Tag Archives: Billy Butterfield

THE TREASURE CHEST REOPENS, or HOLY RELICS, CONTINUED

Less than a week ago, I published a post here, marveling at the riches made available in an eBay auction by “jgautographs” which have been all bought up now, including this glorious relic. 

and this:

I don’t know how much Lester’s signature fetched at the end of the bidding, but Mr. Page’s (with the telltale apostrophe, another mark of authenticity) sold for $147.50, which says there is an enlightened and eager audience out there.  That auction offered more than 200 items, and I would have thought the coffers were empty.

Now, the gracious folks as “jgautographs” have offered another seventy items for bid.  I can say “gracious with certainty,” because I’ve had a conversation with the head benefactor.

This is the eBay link, for those who want to get in line early.  The new listing has only one item held over from the past sale, and it is full of riches (including blues luminaries).  I’ll mention only a portion: Ellington, Brubeck, Armstrong, Cootie Williams, Paul Gonsalves, Johnny Hodges, Horace Silver, Stan Getz, Cannonball Adderley, Paul Desmond, Don Byas, Dizzy Gillespie, Cat Anderson, Alberta Hunter, Little Brother Montgomery, Coleman Hawkins, Sippie Wallace, Rex Stewart, Ruby Braff, Lee Konitz, Zoot Sims, Jay McShann, Flip Phillips, Billy Butterfield, Phil Woods, Buck Clayton, Buddy Tate, Benny Carter, Bud Freeman, Thad Jones, Charlie Ventura, Teddy Wilson, Eubie Blake, Roy Eldridge, Sweets Edison, Erroll Garner, Tommy Flanagan, Kenny Dorham, Sonny Rollins — you can explore these delights for yourself, and if you have disposable income and wall space, some treasure might be yours.  Those whose aesthetic scope is larger than mine will also see signatures of Chick Corea, Archie Shepp, and Keith Jarrett among others . . .

For now, I will offer only five Ellingtonians.  And as David Weiner pointed out to me years ago, a sloppy signature is more likely to be authentic, since musicians don’t have desks to sit at after gigs.

Cootie:

Rex:

Cat:

Paul:

Johnny:

Incidentally, “jgautographs” has an astounding website — not just jazz and not just their eBay store: spend a few hours at www.jgautographs.com.

May your happiness increase!

BRILLIANCE IN A SMALL SPACE: BILLY BUTTERFIELD, SPIEGLE WILLCOX, KENNY DAVERN, SPENCER CLARK, DICK WELLSTOOD, MARTY GROSZ, VAN PERRY, TONY DiNICOLA (MANASSAS JAZZ FESTIVAL, December 1, 1978).

What was lost can return — some papers I thought were gone for good have resurfaced — but often the return needs the help of a kind friend, in this case my benefactor, trumpeter Joe Shepherd, who (like Barney the purple dinosaur) believes in sharing.

Sharing what?  How about forty-five minutes of admittedly muzzy video of Billy Butterfield, trumpet; Spiegle Willcox, trombone; Kenny Davern, clarinet; Spencer Clark, bass sax; Dick Wellstood, piano; Marty Grosz, guitar; Van Perry, string bass; Tony DiNicola, drums, recorded at the Manassas Jazz Festival on December 1, 1978.

But first, a few lines, which you are encouraged to skip if you want to get right to the treasure-box.  My very dear generous friend John L. Fell sent me this on a VHS tape in the mid-to-late Eighties, and I watched it so often that now, returning to it, I could hum along with much of this performance.  It’s a sustained example of — for want of a better expression — the way the guys used to do it and sometimes still do.  Not copying records; not playing routinized trad; not a string of solos.  There’s beautiful variety here within each performance (and those who’d make a case that old tunes should stay dead might reconsider) and from performance to performance.  Fascinating expressions of individuality, of very personal sonorities and energies — and thrilling duets made up on the spot with just a nod or a few words.  There’s much more to admire in this session, but you will find your own joys.

YouTube, as before, has divided this video into three chunks — cutting arbitrarily.  The songs in the first part are I WANT TO BE HAPPY / SWEET SUE / I CRIED FOR YOU (partial) //

The songs are I CRIED FOR YOU (completed) / SOMEDAY SWEETHEART / I CAN’T GET STARTED (Billy – partial) //

The songs are I CAN’T GET STARTED (concluded) / CHINA BOY //

I feel bathed in joy.

And another example of kindness: my friend and another benefactor, Tom Hustad (author of the astonishing book on Ruby Braff, BORN TO PLAY) sent along a slightly better — visual — copy that has none of the arbitrary divisions imposed by YouTube.  And here it is!  It will be my companion this morning: let it be yours as well.

May your happiness increase!

CONTRITION OR VENGEANCE? RICKY ALEXANDER, DAN BLOCK, ADAM MOEZINIA, DANIEL DUKE, CHRIS GELB at CAFE BOHEMIA (Nov. 22, 2019)

I think WHO’S SORRY NOW? (note the absence of the question mark on the original sheet music above) is a classic Vengeance Song (think of GOODY GOODY and I WANNA BE AROUND as other examples): “You had your way / Now you must pay” is clear enough.  Instrumentally, it simply swings along. It seems, to my untutored ears, to be a song nakedly based on the arpeggiations of the harmonies beneath, but I may be misinformed.  It’s also one of the most durable songs — used in the films THREE LITTLE WORDS and the Marx Brothers’ A NIGHT IN CASABLANCA — before being made a tremendous hit some twenty-five years after its original issue by Connie Francis.  Someone said that she was reluctant to record it, that her father urged her to do it, and it was her greatest hit.)

