Tag Archives: Anita O’Day

“TO SWING FAN No. 1”: AN AUTOGRAPH ALBUM c. 1941

More delightful eBaying.

The seller describes the holy relic thusly: An original 1930’s album containing 88 autograph signatures of jazz musicians, sporting figures and other personalities. The musicians represented include Coleman Hawkins, Johnny Desmond, Gene Krupa, Bid Sid Catlett, Benny Goodman, Artie Shaw, “Hot Lips” Page, Cab Calloway, Anita O’Day, Roy Eldridge, Woody Herman, Les Brown, and many more. The album with a two-ring binding, with some signatures signed directly onto the album leaves and others clipped and mounted, some on larger folded sheets. 31 pages of autographs, with further blank pages in the middle; on the last several pages, all the grades from the owner’s report cards from 1930 to 1943 are meticulously recorded! An inscription to the owner on the verso of the title page dates the album to 1931. Light toning and edge wear; overall in fine condition. 6.25 x 4.5 inches (15.8 x 11.7 cm).

Here is the link, and the price is $750 plus $20 shipping.  I don’t need it, but I certainly covet it: pieces of paper touched by people I have revered for half a century.  (And, of course, imagine having heard, seen, and spoken to them!)

Before we get to the treasures within, I can only speculate that someone listing report cards from 1930 to 1943 was born, let us say, in 1925, and so might no longer be on the planet.  But he or she was an avid Hot Lips Page acolyte, so we are certainly related spiritually.

The only name unfamiliar to me in this rich collection was Mart Kenney, whom I learned was a well-known Canadian jazz musician and bandleader (his “Western Gentlemen”) and long-lived, 1910-2006.  Did our autograph collector visit Canada?

In general, the signatures collected here suggest a wealth of bands seen and heard in 1941: Lips, Dave Tough, and Max Kaminsky with Artie Shaw; Mel Powell with Goodman; Anita O’Day and Roy Eldridge with Krupa.

Here’s a peek.

Artie Shaw, with two Lips Page signatures!

Benny Goodman, with Mel Powell, Billy Butterfield, and John Simmons!

My favorite page.  And Page (with equal time for Walter)!

I wonder how many of these pages Gene signed in his life.

Others in Gene’s band, including Sam Musiker and Roy Eldridge.

Anita O’Day and Joe Springer.

Hi-De-Ho, on a tiny label.

Woody Herman.

Bob Higgins and Les Brown.

Mart Kenney and musicians.

And I presume more members of the Western Gentlemen.

For once, this seems like a bargain: 88 signatures plus thirteen years of the owner’s report cards.  Who could resist?

Just because no JAZZ LIVES post should be completely silent, here (thanks to Loren Schoenberg) is a 1941 airshot from the Steel Pier of Artie Shaw’s band featuring Hot Lips Page, Dave Tough, and George Auld on THERE’LL BE SOME CHANGES MADE:

May your happiness increase!

“IT’S NICE TO SEE YOU FOLKS HERE”: RAY SKJELBRED at the SAN DIEGO JAZZ FEST (November 26, 2016) PART ONE

Ray Skjelbred, poet and explorer, at the piano, musing, feeling, sharing colorful worlds of his own invention.

PINKY ROSE, a blues rumination:

NO COMPLAINTS, a lilting homage to Jess Stacy:

SITTING ON TOP OF THE WORLD, a blues by the Mississippi Sheiks:

IT’S A RAMBLE, by the mysterious Oro “Tut” Soper, a pianist who once kissed the young Anita O’Day passionately before remembering he wasn’t [because of religious beliefs] supposed to:

HEAH ME TALKIN’ TO YA, celebrating Louis Armstrong, Earl Hines, and Don Redman:

Rambles and saunters in worlds known and unknown: elegant, rough, always alive.

More to come from the Esteemed Mr. Skjelbred.  And this aural bouquet is in honor of Aunt Ida Melrose Shoufler, who understands.

May your happiness increase!

MASTERY UNACKNOWLEDGED: THE ARTS OF RAY SIMS

zoot-the-swinger

Most people who have heard of Ray Sims (1921-2000), trombone and vocal, know him as Zoot’s brother, which is understandable.  On record, he was captured between 1945 and 1979, primarily as lead trombone or session player in the bands of Jerry Wald, Earle Spencer, Lyle Griffin, Bobby Sherwood, Benny Goodman, Les Brown, Anita O’Day, Dave Pell, Billy Eckstine, The Four Freshmen, Ray Anthony, Peggy Lee, Bill Holman, Harry James, Jackie and Roy, Lena Horne, Georgia Carr, Red Norvo, John Towner Williams, Jerry Gray and Maxwell Davis [supermarket recordings in tribute to Glenn Miller and Harry James] Ernie Andrews, Frank Capp, Corky Corcoran.  He stayed the longest with with Brown and James.  He never made a recording under his own name except for four tracks in a Capitol session called THE LES BROWN ALL STARS — available on CD — where he is featured, with strings, as one of Brown’s sidemen, and THE SWINGER (about which more below).

