Tag Archives: BArrett Deems

HOLY RELICS, BEYOND BELIEF (Spring 2020 Edition)

The eBay seller “jgautographs,” from whom I’ve purchased several marvels (signatures of Henry “Red” Allen, Rod Cless, Pee Wee Russell, Pete Brown, Sidney Catlett, among others) has been displaying an astonishing assortment of jazz inscriptions.  I haven’t counted, but the total identified as “jazz” comes to 213.  They range from “traditional” to “free jazz” with detours into related musical fields, with famous names side-by-side with those people whose autographs I have never seen.

As I write this (the early afternoon of March 21, 2020) three days and some hours remain.

Here is the overall link.  Theoretically, I covet them, but money and wall space are always considerations.  And collectors should step back to let other people have a chance.

The signers include Benny Carter, Betty Carter, Curtis Counce, Jimmy Woode, Herb Hall, Bennie Morton, Nat Pierce, Hot Lips Page, Rolf Ericson, Arnett Cobb, Vernon Brown, Albert Nicholas, Bobby Hackett, Vic Dickenson, Sammy Margolis, Ed Polcer, Ed Hall, Billy Kyle, Sam Donahue, Al Donahue, Max Kaminsky, Butch Miles, Gene Krupa, Ray McKinley, Earl Hines, Jack Teagarden, Arvell Shaw, Barrett Deems, Buck Clayton, Babs Gonzales, Benny Bailey, Joe Newman, Frank Wess, Pharoah Sanders, Kenny Burrell, Reggie Workman, Stanley Turrentine, Louis Prima, Wayne Shorter, Tiny Bradshaw, Harry Carney, Juan Tizol, Bea Wain, Red Rodney, Frank Socolow, Bobby Timmons, George Wettling, Roy Milton, Charlie Rouse, Donald Byrd, Kai Winding, Kenny Drew, Kenny Clarke, Steve Swallow, Shelly Manne, Frank Bunker, Charlie Shavers, Ben Pollack, Jess Stacy, Ron Carter, Bob Zurke, Jimmy Rushing, Cecil Payne, Lucky Thompson, Gary Burton, Jaki Byard, Noble Sissle, Muggsy Spanier, Don Byas, Pee Wee Russell, Slam Stewart, Hazel Scott, Ziggy Elman, Buddy Schutz, Ernie Royal, Boyd Raeburn, Dave McKenna, Claude Thornhill.

And signatures more often seen, Louis Armstrong, Dave Brubeck, Marian McPartland, Ella Fitzgerald, Anita O’Day, Hoagy Carmichael, Artie Shaw, Sidney Bechet, Gerry Mulligan, Cab Calloway, Rosemary Clooney, Wynton Marsalis,Tommy Dorsey, Oscar Peterson, Billy Eckstine, Mel Torme, Chick Corea, Count Basie.

In this grouping, there are three or four jazz-party photographs from Al White’s collection, but the rest are matted, with the signed page allied to a photograph — whether by the collector or by the seller, I don’t know.  And there seems to be only one error: “Joe Thomas” is paired with a photograph of the Lunceford tenor star, but the pairing is heralded as the trumpeter of the same name.

My head starts to swim, so I propose some appropriate music — sweet sounds at easy tempos, the better to contemplate such riches, before I share a half-dozen treasures related to musicians I revere.

Jess Stacy’s version of Bix Beiderbecke’s CANDLELIGHTS:

Harry Carney with strings, IT HAD TO BE YOU:

Lester Young, Teddy Wilson, Gene Ramey, Jo Jones, PRISONER OF LOVE:

Here are a double handful of autographs for your amazed perusal.

