Tag Archives: Bill Beason

THEY DANCED TO IT, AND STILL DO

Jazz fans of a sedentary nature (I count myself among them) need to be reminded that this was and is music for dancing.  Dancing.  And I thank my friend, the splendid singer Laura Windley, for gently reminding me of this. But rather than create a long didactic episode, I offer this as evidence — just spotted on eBay.

The three pages depicted here tell quite a story.  I’d never seen Teddy Hill’s photograph on sheet music before, but he and his band did not get to record this number, which isn’t surprising. We also know that musicians had their photographs on sheet music covers — whether as publicity for both sides or because the song was in their repertoire.  The Hill band released eight sides in three sessions in 1935-36: at the time, I think they were considered by the record companies a second-string group, which is a real pity.

Their later recordings — eighteen sides — for Bluebird were billed as Teddy Hill and his NBC Orchestra, which suggests not only a radio connection but an accompanying higher level of fame.  In 1937, Teddy and the band toured England and France (which is why Bill Dillard, Shad Collins, Dicky Wells, Bill Coleman, and other Harlemites recorded with Django Reinhardt for Swing Records); he led bands until 1940, alas without recordings, and then changed course and became manager of Minton’s jazz club in Harlem.  He died in 1978.

As you will hear below, the band offered a deft combination of swinging dance music, hot solos, and interesting arranging touches.

A song by the same name was recorded by George Scott-Wood and his Six Swingers, but I can’t tell if it was this Blake-Taylor composition.  The owner of the sheet music, Virginia, wrote her name and another detail, dating this in 1934: you did this so you got your sheet music back.  Notice that the place all this TRUCKIN’ ON DOWN was happening was not Harlem or Chicago’s South Side, but Danville, Illinois, 138 miles from Chicago, which, in 1934, was a long drive.  Swing and swing dancing was everywhere: a blessed phenomenon we can only imagine.  We’re told that even the “O-Fays” [see the lyric] loved the dance:

One page from the inside shows that this was not just music that someone bought to gaze upon — or to have sit on the piano.  It was played:

Even though I don’t dance — I have “a lazy gate” — the back page is entrancing:

It’s nearly all upper-body pantomime, and there’s no partner in sight to endanger: I could do this.  Especially to the sound of Teddy Hill’s 1935-6 band.

Here‘s the link — should your impulses lead you to click on Buy It Now as a substitute for truckin’ it down uptown — although the seller is asking $399.99 plus $8.50 shipping (of course, that can be spread out over 24 months, a boon).

And here are the details about the Teddy Hill recordings that follow.  But you can skip them with my blessing to get the dancing underway.

Teddy Hill And His Orchestra : Bill Dillard (tp,vcl) Roy Eldridge, Bill Coleman (tp) Dicky Wells (tb) Russell Procope (cl,as) Howard Johnson (as) Teddy Hill, Chu Berry (ts) Sam Allen (p) John Smith (g) Richard Fullbright (b) Bill Beason (d).  New York, February 26, 1935: LOOKIE, LOOKIE, LOOKIE, HERE COMES COOKIE / GOT ME DOIN’ THINGS / WHEN THE ROBIN SINGS HIS SONG AGAIN / WHEN LOVE KNOCKS AT YOUR HEART /
Frank Newton, Shad Collins (tp) replaces Roy Eldridge, Bill Coleman, Cecil Scott (ts,bar) replaces Chu Berry.  New York, April 1, 1936
UPTOWN RHAPSODY / CHRISTOPHER COLUMBUS (unissued) / May 4, 1936: AT THE RUG CUTTERS’ BALL / BLUE RHYTHM FANTASY / PASSIONETTE /

And here’s some music.  WHEN LOVE KNOCKS AT YOUR HEART, with a pretty vocal by Bill Dillard, followed by a gently hot chorus by Bill Coleman, and a very danceable final chorus, complete with piano plinks:

and one of my favorite silly tunes, LOOKIE, LOOKIE, LOOKIE, HERE COMES COOKIE, which starts with a searing Roy, who returns to light up the sky, in solo and leading the brass at the start of the verse, before a supercharged Chu Berry takes precedence — but wait, that’s the swing anarchist Dicky Wells taking the bridge.  The YouTube poster’s copy has a few small skips, but it’s a romp:

Bill Dillard takes the vocal on GOT ME DOIN’ THINGS before Chu — almost sedately — comes in for a few comments:

WHEN THE ROBIN SINGS HIS SONG AGAIN is a wonderful combination of swing dance music, then things heat up with Bill Coleman, Howard Johnson for the bridge, then Coleman.  Chu Berry is clearly in aerodynamic form, with Dicky Wells at his splendid surrealistic best, before Chu returns and Sam Allen plays a poised interlude:

UPTOWN RHAPSODY is a very daring chart at that tempo — like CHRISTMAS NIGHT IN HARLEM in a funhouse mirror — with Procope, Johnson, and Wells:

On AT THE RUG CUTTERS’ BALL, Sam Allen, Cecil Scott, Newton, Procope and Wells tell us in [Hendersonian] terms that we are in Harlem where riffs are born:

Here’s the band version of Willie “the Lion” Smith’s PASSIONETTE (what a wonderful reed section sound) with Frank Newton in his prime, then Russell Procope, and skywriter Dicky Wells, before the band rocks it out:

and Chappie Willet’s delightfully “modernistic” BLUE RHYTHM FANTASY, with Wells, Howard Johnson, Procope, and a swaggering Newton, then Cecil Scott:

I hope those sounds inspired some dancing!

Did you Truck On Down?  It’s good for you.

May your happiness increase!

THE CATALYTIC MISTER DANDRIDGE

putney-dandridge-78

We  have so much to thank Fats Waller for.  He could be the subject of a thousand posts, and the joy he spreads won’t ever diminish.  But, like Louis Armstrong, who he was and what he did were perceived immediately as marketable commodities.  In the early Thirties, with the coin-operated automatic phonograph a new and exciting phenomenon, Waller’s popularity was immense.  But he was under contract to Victor Records, so the other labels looked for their own “Fats” to compete for public attention.

Thus, piano-playing entertainers who could put over a song in a jocular way were valuable.  Swinging pop songs of the day — songs often from films — was the thing.  The very talented women Lil Hardin Armstrong and Cleo Brown recorded for Decca, as did Bob Howard.  Willie the Lion Smith did his own recordings for that label.  Tempo King, Stew Pletcher, Adrian Rollini, and Louis “King” Garcia recorded for Bluebird; Taft Jordan for Melotone, Stuff Smith for Vocalion. Henry “Red” Allen, Billie Holiday, and Mildred Bailey existed in their own aesthetic worlds, but it’s clear they ran parallel to the Waller phenomenon, with a substantial bow to Louis.

Photograph courtesy of ON THIS DAY IN JAZZ AGE MUSIC, with thanks to Confetta-Ann Rasmussen.

Photograph courtesy of ON THIS DAY IN JAZZ AGE MUSIC, with thanks to Confetta-Ann Rasmussen.

Our subject for today, though, is Putney Dandridge, who made a series of recordings in 1935-36 for Brunswick Records.  He is well-known to only a few, I believe, and so I am doing something atypical for JAZZ LIVES and reprinting the detailed Wikipedia entry — more detailed than the Blessed John Chilton’s paragraph:

Louis “Putney” Dandridge (January 13, 1902 – February 15, 1946) was an African American bandleader, jazz pianist and vocalist.

Born in Richmond, Virginia, Dandridge began performing in 1918 as a pianist in the a revue entitled the Drake and Walker Show. In 1930, he worked for a time as accompanist for tap dancer Bill “Bojangles” Robinson, including appearances in the important black musical Brown Buddies. In February 1931, Dandridge appeared in the cast of the musical revue Heatin’ Up Harlem, starring Adelaide Hall at the Lafayette Theatre in Harlem. After touring in Illinois and the Great Lakes region, Dandridge settled in Cleveland, Ohio, forming his own band, which included guitarist Lonnie Johnson. This period lasted until 1934, when he attempted to perform as a solo act. He took his show to New York City, beginning a series of long residences at the Hickory House on 52nd Street and other local clubs. From 1935 to 1936, he recorded numerous sides under his own name, many of which highlighted some major jazz talents of the period, including Roy Eldridge, Teddy Wilson, Henry “Red” Allen, Buster Bailey, John Kirby, Chu Berry, Cozy Cole and more. Appearing to vanish from the music scene in the late thirties, it is speculated that Dandridge may have been forced to retire due to ill health. Dandridge died in Wall Township, New Jersey at the age of 44.

Here he is, appearing as “the Stage Manager,” in the 1932 film HARLEM IS HEAVEN, starring Bill Robinson and James Baskette.  Putney appears about ten minutes into the film, and you can see him speaking, chewing gum, scatting, at the piano:

Now, I am not making a case for Dandridge as Waller’s equal.  He was a serviceable swing / cocktail pianist at best, and he plays on five of the first six sides of the series.  But something spectacular can come from a liability, and the result of Putney’s piano playing — say that quickly if you dare — was that Teddy Wilson was called in for the remaining sessions.  As a singer, he was an enthusiastic amateur with a wide uncontrolled vibrato, a limited range, and a scat-singing tendency that was, I think, anachronistic even for 1935.  But in the great vaudeville tradition, he knew the songs, he put them  over with verve, and even when his vocals are most difficult to listen to, one focuses on the gem-like accompaniment.