But I think trombonists who know him hold him in high regard.

Here is the only piece of Ray on film I have found, although I am sure he was captured on television many times, for both the Brown and James bands were very visible.  It is a ballad medley from the James band’s tour of Japan in 1964, and Ray is the middle soloist, between Joe Riggs, alto saxophone, and Corky Corcoran, tenor:

It would be easy to see Ray’s solo as simply “playing the melody,” but we know how difficult it is to accomplish that, and we can hear his huge gorgeous tone and his respectful, patient caress of Richard Rodgers’ lines.  Although it’s clear that he has the technique to sail over the horn, he is devotedly in the service of the song, with a tone reminiscent of Benny Morton.  Indeed, although he came of age as a musician in the middle Forties, when bebop had changed trombonists’ approach to their instrument, I hear not only Bill Harris but Tyree Glenn in his work.

And because I can’t go on without presenting more evidence of Ray’s beautiful playing, here is ON THE ALAMO, from the properly titled Pablo Records recording, THE SWINGER — with Zoot, Ray, Jimmy Rowles in spectacular form, John Heard, Shelly Manne, and one track with Michael Moore and John Clay:

But Ray Sims also sang.  I don’t know if he ever took voice lessons, but his warm heartfelt lyricism is very touching.  (The reason for this blog is my re-purchasing THE SWINGER on compact disc — the original record vanished in one seismic disorder or another — but I have remembered Ray’s singing for thirty-five years.)

I’ve found half a dozen vocals by Ray (found, not necessarily heard) from 1949 to his last session forty years later, with Brown, Pell, James, brother Zoot.  He seems to have been the musician-in-the-band who could put over a ballad or a love song without breaking into scat, someone who would be multi-talented and thus useful for the band payroll.  There’s IT ISN’T FAIR (a current pop hit), THEY SAY IT’S WONDERFUL, RED SAILS IN THE SUNSET, LET’S FALL IN LOVE, as well as a few possible vocals with Harry James, one with Corky Corcoran in 1973, and the final track on THE SWINGER from 1979.

Here is Ray’s vocal feature with Corcoran, IT NEVER ENTERED MY MIND. It’s not a polished performance, but it is warm naturalness is enchanting.  He means it, which is beautiful in itself:

Here is what I think of as a masterpiece of loose, feeling singing: Ray performing the Lunceford band’s hit DREAM OF YOU.  My guess is that Rowles suggested this: he had a deep affinity for that band — although there is extraordinary trombone playing on that Decca recording, which might have made a tremendous impression on young Ray:

And Ray Sims was obviously a wonderfully devoted parent.  Evidence here:

Here’s what Danielle herself had to say when posting this track in 2010:

Song written by Al Cohn by request of my dad (Ray Sims) and my uncle Zoot. it was recorded on Zoot Sims-The Swinger
Trombone Ray Sims (Zoot’s brother). Growing up I remember my dad playing this song to me and my mom would always say “he’s playing your song” it wasn’t until I was older that I realized that it really was “my song”. I am so blessed to have had such a wonderful family to love and so blessed to have such a wonderful man in my life to make such a beautiful video for me so I can share that love. Thank you.  Video made by JeeperG for Danielle

Jazz, like any other art, is full of people who create beauty without calling much attention to themselves.  Let us always remember their names, their creativity, and the results.

May your happiness increase!

GEORGE BARNES COULD DO IT ALL, AND HE DID

"Georgie," youthful

“Georgie,” youthful.  Photograph reproduced with permission from the owner.  Copyright 2013 The George Barnes Legacy Collection.

Alec Wilder told George Barnes that the latter’s music offered “Reassurance, reaffirmation, wit, warmth, conviction and, best of all, hope!”  I agree.

I first heard the magnificent guitarist (composer, arranger) George Barnes without knowing it.  His sound cut through the Louis Armstrong Musical Autobiography sessions for Decca — in the late Sixties. Even listening to Louis — as any reasonable person does — I was aware of this wonderful speaking sound of George and his guitar: a man who had something important to tell us in a short space (say, four bars) and made the most of it.  Not loud, but not timid.

