannot date it, but Billie looks plump rather than emaciated, and the feathery ornament is an intriguing change from the familiar gardenia.

Here‘s the link for the eager eBay buyer.  The price is $7,500.

May your happiness increase!

DILIGENT, ENTHUSIASTIC AUDREY BAXTER OF CINCINNATI, OHIO: 1939, 1941, 1946

Audrey Baxter and I never met, although we would have had some enthusiasms in common.  She had good taste in music and encountered artists I admire, leaving behind a few precious relics.  Taking a chance on Google, I found these possibly incorrect shards of evidence from the 1940 United States Census.  I say incorrect because hers is a common name, but on April 1, an Audrey Baxter was about 27 years old and was living with her brother Don Haney and his wife Edna on Monteith Avenue in Cincinnati, Ohio.  The census-taker noted she was “Female,” “White,” and had been born in Ohio.

The reason for my new fascination with Audrey Baxter is that she collected autographs from bands and musicians from the Thirties to the Fifties, and a few delights have turned up for sale on eBay.  The signatures look genuine to me, and Audrey dated the back of the photographs, presumably noting when she got the autograph and inscription.

Here are a few delicacies:

Gene Krupa, October 1, 1939:

I think she thumbtacked Gene to the wall — anathema to collectors, but to me those loving damages are an indication of how eager and enthusiastic she was about the subjects, their music, and her brief connection with them.

Ray Noble, with terriers and calligraphy sublime, March 18, 1941:

and what is to me the absolute prize, Eddie Condon, Oct. 21, 1946.  The photograph is beyond my budget but I love it seriously:

When we die, the fate of our physical selves is fairly clear, no matter what plans we may have made.  Will our precious possessions end up on eBay?  That is another question entirely.

Thank you, Audrey, for being such an enthusiastic Swing fan.

May your happiness increase!