Tag Archives: Al “Jazzbo” Collins

A STAGE FULL OF BRIGHT LIGHTS: WILD BILL DAVISON, BOBBY HACKETT, JIMMY McPARTLAND, BUCK CLAYTON, JIMMY ARCHEY, VIC DICKENSON, GENE SEDRIC, ED HALL, FRANK SIGNORELLI, JOE BUSHKIN, MARIAN McPARTLAND, MILT HINTON, POPS FOSTER, MAX WAYNE, GEORGE WETTLING, JO JONES, TONY SPARGO, LEE WILEY (Town Hall, New York City, April 12, 1952)

 Here’s a vibrant paradox: the musicians who understand themselves deeply know that singularity is the great goal.  Be aware of where you’ve come from, revere your heroes and know the tradition, but be yourself.  At the same time, play well with others: understand that the community of jazz improvisation is sacred, and work for “the comfort of the band,” to quote Baby Dodds.

In this Town Hall concert, from April 12, 1952, that delicate paradox is on display in every performance.  Here’s the roadmap.

This Saturday concert, produced by Bob Maltz, was billed as a farewell party for Wild Bill Davison, who was leaving New York to tour. It was recorded by the Voice of America for broadcast overseas, which may be the source of this copy.  The introduction is by Al “Jazzbo” Collins, with Marian McPartland playing softly underneath his paragraphs:

BLUE SKIES / I CAN’T BELIEVE THAT YOU”RE IN LOVE WITH ME / HINDUSTAN Wild Bill Davison, Ed Hall, Jimmy Archey, Frank Signorelli, Pops Foster, George Wettling /

THE LADY IS A TRAMP / SOMEONE TO WATCH OVER ME (Bushkin) – DON’T BLAME ME (Milt) – DINAH (Buck) – HALLELUJAH! – BLUES (Jo) Joe Bushkin, Buck Clayton, Milt Hinton, Jo Jones /

CLARINET MARMALADE / DAVENPORT BLUES / ROYAL GARDEN BLUES Jimmy McPartland, Vic Dickenson, Gene Sedric, Marian McPartland, Max Wayne, Tony Spargo /

ANY TIME, ANY DAY, ANYWHERE / STREET OF DREAMS / MANHATTAN / [Roy Haynes mentioned] ‘DEED I DO / I’VE GOT A CRUSH ON YOU Lee Wiley, Joe Bushkin, Buck Clayton, Milt Hinton, Jo Jones /

Collins jokes and talks to fill time . . .

FIDGETY FEET / SISTER KATE (Vic, vocal) / SWEET GEORGIA BROWN / Bobby Hackett, Vic Dickenson, Gene Sedric, Marian McPartland, Max Wayne, George Wettling //

THAT’S A PLENTY (explosively) / I CAN’T GIVE YOU ANYTHING BUT LOVE / SAINTS Davison, Archey, Hall, Signorelli, Foster, Wettling //

Listening to these musicians, at the peak of their expressive powers, I thought of Ruby Braff (in Boston when this concert took place) and the subject of the party, Wild Bill Davison.  Ruby was often cutting about his colleagues, except for half-a-dozen who he held sacred.  Thus, in my hearing, Wild Bill was “that moron.”  But later in life — perhaps in the wonderful conversations he had with Steve Voce, Ruby unwound enough to praise Bill: he “had drama.” 

But my point is not to praise Bill in isolation.  Every musician at this concert has their own drama — Lee Wiley wooing, Vic Dickenson telling stories, Wild Bill taking a hot-jazz-flamethrower to the curtains to see if they would catch fire.  The concert reminds me of a televised production of KING LEAR where every role was filled — gorgeously — by a star actor (Laurence Olivier, John Hurt, Michael Gambon, Leo McKern, Diana Rigg) — and they meshed wonderfully, their reverence for the play and for each other evident.

It also reminds me that there was a time, nearly seventy years ago, where both Milt Hinton and Pops Foster were available for a gig, as were Marian McPartland and Tony Spargo.  A proliferation of riches!  And even if you think, “God.  Another version of FIDGETY FEET, for goodness’ sake?” listen — you’ll be startled out of your preconceptions and hustled into joy.

May your happiness increase!