As I amassed more jazz records, George was immediately evident through his distinctive attack.  I believe that I took in more Barnes subliminally in those years, in the way I would hear Bobby Hackett floating above my head in Macy’s. (George recorded with Roy Smeck, Connie Francis, Richard M. Jones, Bill Harris, Anita O’Day, Artie Shaw, Pearl Bailey, Jeri Southern, Connee Boswell, the Lawson-Haggart Jazz Band, Dinah Washington, Coleman Hawkins, George Wettling, LaVern Baker, Earl Bostic, Joe Venuti, Sammy Davis Jr., Don Redman, Little Willie John, Della Reese, Dick Hyman, Milt Hinton, Jo Jones, Hans Conried, Solomon Burke, Sy Oliver, Buddy Rich, Bud Freeman, Tony Bennett, Bucky Pizzarelli, Carl Kress  — just to give you an idea of his range.  And those are only the sessions documented in jazz discographies.)

In the early Seventies I actually saw George and heard him play live — he was sometimes five or six feet from me — in the short-lived quartet he and Ruby Braff led.  And then he was gone, in September 1977.

But his music remains.

George Barnes Country JAzz

And here’s a new treasure — a double one, in fact.

Now, some of you will immediately visit here, bewitched and delighted, to buy copies.  You need read no more, and simply wait for the transaction to complete itself in the way you’ve chosen.  (Incidentally, on eBay I just saw a vinyl copy of this selling for $150.)

For the others. . . . I don’t know what your feelings are when seeing the words COUNTRY JAZZ.  Initially, I had qualms, because I’ grew up hearing homogenized “country and western” music that to me seems limited.  But when I turned the cardboard sleeve over and saw that Barnes and friends were improvising on classic Americana (OLD BLACK JOE, THE ARKANSAS TRAVELER, CHICKEN REEL, IN THE GLOAMING, MY OLD KENTUCKY HOME) I relaxed immediately.  No cliche-stew of wife / girlfriend / woman / dog / truck / rifle / beer / betrayal / pals here.  Call it roots music or Americana, but it’s not fake.

And the band is exciting: George on electric guitar, bass guitar, and banjo [his banjo feature is extraordinary]; Allan Hanlon, rhythm guitar; Jack Lesberg, string bass; Cliff Leeman, drums, percussion; Phil Kraus, vibes on one track; Danny Bank, mouth harp on one track.  The sixteen tracks (and one bonus) come from this 1957 session recorded for Enoch Light — in beautiful sound.  The improvisations rock; they are hilarious, gliding, funky, and usually dazzling. There’s not a corny note here.  And gorgeously expansive documentation, too.

george-barnes_thumb

That would be more than enough fun for anyone who enjoys music.  But there’s much more.  George began leading a band when he was 14 (which would be 1935) but made a name for himself nationwide on an NBC radio program, PLANTATION PARTY, where he was a featured from 1938 to 1942. The fourteen additional airshots on this generous package come from the PARTY, and they are stunning.  Each performance is a brief electrifying (and I am not punning) vignette, and sometimes we  get the added pleasure of hearing announcer Whitley Ford introduce the song or describe George’s electric Gibson as a “right modern contraption,” which it was.

I can’t say that it’s “about time” for people to acknowledge George as a brilliant guitarist and musician, a stunning pioneer of the instrument — because the jazz and popular music histories should have been shaken and rewritten decades ago. But I’d bet anything that Charlie Christian and a thousand other players heard PLANTATION PARTY, and that a many musicians heard George, were stunned, and wanted to play like that.

I’m writing this post a few days before July 4, celebrated in the United States with fireworks.  George Barnes sounds just like those fireworks: rockets, stars, cascades, and explosions.  I don’t know that fireworks can be said to swing, but with George that is never in doubt.

To buy the CD, visit here — and at the George Barnes Legacy site, you can learn much more about George, his music, his family, his career.  Worth a long visit.

May your happiness increase!

“BEAUTIFUL LOVE, YOU’RE ALL A MYSTERY”: REBECCA KILGORE / KEITH INGHAM (ALLEGHENY JAZZ PARTY, September 19, 2014)

BEAUTIFUL LOVE Bing

The haunting waltz BEAUTIFUL LOVE was composed in 1931, music credited to Wayne King, Victor Young, and Egbert Van Alstyne; lyrics to Haven Gillespie. That is an eminent group of artists.  I don’t know whether King insisted that his name be put on the music (thus, he would receive royalties) before he would perform the song.  On no evidence whatsoever, I think Victor Young might be most responsible for this melody.

I do know that I first became aware of BEAUTIFUL LOVE through one or another 1934 Art Tatum recording.  Here is his early Decca improvisation, characteristically with everything imaginable offered, including a vivid digression into RUSSIAN LULLABY:

There are, of course, many improvisations on it by Bill Evans, by Helen Merrill, Anita O’Day, Benny Carter, Joe Pass, Kenny Dorham, Lee Konitz, Shirley Horn, George Shearing, and a sweet, intent one by Bing Crosby.