Bob Zurke:

Charlie Shavers, name, address, and phone number:

Lucky Thompson, 1957:

Jimmy Rushing, 1970:

Harry Carney:

Juan Tizol:

Bill Coleman:

Buck Clayton:

Hot Lips Page (authentic because of the presence of the apostrophe):

Joe Sullivan:

Don Byas:

George Wettling:

Frank Socolow:

Benny Carter (I want to see the other side of the check!):

And what is, to me, the absolute prize of this collection: Lester Young, whom, I’m told, didn’t like to write:

Here’s music to bid by — especially appropriate in those last frantic seconds when the bids mount in near hysteria:

May your happiness increase!

AUDREY ARBUCKLE, “BUCKLES,” A DEVOTED JAZZ FAN (1954-56)

Since jazz fans seem — note I say seem — to be overwhelmingly male, it’s lovely to find this collection of jazz autographs collected by the young jazz fan Audrey Arbuckle, between 1954-56 in Chicago.  My guess is that “Buckles,” born July 19, 1931, is no longer collecting autographs and may no longer be with us, but I can’t prove it.

Here’s the seller’s description:

Here is a unique and amazing collection of famous jazz musician autographs on matchbooks, tickets and table cards put together during 1954-1956 by a young college student nicknamed “Buckles” who went to jazz clubs like the original Blue Note in Chicago and the Basin Street East.

Eventually Buckles had the autographs she collected laminated between a clear plastic sheet.

On one side, are the autographs of jazz legends Lester Young, Louis Armstrong, Duke Ellington, Dave Brubeck, Coleman Hawkins, Illinois Jacquet, Chet Baker, Carmen McRae, Sonny Stitt, Paul Quinichette (“Vice-Prez” to Lester’s “Prez”), Roy Eldridge, Jeri Southern and Paul Desmond. There is even the team of Kai Winding and J. J. Johnson whose combined autographs together, on the same page, from the same club date, is very hard to find.

On the other side of the laminated sheet is: Count Basie, the tragic, talented jazz singer Beverly Kenney, Bob Bates, drummer Candido, singer Chris Connor and the great Paul Gonslaves who signed his name on part of a Duke Ellington ticket. Gonsalves famously blew 27 insane bars during his sax solo on “Diminuendo and Crescendo in Blue” that sent the crowd at the 1956 Newport Jazz Festival into a frenzy and put Duke Ellington’s band, which had been going through a popularity slump, back in its rightful place. Also a picture of “Buckles” who got the autographs.

The laminated page — which no doubt preserved those sixty-five year old scraps of paper, although oddly — is up for bid at $850 or “best offer,” and here is the link.

And the photographic evidence: some of these signatures (Beverly Kenney!) are incredibly rare — but to think of this young woman who saw and heard so much, it’s astonishing.  The front side of the page, which takes some careful viewing:

and the reverse:

and some close-ups, the first, Dave Brubeck:

then, the two trombone team of Jay and Kai:

Paul Gonsalves, who played tenor saxophone:

then, Coleman Hawkins and Illinois Jacquet:

and Chet Baker:

Louis, Velma, Arvell, and Barrett Deems:

The Maestro:

and what is the prize of the collection (second place goes to Beverly Kenney’s neat handwriting) a Lester Young autograph.  Even though it looks as though it was written on a piece of Scotch tape, such deity-sightings are rare:

and, a little music, lest we forget the point of these exalted scribbles:

Wherever you are now, Buckles, whatever names you took later in life, know that we cherish you and your devotion.  Did you graduate college, have a career, get married and have a family?  The laminated page says to me that these signatures and experiences were precious.  But what happened to you?  I wish I knew.

This just in, thanks to Detective Richard Salvucci, formerly of the Philadelphia police force, and one of this blog’s dearest readers: https://www.findagrave.com/memorial/113718218 — which suggests that Audrey Ellen Arbuckle was born in 1934 and died in 2009, buried in an Erie, Pennsylvania cemetery.  I wish she were here to read this, but I am sure her spirit still swings.

May your happiness increase!

