Tag Archives: Al Dubin

THE HILL COUNTRY DANCE ORCHESTRA: “WORDS”

The chorus begins, “Words that seem so tender / Words of sweet surrender,” so you can invent the rest of this 1924 song — by Al Dubin, Al Tucker, and Otis Spencer — on your own.  I have to improvise as well, because the complete sheet music has eluded me so far.

Most of us, if we know the song at all, know the Fletcher Henderson acoustic Vocalion recording where youthful Louis Armstrong explodes into his chorus, backed by an equally stirring Kaiser Marshall, or perhaps later evocations.

Here is a very remarkable “modern” (i.e., 2019) recording of the song that only a few listeners have made friends with — by the Hill Country Dance Orchestra, a band you won’t find in Brian Rust’s books.  Listen and marvel:

Hot enough for you?  “Authentic” enough for you?  Yes, on both counts.

What’s most remarkable is that the Hill Country Dance Orchestra — its personnel two cornets, trombone, two alto saxophones, baritone saxophone, C-melody saxophone, clarinet, violin, banjo, piano, tuba, drums — is both a discographer’s dream and nightmare, because of this young brilliance, Colin Hancock from Texas (and now studying in New York City):

My more attentive readers might be saying, “But I don’t understand.  Which instrument does Colin play on this recording?”  And then I would respond, with the appropriate emphasis.  “ALL  OF  THEM.”  The magic of modern technology; the exuberance and accuracy of a great artist.

I’ll wait while you return to listen to this marvel once again.

And here is Colin’s newest band, his Signature Seven, rollicking through I’M GONNA STOMP MISTER HENRY LEE and DOWN HOME RAG:

Colin’s noble roisterers (he’s playing cornet) are Jeffery Miller, trombone; Daniel Dickinson, alto saxophone, clarinet; Troy Anderson, tenor saxophone; Juan Vidaurre, banjo; Isaiah Thompson, piano; Julian Johnson, drums.

Great music.  Tell your friends.  Wake the children.  No one will want to say, “I wasn’t paying attention when Colin Hancock and friends were making glorious sounds.”

And you can get a direct line to the new / old sounds by subscribing to Colin’s YouTube channel SemperPhonographCo here.  (Why wait?)

May your happiness increase!

MIGHTY PROSPEROUS: MARTY GROSZ and his DIVIDENDS, 2013 and 2016 (ED WISE, DAN BLOCK, DANNY TOBIAS // JON-ERIK KELLSO, BILL ALLRED, DAN LEVINSON, SCOTT ROBINSON, EHUD ASHERIE, JON BURR, HAL SMITH)

I hope this news is true for everyone.

Source material, part one:

Part two:

Who knew that finance, 1933-style, could be such fun in this century? It is, when Marty Grosz, guitar and vocal, is setting policy and interest rates.

First, at the Mermaid Inn, Chestnut Hill, Pennsylvania, with Ed Wise, string bass; Danny Tobias, cornet; Dan Block, clarinet, on May 17, 2013.  Don’t let the apocalyptic color hues scare you: it’s dark in there:

Those three videos have been accessible on YouTube.  But here’s one you ain’t tuned in yet . . . Marty, with Hal Smith, drums; Jon Burr, string bass; Ehud Asherie, piano; Bill Allred, trombone; Scott Robinson, taragoto, Dan Levinson, tenor saxophone; Jon-Erik Kellso, trumpet: performed on September 17, 2016, at the Cleveland Classic Jazz Party:

Let’s hope that everyone has good reason to sing along.  And Marty will celebrate his 90th birthday next year.  Talk about wonderful returns on investment.

May your happiness increase!  

“YOU’VE GOT ME IN YOUR CLUTCHES”: REBECCA KILGORE, JOHN SHERIDAN, JON BURR, JOHN VON OHLEN (JAZZ AT CHAUTAUQUA, September 17, 2011)

Medical literature warns us about any kind of addiction — from potato chips to more dangerous seductions.  But what about romance?  Doctors Rebecca Kilgore, John Sheridan, Jon Burr, and John Von Ohlen let us know, gently, that being addicted to someone isn’t such a problem (decades before “stalking” entered the list of criminal offenses) using the words of Al Dubin and the music of Harry Warren to explain it all:

Sadly, LULLABY OF BROADWAY, the biography of Al Dubin written by his daughter Patricia, candidly depicts him as addicted to food, drink, gambling, and eventually morphine, dead at 53.  But this light-hearted love song was written when Dubin’s pleasures still allowed him (with Harry Warren) to create one memorable song after another.

This performance is from a set at the 2011 jazz party, Jazz at Chautauqua, which has delightfully morphed, and moved west to Cleveland, to become the current Cleveland Classic Jazz Party — with some of the same performers, this year from September 14-17, 2017.  I’ve been there every year since 2004, and if that counts as an obsession, it’s one I love.

And the medical news is that Rebecca Kilgore’s singing has been proven addictive, but with only salutary effects on the hearer.

May your happiness increase!

RHAPSODIES BY BING and HAWK, 1933

Yesterday, May 3, would have been Bing Crosby’s birthday.  He doesn’t need to be defended, re-assessed, or re-evaluated, but it’s always a pleasure to remember his singing: his passionate ease, his swing, his beautiful dramatic sense.  I first fell in love with his voice in my childhood and it continues to thrill me.  Here are two (really, three) examples of how wonderfully he sang in the Thirties — and the lovely songs he was given, the first by Sam Coslow and Arthur Johnston, the second by Al Dubin and Harry Warren.