What other song can you think of that has been recorded by both Donald Lambert and Chick Corea?

In this century, the song retains its popularity among improvisers, if YouTube videos are a measure of that.  Here is a sheet music cover from 1959 with the UK pop singer Edna Savage posing inexplicably:

BEAUTIFUL LOVE Edna Savage

But my new favorite performance of BEAUTIFUL LOVE is this, which took place at the Allegheny Jazz Party on September 19, 2014  —

That’s our Rebecca, Becky Kilgore, and Keith Ingham — in one of their duets in a Victor Young tribute set.  I so admire the varied textures and shadings Becky brings to individual words and to those words, made into tapestries of sound and feeling.  The most modest of stars, she is a great understated dramatic actress who seems never to act; she is possessed by the song and rides its great arching wings.

Love is of course the great mystery, whether it is gratified or if it remains elusive.  How the great artists touch us so deeply is perhaps mysterious.  But what we feel and perceive is not — whether we experience it in person or on a recording or a video performance.

To experience an unforgettable weekend of music by Becky and friends, one need only visit here to find out all one needs to know about the Allegheny Jazz Party, taking place in Cleveland, Ohio, September 10-13, 2015.

May your happiness increase!

SOMETIME IN 1941-42: “COULD I HAVE YOUR AUTOGRAPHS?”

Gene Krupa and his Orchestra — featuring Himself, Anita O’Day, and Roy Eldridge . . . and a few other worthies, courtesy of eBay:

$_57

There was a time . . .

May your happiness increase!

FUN FOR ALL AGES: DANNY COOTS PLUS TEN at the ATLANTA JAZZ PARTY (April 26, 2014)

Large groupings of musicians on the stand of a jazz  party look impressive but they don’t always come off as well as they might.

But this one was even better than the best I could have imagined — genial, melodic, and always inspired: led by Danny Coots, drums; with Paul Keller, string bass; Randy Napoleon, guitar; Rossano Sportiello, piano; John Cocuzzi, vibes; Dan Block, tenor sax; Allan Vache, clarinet; Dan Barrett, Bob Havens, trombone; Ed Polcer, cornet; Bria Skonberg, trumpet. All this delightful music was created at the 15th Atlanta Jazz Party, late in the evening of April 26, 2014.

The set began with a romping version of PANAMA, but my camera betrayed me. (Note to self: never change batteries in midstream.) So you will have to imagine it. But what followed was even better, WHEN I GROW TOO OLD TO DREAM:

After the comedy by Allan Vache, Dan Barrett, and Danny himself, we move into a deeply satisfying series of “conversations,” starting with the two trombones.  If you want to go back into recorded history, this device reminds me of Red Nichols sessions where Jack Teagarden played a “hot” chorus while Glenn Miller played the melody sweetly — a delicious simultaneous mixing of tastes.  (I also recall, since Ed Polcer was on this session, nights at the last Eddie Condon’s where Ed and Ruby Braff would switch off — melody and improvisation — for a few choruses, always very inspiring.)  The device also solves the unstated problem — if each of the soloists takes the traditional two choruses, performances stretch out to amazing lengths.  This DREAM is about five minutes of music, but it feels filled to the very brim with melody and swing that floats through the conversations of Ed and Bria, of Dan and Allan (over the rhythm section’s rocking two-beat) — followed by sweet epistles by Randy, Rossano, Paul, and then the tidy but never constricted ensemble — a model of letting everyone have his / her say in a flexible, compact fashion.

I think everyone on the stand was elated by what they had created, and I know the audience was joyful.  Danny then (after more comedy) called for MY BABY JUST CARES FOR ME (another “ancient” pop tune that is rarely played — and if it is, not at this walking tempo) that reminds me of the best swing sessions I’ve ever heard, playful improvisation never flagging:

What could top that?  Well, nothing — but adding Rebecca Kilgore to the band to sing some Anita O’Day – Gene Krupa blues, DRUM BOOGIE / BOOGIE BLUES, which is closely related to SENT FOR YOU YESTERDAY, but we’ll let people who care about provenance argue over that.  Me, I simply love to hear Ms. Kilgore sing — and over this sweetly-Basie group, it is a treat:

Couldn’t be better. And I think it’s relevant to mention that another version of all this good feeling and good sounds will be taking place in April 2015.  I’ll be at the Atlanta Jazz Party (April 17-19) as will many of the brilliant players you see here — with some surprises.  Make plans!

May your happiness increase!