LITTLE WONDERS at AMOEBA MUSIC (The Next Chapter)

August 14, 2012.  Amoeba Music.  1855 Haight Street, San Francisco.

Flash!  Money can’t buy happiness, but money can buy the music that creates it.

Six vinyl records = $15.14.

JOE SULLIVAN: NEW SOLOS BY AN OLD MASTER (Riverside, 1953)

RAY SKJELBRED / HAL SMITH: STOMPIN’ EM DOWN (Stomp Off, 1985)

HARRY JAMES: DOUBLE DIXIE (MGM, 1962)

BUTCH THOMPSON / MIKE DUFFY / HAL SMITH: LITTLE WONDER (Triangle Jazz, 1987)

AL “JAZZBO” COLLINS: SWINGING AT THE OPERA (Everest, 1960)

THE SAINTS AND SINNERS “CATCH FIRE” (Seeco, 1960)

Explication du texte herewith.

The Sullivan is a famous record — I believe I had the music in poorer sound on a Classics CD, but the sentimental value of this disc in its crinkly wax-paper inner sleeve was something I chose not to resist.  And Sullivan’s sweet violence at the keyboard — filling A ROOM WITH A VIEW with ferocious right-hand splashes and mad Waller right-hand tinkling ornamentations — continues to astonish.  And if that weren’t enough, the disc is NON BREAKABLE, LONG PLAYING MICROGROOVE, HI FI.  What more could I ask for?

Ray Skjelbred deserves to be mentioned in the same breath, and Hal Smith’s intuitive empathy is splendid.  All I will say about STOMPIN’ ‘EM DOWN is that the duo’s performance of LOVE ME TONIGHT is another delightful version of sweet violence, honoring Bing Crosby and Earl Hines simultaneously.

I haven’t heard a note of DOUBLE DIXIE yet, but it is an intriguing experiment: the whole James band of the time, with Willie Smith and Buddy Rich, surrounding the “Dixie Five” of James, Dick Cathcart, Eddie Miller, Matty Matlock, Ray Sims.  How could I pass up a record that had TWO DEUCES on it, and all the arrangements by Matlock?

On my most recent trip to Amoeba Berkeley, I bought a Prairie Home Companion lp featuring the Butch Thompson Trio with Red Maddock on drums — and it has been giving a great deal of pleasure, both now in the present moment and reminding me of my 1981 self, listening to PHC live and waiting for those trio sessions.  This trio recording with Butch, Mike, and Hal is going to be a treat . . . a special little pleasure was in looking at the back-cover photograph of the trio, smiling . . . and reading that the photographer was none other than our friend and wondrous singer Becky Kilgore.

For me, a little “hipsterness” goes a long way, but Al “Jazzbo” Collins always had good taste.  What could be wrong with a big band recording of melodies from famous operas — when the band includes as soloists Harry Edison, Phil Woods, and Bob Brookmeyer . . . when the rhythm section is Hank Jones, Barry Galbraith, Joe Benjamin (Milt must have had a conflict that day), and Jo Jones?  Plus Harvey Phillips and Eddie Costa, arrangements by Fred Karlin, the whole thing supervised by Raymond Scott.  Can’t beat that!

Any record by the SAINTS AND SINNERS is rare these days — a compact group co-led by Red Richards and Vic Dickenson, it featured Norm Murphy or Herman Autrey, trumpet; Joe Barifaldi or Rudy Powell, reeds, and a solid rhythm section (this issue has Barrett Deems, drums).  I remember hearing Vic play TEACH ME TONIGHT from a program Ed Beach did on the S&S and so this was a superb find.  “My heart stood still,” to quote Larry Hart.

Now, there is no hidden ideology here about the goodness of vinyl over any other medium of sound reproduction; I amnot urging anyone to buy a turntable or to begin collecting more stuff, to quote George Carlin.  But there are Wonders out there for those who seek them!

P.S.  And as an added bonus, the cheerful young woman behind the counter had family that had grown up on Long Island and had gone to the high school I had graduated from when buying records was what you did.  The young woman had made it to San Francisco by way of Brooklyn, and she had wonderful instincts: when I said, in closing, “May your happiness increase,” she answered immediately, “Thank you very much!  You, too!”

May your happiness increase.