I have no record of John Hammond’s involving himself in these sessions. I believe the Brunswick supervisor for these dates was Harry Gray.  Perhaps Wilson acted as contractor and went to the Rhythm Club the night before a date and said, “Are you free at noon tomorrow?  It’s fifty dollars?” and selected the best musicians he could from the Mills Blue Rhythm Band, Willie Bryant, Chick Webb, Stuff Smith, Goodman, Ellington, Henderson, Calloway, Redman.

It intrigues me that often the splendid playing on these discs is done by musicians who were less in the public eye, thus giving us opportunities to hear people who played beautifully and were not given the opportunities that the stars were.  The players include Roy Eldridge, Henry “Red” Allen, Doc Cheatham, Shirley Clay, Richard Clarke, Bobby Stark, Wallace Jones, Chu Berry, Buster Bailey, Johnny Russell, Tommy Mace, Teddy McRae, Charles Frazier, Joe Marsala, Carmen Mastren, Arnold Adams, Nappy Lamare, Clarence Holiday, Lawrence Lucie, Dave Barbour, John Trueheart, Eddie Condon, Allan Reuss, John Kirby, Grachan Moncur, Mack Walker, Wilson Myers, Ernest Hill, Artie Bernstein, Bill Beason, Walter Johnson, Cozy Cole, Slick Jones, Sidney Catlett.  When Wilson was out of town with the Goodman orchestra, Clyde Hart, Ram Ramirez, or James Sherman took his place.  I’d suggest that students of Thirties rhythmic practice have a two-semester intensive study seminar in front of them in these discs.  Without fanfare, these were racially mixed sessions.

Here’s a sample — goofy, exuberant, and delightfully swinging.  Don’t take your eyes off the screen, for the great jazz scholar Franz Hoffmann has inserted a (silent) clip of Putney performing in 1933 from the film SCANDAL, and he looks exactly as he sounds:

I wrote before that Dandridge is little-known, and that might be true, but his SKELETON IN THE CLOSET was part of the soundtrack for a video game, BIOSHOCK 2, so it pleases me to imagine some Youngblood listening to the complete Putney through his earbuds on his way to school.  Stranger things have happened.

The Dandridge anthology I knew in the Seventies was three records on the Rarities label; there are two CDs on the Chronological Classics series, and (the best — sound by John R.T. Davies) is a two-CD set on the Timeless label, issued in 1995.  YouTube — or “Orchard Enterprises” — has made all 44 sides available here.  I don’t recommend listening to all of them in a row, because Putney’s vocal approach might pall — but they are  priceless reminders of a time when great songs and great musicians were in the air in a way that would be unusual today.  Here’s the YouTube collection.  (Please, I can’t vouch for its correctness, and if it doesn’t play in your country I can’t fix it . . . but consider the price of admission).

Thanks to Marc Caparone, the great Inspirer.

May your happiness increase!

SURPRISES FROM THE BURT GOLDBLATT COLLECTION: BILLIE, LESTER, JACK, KIRBY, LIPS and FRIENDS

The late Burt Goldblatt was multi-talented: graphic designer, artist, writer, photographer, and collector.  It is in the last two roles that I meet him most often on eBay, as his photographs are being auctioned off to the highest bidders.

Some of his photographs are familiar, because we have seen them on record jackets, in jazz books and magazines.  But surprises always await: here are several!

Billie, presumably in a theatre or concert hall, in front of a big band.  Where? When? With whom?

BURT GOLDBLATT Billie

Lester Young — a potpourri of photographs which seem to come from his 1957 Newport Jazz Festival appearance (with the Basie band) and a Verve record date with Roy Eldridge:

BURT GOLDBLATT PRES

Jack Teagarden with his reading glasses on:

BURT GOLDBLATT TEA

The John Kirby Sextet (possibly in the war years?) with Charlie Shavers, Billy Kyle, Buster Bailey.  The altoist might be George Johnson rather than Russell Procope, but Gary Foster tells me that the drummer is O’Neil Spencer:

BURT GOLDBLATT KIRBY SEXTET

And the real surprise (for me and perhaps everyone else): a candid photograph, dated 1927, with Hot Lips Page, Buster Smith, and Ted Manning — Kansas City jazz incarnate, even though the photograph was taken in Ardmore, Oklahoma:

$_3

and the back — which makes it, I believe, a photograph from Burt’s collection as opposed to one he took himself:

$_14(1) $_3

May your happiness increase!