Here is a clip from the film.  Bing’s acting is broad, reminiscent of his Mack Sennett days, but it could also be the way he was directed: listen to the voice:

and the issued recording, its subtleties showing that he knew how to improvise:

Here’s I’VE GOT TO SING A TORCH SONG, where Bing’s passionate delivery might make you forget the simple scalar quality of the melody line:

The question of “influence” is always slippery, unless A has written a letter that she is listening to the newest record by B and is impressed by it.  Those two songs were in the air, on sheet music, on the radio — this was popular music — so although I feel that Bing had a powerful influence on instrumentalists, I can’t prove it.  However, I offer these two instrumental versions — each a beautiful creation — to suggest that perhaps the most famous jazz players were listening deeply to Bing.  (We know Louis did.)  It gives me an excuse to share, without ideology, glorious rhapsodies.

That’s Hawk with a small group from the Fletcher Henderson band (Red Allen, J. C. Higginbotham, Hilton Jefferson, Horace  Henderson, Bernard Addison, John Kirby, Walter Johnson); here he is as star soloist with the full orchestra, with brother Horace on piano, who may have done the arrangement:

Gorgeous music.  Sweet, hot, White, Black — who cares?  Just gorgeous.

May your happiness increase!

IMMENSELY RESTORATIVE, 1934

hot-water-and-lemon

This may be better than other restoratives, such as a brisk walk before breakfast.

The details?  Dick Powell and the Mills Brothers.  A song by Al Dubin and Harry Warren, from the 1934 film TWENTY MILLION SWEETHEARTS.  And I read that Powell insisted on this being recorded and filmed “live” rather than have the five of them — notice, no studio orchestra (which would have been entirely unnecessary) — lip-syncing, as was the custom.

This performance, just over two minutes, is totally entrancing: clearly rehearsed, because there are a million places where collisions would be possible, it becomes a sweet vocal ballet with very uplifting visual touches.  Historically-minded listeners may hear parallels between this and what Bing had done even before he and the Brothers made a record in 1932 (and a film appearance in THE BIG BROADCAST) and I hear a good deal of what the Spirits of Rhythm were so memorably creating.

But right now, I plan to watch and listen to this clip several more times.  I encourage you to take as needed as well.  Thanks to Steven Potteiger of Facebook for pointing me to Ron Evry’s video — without them, I would have been unrestored.

May your happiness increase!

8:45 PM, MORE OR LESS

What time is it?

8 45

One recipe for happiness (there are many) follows below.  Take a wonderful song by Harry Warren and Al Dubin — I know it first from the Jolson Decca — ABOUT A QUARTER TO NINE.  Then, take one of my favorite singers, Banu Gibson, and match her with the swinging David Boeddinghaus at the piano in a 1990 duo-session:

Please listen closely — from the clock-chimes at the start to the delicious mixture of Banu’s warm but controlled voice (her lovely intonation and pitch and swing) and David’s rollicking piano.  The only thing wrong with this recording is that it is the length of a 78.  So I have to play it several times in a row.

ABOUT A QUARTER TO NINE

I know there are many other recorded versions of this song — not only Jolson, but Dean Martin, Mavis Rivers, Susannah McCorkle, Bobby Darin, Chick Bullock, Wingy Manone, Ozzie Nelson, Combo De Luxe, Spats Langham / Keith Nichols, Sarah Spencer, John Sheridan, and others.

But the one that wins the prize for Decline of the West, 1962-style, is this classic by one Debby Woods, who flattens out the melody, rides right over the chord changes, and in general (although she may have been an adorable person) does unintended violence to what I think is a great song:

and the flip side of this 45 — what archaic terms those are now! — is a Woodsian rendering of this Thirties classic, JUST ONE MORE CHANCE, which I refuse to post here — even though it is more faithful to the original — out of respect to Bing and Hawk.

But now you know.  When someone wants to argue with you over the thorny question, “WHEN does life begin?” you can answer “At eight forty-five,” smile and slip away unnoticed.

May your happiness increase!

A LEE WILEY PORTRAIT

Thank you, eBay.

Thank you, Culver Service.

Lee Wiley back

Lee is rounder-faced than perhaps we are used to seeing her, posing with her cigarette held over the piano keys, “going through new songs” for the photographer, I assume.  She was born on October 8, 1908, so she would be at most in her very early twenties when this photograph was taken, already a known recording artist and radio star.  Was the setting a photographer’s studio or was it, perhaps, Victor Young’s apartment — with a large portrait, lit from above?

Lee Wiley front

On the piano, visible, is the sheet music for NO MORE LOVE — which Joe Venuti recorded on November 3, 1933, suggesting that this portrait is of that vintage. It was a Harry Warren – Al Dubin song from the Eddie Cantor film, ROMAN SCANDALS, where it was performed by Ruth Etting.

Lee did not record NO MORE LOVE, but Etting did — so those who can hear Lee’s voice can imagine her version of this song:

To the right of Miss Wiley’s pencil and manuscript paper is the sheet music for the 1932 LOVE ME TONIGHT, with Mister Crosby on the cover.

The photograph is five inches by seven inches — far too small to contain all that we know, imagine, and love about Miss Wiley.

P.S.  At close to 7 PM on February 28, a truly eager Wileyphile outbid everyone on eBay and won the photograph . . . $229.59.  That’s what I call keen!

May your happiness increase!