I CALL ON KIM CUSACK (Part Two): MARCH 27, 2018

Here is the first part of the video interviews I did with the Esteemed Mister Cusack — a great deal of fun, good anecdotes, well-told, and new information about everyone from George Brunis to Phyllis Diller: a great honor and pleasure for me.  Here’s the second part.

The first six segments were moderately autobiographical, but Kim doesn’t revel in himself as the only subject.  So in the videos you will see below, my request had been for Kim to talk of people he’d encountered and played with whom we might otherwise not have known, although some of the players are well-known to those who relish the music: Barrett Deems, James Dapogny, Truck Parham, Little Brother Montgomery.  Good stories, seriously rewarding insights not only into people but also into “the business,” including the Chicago underworld.

I’ll let the videos speak for themselves, as Kim does so well.

Norm Murphy and Frank Chace:

Art Gronwald and Little Brother Montgomery (this is for Ethan Leinwand):

Bobby Ballard, Bob Skiver, Floyd Bean:

Smokey Stover and Truck Parham:

Bob Cousins, Wayne Jones, Barrett Deems:

and finally for that afternoon, Kim’s portrait of our hero Jim Dapogny:

I  hope to visit Delavan, Wisconsin, again — to delight in the company of Kim and Ailene Cusack and Lacey, too.  And who knows what treasures I might bring back for you?

May your happiness increase!

I CALL ON KIM CUSACK (Part One): MARCH 27, 2018

Paul Asaro, piano; Kim Cusack, clarinet

I admire the reedman and occasional vocalist Kim Cusack immensely and had done so through recordings for a long time before we met in person.  When we exchanged courtesies and compliments at a California festival — perhaps the San Diego Jazz Fest in 2011? — I was thrilled by his music as it was created on the spot, and I liked the man holding the clarinet a great deal.

A hero-worshiper, I found occasions to stand at the edge of a small circle when Kim was telling a story.  And what he had to tell us was plenty.  He never tells jokes but he’s hilarious with a polished deadpan delivery and the eye for detail of a great writer.

I had said to another hero, Marc Caparone, “I wish I could get Kim to sit for a video interview,” and Marc — ever the pragmatist — said, “Ask him!” I did, and the result was a visit to Kim and the endearing Ailene Cusack (she’s camera-shy but has her own stories) in their Wisconsin nest.

The results are a dozen vignettes: illuminating, sharply observed, and genuine.  Kim’s stories are about the lively, sometimes eccentric people he knows and has known.  I am honored to have had the opportunity, and I hope you enjoy the videos.  I know I did and do.

I’ve prefaced each video with a very brief sketch of what it contains.

Early days, going back to fifth grade, and early influences, including Spike Jones, moving up to high school and a paying gig, with side-glances at rock ‘n’ roll and the Salty Dogs:

From Career Day at Kim’s high school to early adulthood, and a seven-year stint teaching, with Eddy Davis, Darnell Howard, Mike Walbridge, James Dapogny, the Chicago Stompers, the Salty Dogs, Frank Chace, Marty Grosz, Lew Green, Wayne Jones, and the saga of Paul’s Roast Round:

From the Chicago Stompers and union conflicts to Art Hodes and Ted Butterman and Wayne Jones to Kim’s secret career as a piano player . . . and the elusive piano recording, and a mention of Davey Jones of Empirical Records:

Kim’s portraits of distinctive personalities Ted Butterman, Bob Sundstrom, Little Brother Montgomery, Booker T. Washington, Rail Wilson, Peter Nygaard, Phyllis Diller and her husband “Fang,” the Salty Dogs, Eddy Davis, George Brunis, Stepin Fetchit and OL’ MAN RIVER in Ab. Work with Gene Mayl and “Jack the Bear” on trumpet. And Barrett Deems!  (More Deems stories to come.)

