Tag Archives: BECHET PARADES THE BLUES

“MEDLEY OF PARODIES”: WHAT WAS LOST NOW IS FOUND: SIDNEY BECHET, VIC DICKENSON, DON DONALDSON, ERNEST MYERS, WILBERT KIRK (December 9, 1943)

A story with a happy ending seems more unusual these days, but I have one for you.  I’ll also provide the moral right here, rather than saving it for the end: Kindness is everything.

Yesterday I published a blogpost here — primarily to show off the new-old eBay purchase above, Sidney Bechet, soprano saxophone; Vic Dickenson, trombone; Don Donaldson, piano; Ernest Myers (also known as “Ernest Wilson Myers,” and his nickname was “Serious”) string bass; Wilbert Kirk, drums — a delightfully intent version of ST. LOUIS BLUES.

Recording sessions usually produced four sides, and two others were accepted for issue on V-Disc: AFTER YOU’VE GONE, and BUGLE CALL RAG – OLE MISS.  But one, tantalizingly called MEDLEY OF PARODIES, remained unissued, music I’d heard of perhaps twenty-five years ago but never heard.  It was described as Myers singing parodies of three popular songs: DEAR MOM, TANGERINE, and NAGASAKI.  David J. Weiner had told me that TANGERINE was now called GASOLINE, a hymn to that substance so scarce in wartime, but that was all I knew.  It had come to light and was one track on a giant Bechet CD box set, but that set was not easily purchased.

So yesterday I asked, here and on an online jazz research group, whether anyone had a digital copy of the music to share with me, not expecting much.  I was proven wrong in the nicest ways by Fernando, Mario, David, Tom, James, and Jeremy, who offered digital copies in various formats.  Two people pointed me to archive.org (make sure you have a comfortable chair before visiting that site, because you’ll want to stay a while: the link offers the entire 14-CD Bechet set) — not the highest-quality sound, but the one easiest to share with you, so I offer the MEDLEY OF PARODIES here.

I find it goofily charming — from Bechet as the very smooth master of ceremonies to Myers’ heartfelt vocals, Vic’s little interjections and Kirk’s Catlett-accents . . . “a little entertainment,” as Sidney says.  (I was dreading that NAGASAKI would be anti-Asian, but thank goodness, they stick to the original lyrics with a few variations.)  Did it remain unreleased because of the naughty words or the topical references to Hitler and MacArthur?  Would it have been stopped by the censors?  And the parodies, candidly, are fairly sophomoric although effective.

Dreams don’t always come true when we’re out of Thirties popular songs or Disney films, but this one did, and I’ve been enjoying it immensely.

I thought it possible that some readers might not know the original DEAR MOM and TANGERINE, so here are contemporaneous versions:

and

And to quote Sonny Greer, “Cast your bread upon the waters and it comes back buttered toast.”

Much gratitude to all the generous people who leaped to fill a lack, and to my readers worldwide, as ever.  Knowing you’re out there is a great joy.

May your happiness increase!

“BECHET PARADES THE BLUES”: SIDNEY BECHET, VIC DICKENSON, DON DONALDSON, WILSON MYERS, WILBERT KIRK (December 9, 1943)

Good and hot, rare and fresh, a recent eBay purchase.

It’s immediately recognizable as ST. LOUIS BLUES, but it’s great fun no matter who got the composer royalties. (Whether there was some intended connection to Glenn Miller’s ST. LOUIS BLUES MARCH, recorded for V-Disc in late October, I don’t know.)

This extended performance was recorded for V-Disc on December 9, 1943.  It features Bechet, soprano saxophone; Vic Dickenson, trombone; Don Donaldson, piano; Ernest Myers, string bass; Wilbert Kirk, drums. Someday I could do a better transfer: maybe when the world is properly back on its axis. Whenever.  Vic and Sidney made a superb team and they gigged as a two-man front line, although in their record dates from 1941 to 1958, there was usually a trumpet player attempting to lead the band.  They were both instantly identifiable soloists but also the best intuitive ensemble players: hear how they hand off the lead here, supported by a fine rhythm section.  

Two other sides — AFTER YOU’VE GONE and BUGLE CALL RAG – OLE MISS were recorded and issued — each selection on one side of a different V-Disc.  But a fourth side was not issued at the time and is thus tantalizing.  It was assigned the matrix number of JB 331, and is called MEDLEY OF PARODIES, the parodies of current pop hits being DEAR MOM, TANGERINE, NAGASAKI.

Decades ago, David J. Weiner, who knows what a glass-based V-Disc acetate looks like, told me (or did I dream it?) that TANGERINE was a parody now called GASOLINE, because of wartime rationing, and that Vic sang it.  I can imagine how his opening phrase sounds.  Tom Lord lists the vocalist as Myers, but I have hopes of Vic. 

And this tiny mystery gets even better, at least to me.  I had thought that recording completely lost, but one copy at least survived, and was issued on a fourteen-CD set called SIDNEY BECHET: COMPLETE AMERICAN MASTERS (1931-1953), issued on the French “Universal” label as (F)533616-7.  But wait! There’s more!  The box set, issued in 2011, seems completely unavailable, but several sites advertising it offer the first sixty seconds of this performance, where Bechet, acting atypically like a jovial master of ceremonies bringing on a production number, introduces Myers to sing DEAR MOM: Myers begins it, the band chimes in, and the sample ends. 

If anyone has that set and can send me a digital copy of the MEDLEY OF PARODIES, I will create an appropriate reward: perhaps I have something here in my apartment-collection that would gratify the as-yet unidentified benefactor.  Find me at swingyoucats@gmail. com, and many thanks in advance!

And until that desire is fulfilled, let us keep on parading with Sidney, Vic, Don, Ernest, and Wilbert.

May your happiness increase!