More portraits, including Gene Mayl, Monte Mountjoy, Gus Johnson, the legendary George Brunis, Nappy Trottier, who “could really play,” Wild Bill Davison, Johnson McRee. And a playing trip to Alaska for three weeks with Donny McDonald and later Ernie Carson:

Scary airplane trips with the Gene Mayl band over Alaska, and a glance at the splendid pianist John Ulrich, a happy tourist:

I have six more vignettes to share, with memories of Norm Murphy, Frank Chace, Barrett Deems, Bob Skiver, Little Brother Montgomery, and more.  My gratitude to Kim and Ailene Cusack, for making this pilgrimage not only possible but sweet, rewarding fun.

May your happiness increase!

“WILD REEDS AND WICKED RHYTHM” (Part Two): EDDY DAVIS, SCOTT ROBINSON, MICHAEL HASHIM, BOB RINGWALD, DMITRI KOLESNIKOV at THE CAJUN (JULY 5, 2006)

The Cajun Restaurant, no longer extant but the vibrations and sights still exist here and in our memories.

Eddy Davis, “The Manhattan Minstrel”

A little more than a week ago, I posted the first of a three-part series on this wonderful band, with videos from 2006 that I rediscovered.  I am taking the liberty of reprinting the text from that post here.  And the music from that first post is also here.  (For those impatient with prose — and some have told me this in ungentle terms — the new video is at the bottom of this posting.)

Late in 2005, I made my way to an unusual New York City jazz club, The Cajun, run by Arlene Lichterman and the late Herb Maslin. Unusual for many reasons, some of which I won’t explicate here, but mostly because it offered traditional jazz bands nine times a week — seven evenings and two brunch performances.

Who was there?  I will leave someone out, so apologies in advance, but Kevin Dorn, Jon-Erik Kellso, Vince Giordano, John Gill, Michael Bank, J. Walter Hawkes, Pete Martinez, Michael Hashim, Scott Robinson, Barbara Rosene, Danny Tobias, Steve Little, Bob Thompson, Barbara Dreiwitz, Dick Dreiwitz, Hank Ross, Craig Ventresco, Carol Sudhalter, Peter Ecklund, Brad Shigeta, John Bucher, Sam Ulano, Stanley King, and Eddy Davis — banjoist, singer, composer.  More about Eddy and his wondrously singular little band, “Wild Reeds and Wicked Rhythm,” which was no hyperbole, in a moment.

Originally I brought my cassette recorder to tape some of the music, but I had a small epiphany: seeing that every grandparent I knew had a video camera to take to the kids’ school play, I thought, “If they can learn to do this, so can I,” and I bought my first: a Sony that used mini-DVDs, each of which ran about 30 minutes.  It was, I think, the most inconvenient camera I’ve ever owned.  For some reason that I can’t recall, I tended to let the discs run rather than starting and stopping.  They were, however, nearly untransferable, and they sat in small stacks in a bookcase.

This April, though, I tried to take a cyber-detour, and was able to transfer all the videos, perhaps forty hours or so, to my computer and thus to YouTube.  I sent some to the players and the response was not always enthusiastic, but Eddy Davis was thrilled to have his little band captured, even though it did not have all of its usual personnel.  Usually, WR and WR had Orange Kellin, clarinet; Scott Robinson, C-melody saxophone; Conal Fowkes, piano and vocal; Debbie Kennedy, string bass, in addition to Eddy. On this night, Michael Hashim replaced Orange; Dmitri Kolesnikov took Debbie’s place.  [Update to this posting: pianist / singer Bob Ringwald of California and father of Molly, sits in for this set.]

I find these videos thrilling: this band rocked exuberantly and apparently was a small jazz perpetual motion machine, a small group where the musicians smiled at each other all night long, and it wasn’t a show for the audience.  And there’s some of the most exciting ensemble interplay I’ve ever heard — to say nothing of the truly false “false endings.”

I’d asked Eddy to write something for this post, and he responded gloriously.

WILD REEDS AND WICKED RHYTHM

I, Eddy Davis, have in my lifetime had the pleasure of having many wonderful Jazz Bands filled with wonderful musicians. It all started back in “The Windy City” in the late 1950’s and early 1960’s. I was a Composition student at the Chicago Conservatory and working as a band leader for the Syndicate on Chicago’s infamous Rush Street. Boy, those were the days. During this time many great, interesting musicians came through the band.

Fellows like “Kansas” Fields, who had just returned from a ten year stint in Paris and Charles “Truck” Parham who started in the music business as a truck driver for the Fletcher Henderson Band. He was hauling the band instruments from job to job. When I asked Truck how he got his nickname he told me this story. He said: “One night the bass player got drunk and couldn’t play, so Fletcher said “Hey, Truck, get up on the band stand and act like you are playing the bass.” He said he liked it so much that he bought a bass and learned to play it. When he came to my band he had just gotten off the Pearl Bailey/Louie Bellson trio. When he left my band he joined the CBS staff orchestra. I was lucky enough to have the likes of Frank Powers or Bobby Gordon on Clarinet.  I had the wonderful Norman Murphy on trumpet who had been in the Brass section of Gene Krupa’s Big Band. I also had the hilarious Jack “The Bear” Brown on trumpet. My band played opposite the original “Dukes of Dixieland” for a solid year at the club “Bourbon Street” in the middle. There were the Asuntos — Frank, on Trumpet — Freddie on Trombone and PaPa Jack on Trombone and Banjo. Gene Schroeder was on piano (where I learned so much) and the fantastic Barrett Deems on Drums.

At the Sari-S Showboat I was in the band of the great Trombonist Grorg Brunis, the Marsala Brothers, Joe and Marty, along with “Hey Hey” Humphries on drums, were also on the band. Another great band I played on was listed as Junie Cobb’s “Colonels of Corn.” The main reason this band was so great was that they were the very originals of JASS MUSIC. Junie was a multi-instrumentalist who on this band was playing Piano (he also recorded on Banjo). Al Wynn who had been the musical director for the great blues singer “Ma Rainey” was on Trombone and the wonderful Darnell Howard, who made terrific recordings with “Jelly Roll Morton,” was on Clarinet. We were playing at the Sabre Room and I was 17 (maybe 16) years old. I was a member of the last Jabbo Smith “Rhythm Aces” in New York City in the 1970’s.

Well, I could go on and on, but I’ll just say that the band “Wild Reeds and Wicked Rhythm” which I had for four or five years at the “Cajun Restaurant” on 16th Street and 8th Avenue in Manhattan was the thrill of my life. With the GREAT Scott Robinson and Orange Kellin on Reeds and Debbie Kennedy on Bass and MY BROTHER from a another mother — Conal Fowkes — was on Piano (he knows what I’m going to do before I do it and fits me like a glove). These were perhaps the most satisfying Musical Evenings I’ve ever known.

Scott Robinson is easily the best (for me) musical mind and player I’ve ever been in the presents of. I couldn’t come up with enough words to express my JOY with this band for those several years we performed every Wednesday night at the Cajun Restaurant in the great town of Manhattan.

We had two great subs on the night of this video. Dmitri Kolesnikov was on bass and on saxophone, the truly wonderful “The Hat” Michael Hashim.

Mr. Steinman, I would like to thank you so very much for supplying these videos and if you or anyone else has any other footage of any combination of this band, it would please me to no end to know of it.

The Banjoist Eddy “The Manhattan Minstrel” Davis

The songs are AFTER YOU’VE GONE / OLD BONES / YOU TOOK ADVANTAGE OF ME / TROUBLE IN MIND, all with vocals by Bob.

It’s so lovely to be able to reach back into the past and find it’s not only accessible but glowing.  There’s more to come.

May your happiness increase!

“WILD REEDS AND WICKED RHYTHM” (Part One): EDDY DAVIS, SCOTT ROBINSON, MICHAEL HASHIM, CONAL FOWKES, DMITRI KOLESNIKOV at THE CAJUN (JULY 5, 2006)

Eddy Davis, “The Manhattan Minstrel.”

Hallowed ground.

Late in 2005, I made my way to an unusual New York City jazz club, The Cajun, run by Arlene Lichterman and the late Herb Maslin. Unusual for many reasons, some of which I won’t explicate here, but mostly because it offered traditional jazz bands nine times a week — seven evenings and two brunch performances.

Who was there?  I will leave someone out, so apologies in advance, but Kevin Dorn, Jon-Erik Kellso, Vince Giordano, John Gill, Michael Bank, J. Walter Hawkes, Pete Martinez, Michael Hashim, Scott Robinson, Barbara Rosene, Danny Tobias, Steve Little, Bob Thompson, Barbara Dreiwitz, Dick Dreiwitz, Hank Ross, Craig Ventresco, Carol Sudhalter, Peter Ecklund, Brad Shigeta, John Bucher, Sam Ulano, Stanley King, and Eddy Davis — banjoist, singer, composer.  More about Eddy and his wondrously singular little band, “Wild Reeds and Wicked Rhythm,” which was no hyperbole, in a moment.

Originally I brought my cassette recorder to tape some of the music, but I had a small epiphany: seeing that every grandparent I knew had a video camera to take to the kids’ school play, I thought, “If they can learn to do this, so can I,” and I bought my first: a Sony that used mini-DVDs, each of which ran about 30 minutes.  It was, I think, the most inconvenient camera I’ve ever owned.  For some reason that I can’t recall, I tended to let the discs run rather than starting and stopping.  They were, however, nearly untransferable, and they sat in small stacks in a bookcase.

This April, though, I tried to take a cyber-detour, and was able to transfer all the videos, perhaps forty hours or so, to my computer and thus to YouTube.  I sent some to the players and the response was not always enthusiastic, but Eddy Davis was thrilled to have his little band captured, even though it did not have all of its usual personnel.  Usually, WR and WR had Orange Kellin, clarinet; Scott Robinson, C-melody saxophone; Conal Fowkes, piano and vocal; Debbie Kennedy, string bass, in addition to Eddy. On this night, Michael Hashim replaced Orange; Dmitri Kolesnikov took Debbie’s place.

I find these videos thrilling: this band rocked exuberantly and apparently was a small jazz perpetual motion machine, a small group where the musicians smiled at each other all night long, and it wasn’t a show for the audience.  And there’s some of the most exciting ensemble interplay I’ve ever heard — to say nothing of the truly false “false endings.”

I’d asked Eddy to write something for this post, and he responded gloriously.

WILD REEDS AND WICKED RHYTHM

I, Eddy Davis, have in my lifetime had the pleasure of having many wonderful Jazz Bands filled with wonderful musicians. It all started back in “The Windy City” in the late 1950’s and early 1960’s. I was a Composition student at the Chicago Conservatory and working as a band leader for the Syndicate on Chicago’s infamous Rush Street. Boy, those were the days. During this time many great, interesting musicians came through the band.

Fellows like “Kansas” Fields, who had just returned from a ten year stint in Paris and Charles “Truck” Parham who started in the music business as a truck driver for the Fletcher Henderson Band. He was hauling the band instruments from job to job. When I asked Truck how he got his nickname he told me this story. He said: “One night the bass player got drunk and couldn’t play, so Fletcher said “Hey, Truck, get up on the band stand and act like you are playing the bass.” He said he liked it so much that he bought a bass and learned to play it. When he came to my band he had just gotten off the Pearl Bailey/Louie Bellson trio. When he left my band he joined the CBS staff orchestra. I was lucky enough to have the likes of Frank Powers or Bobby Gordon on Clarinet.  I had the wonderful Norman Murphy on trumpet who had been in the Brass section of Gene Krupa’s Big Band. I also had the hilarious Jack “The Bear” Brown on trumpet. My band played opposite the original “Dukes of Dixieland” for a solid year at the club “Bourbon Street” in the middle. There were the Asuntos — Frank, on Trumpet — Freddie on Trombone and PaPa Jack on Trombone and Banjo. Gene Schroeder was on piano (where I learned so much) and the fantastic Barrett Deems on Drums.

At the Sari-S Showboat I was in the band of the great Trombonist Grorg Brunis, the Marsala Brothers, Joe and Marty, along with “Hey Hey” Humphries on drums, were also on the band. Another great band I played on was listed as Junie Cobb’s “Colonels of Corn.” The main reason this band was so great was that they were the very originals of JASS MUSIC. Junie was a multi-instrumentalist who on this band was playing Piano (he also recorded on Banjo). Al Wynn who had been the musical director for the great blues singer “Ma Rainey” was on Trombone and the wonderful Darnell Howard, who made terrific recordings with “Jelly Roll Morton,” was on Clarinet. We were playing at the Sabre Room and I was 17 (maybe 16) years old. I was a member of the last Jabbo Smith “Rhythm Aces” in New York City in the 1970’s.

Well, I could go on and on, but I’ll just say that the band “Wild Reeds and Wicked Rhythm” which I had for four or five years at the “Cajun Restaurant” on 16th Street and 8th Avenue in Manhattan was the thrill of my life. With the GREAT Scott Robinson and Orange Kellin on Reeds and Debbie Kennedy on Bass and MY BROTHER from a another mother — Conal Fowkes — was on Piano (he knows what I’m going to do before I do it and fits me like a glove). These were perhaps the most satisfying Musical Evenings I’ve ever known.

Scott Robinson is easily the best (for me) musical mind and player I’ve ever been in the presents of. I couldn’t come up with enough words to express my JOY with this band for those several years we performed every Wednesday night at the Cajun Restaurant in the great town of Manhattan.

We had two great subs on the night of this video. Dmitri Kolesnikov was on bass and on saxophone, the truly wonderful “The Hat” Michael Hashim.

Mr. Steinman, I would like to thank you so very much for supplying these videos and if you or anyone else has any other footage of any combination of this band, it would please me to no end to know of it.

The Banjoist Eddy “The Manhattan Minstrel” Davis

Here’s the first part of the evening.  Eddy announces the songs, some of them his originals and a few transformations — all listed in the descriptions below the videos.

Come with me to the glorious days of 2006, to a club that has been replaced by a faceless high-rise apartment building, which has none of the joyous energy of the band and the Cajun.  And enjoy the music, with no cover charge — yours for keeps.

Part One:

Part One, concluded (with apologies to Dmitri):

Part Two:

May your happiness increase!

“A SWELL FELLOW”

I don’t know what the proliferation of inscribed photographs of Jack Teagarden says about his, the circumstances, his popularity.  But since I’ve loved his music since childhood, I prefer to see these photographs as indications of a generous character, a man who appreciated his fans and was happy to make even the most fleeting connection with them.  For a start, “Edith” must have been made happier by this:

JACK EDITH

and this later pose:

JACK AUTOGRAPH

and a long sweet [although general] inscription, when Jack was being managed by MCA — circa 1939, if you know his lyrics to JACK HITS THE ROAD:

JACK TEAGARDEN Successful and Happy

and “Warmest regards to a Swell Fellow ‘Pat'”:

JACK TEAGARDEN Warmest Wishes

Then, some official business from 1943:

JACK TEAGARDEN union card front

and the other side:

JACK TEAGARDEN union card back

Even late in life — perhaps a year before his death — Jack retained his mastery, a mastery so deep that he made his great art look casual.  Here he is in Chicago, on television (the host is Willis Conover) performing BASIN STREET BLUES with Don Goldie, Henry Cuesta, Don Ewell, Stan Puls (I think), and Barrett Deems:

May your happiness increase!