Jazz musicians loved it as well: Red Nichols, the Rhythmakers, Frank Newton, Bob Crosby, Lee Wiley, Sidney DeParis, Wild Bill Davison, Harry James, Benny Goodman, Benny Carter, Eddie Heywood, Woody Herman, Buck Clayton, Sidney Bechet, Paul Barbarin, George Lewis, Big Bill Broonzy, Archie Semple, Charlie Barnet, Raymond Burke, Rosy McHargue, Oscar Aleman, the Six-and-Seventh-Eighths String Band, Kid Ory, Teddy Wilson, Earl Hines, Miff Mole, Hank D’Amico, Teddi King, Kid Thomas, Bob Scobey, Franz Jackson, Chris Barber, Matty Matlock, Bob Havens, Ella Fitzgerald, Armand Hug, Cliff Jackson, Ken Colyer, Jimmy Witherspoon, Jonah Jones, Capt. John Handy, Jimmy Rushing, Tony Parenti, Claude Hopkins, Jimmy Shirley, Bud Freeman, Ab Most, Benny Waters, Peanuts Hucko, Billy Butterfield, Kenny Davern, Humphrey Lyttelton, Bill Dillard, New Orleans Rascals, Barbara Lea, Allan Vache, Paris Washboard, Bob Wilber, Lionel Ferbos, Rosemary Clooney, Rossano Sportiello, Paolo Alderighi, Vince Giordano, Michael Gamble . . . (I know.  I looked in Tom Lord’s online discography and got carried away.)

Almost a hundred years after its publication, the song still has an enduring freshness, especially when it’s approached by jazz musicians who want to swing it.  Here’s wonderful evidence from Cafe Bohemia (have you been?) at 15 Barrow Street, Greenwich Village, New York, one flight down — on November 22, 2019: Ricky Alexander, tenor saxophone; Chris Gelb, drums; Daniel Duke, string bass; Adam Moezinia, guitar, and special guest Dan Block, tenor saxophone:

That was the penultimate song of the evening: if you haven’t heard / watched the closing STARDUST, you might want to set aside a brief time for an immersion in Beauty here.  And I will be posting more from this session soon, as well as other delights from Cafe Bohemia. (Have you been?)

May your happiness increase!

CHRISTMAS GREETINGS FROM EDDIE and the GANG

Eddie Condon may not have manifested holiday cheer to the utmost in this staged photograph, but he certainly made joy palpable through music.

condon-christmas

Thanks to Scott Black — keeper of treasures — for this.  In color, too!

A post about Eddie would be incomplete without a solid helping of Americondon music, so here is an AFRS transcription of the May 30, 1944 Town Hall concert, the fourth in the series, this half-hour portion broadcast over the Blue Network.  You’ll hear SWEET GEORGIA BROWN, PEG O’MY HEART, a conversation with novelist John O’Hara that takes a while to get airborne but is ultimately rewarding, CAROLINA SHOUT, WHEREVER THERE’S LOVE, UNCLE SAM BLUES, SOMEONE TO WATCH OVER ME, and the closing IMPROMPTU ENSEMBLE, featuring Max Kaminsky, Pee Wee Russell, Miff Mole, Gene Schroeder, Bob Casey, Joe Grauso, James P. Johnson, Billy Butterfield, Hot Lips Page, Liza Morrow, and Bobby Hackett.

Caveat: it is introduced (in this YouTube version) by dark ominous music and an announcer who has rather unusual opinions about music: unless you have a taste for the bizarre, you may want to skip forward eighty seconds . . . and there is a closing announcement by the presenter as well, which caught me by surprise:

In the name of holiday largesse, all of the Condon broadcasts (with extras) have been issued on a series of two-CD sets on the Jazzology label, in better sound.  But in whatever form, the music Eddie played and made possible is a true, lasting gift to us.

May your happiness increase!

DAN MORGENSTERN RECALLS FIFTY-SECOND STREET, SIDNEY BECHET, DICK WELLSTOOD, KENNY DAVERN, ALONZO LEVISTER, KANSAS FIELDS, and MORE (April 21, 2017)

Here is another unique interlude generously offered to us by Dan Morgenstern. I’ve posted earlier segments here and here — with immense pleasure.

In pursuit of the fine surprising stories that have delighted us so, I’d asked Dan to recall his experiences on Fifty-Second Street, slightly after that street’s legendary height . . . and here’s what he recalled, with portraits of Sidney Bechet, Alonzo Levister, Kenny Davern, and Dick Wellstood among others.

I will have the mental-emotional image of a set-long Bechet / Dickenson blues forever.  And since Dan was close to both Kenny and Dick, here’s a wonderful performance, little-known, recorded by the very gracious Joe Shepherd at the Manassas Jazz Festival on December 1, 1978. I WANT TO BE HAPPY, with Billy Butterfield, Kenny Davern, Spiegel Willcox, Spencer Clark, Dick Wellstood, Marty Grosz, Van Perry, Tony Di Nicola.

The video quality is a little fuzzy, but the music is memorable and more.  And thank you, Dan, for insights and generosities.

May your happiness increase!

FOUR OR FIVE TIMES: HOLIDAY MUSIC BY BERLIN, READE, and CONDON

Eddie Condon and his friends made hot music lyrical and the reverse, so what they played and sang always makes me glad.  And Eddie loved to improvise on the best popular songs of the time, not just a dozen “jazz classics.”

I think most people associate EASTER PARADE with the film starring Fred Astaire and Judy Garland, but the song was from the 1933 show AS THOUSANDS CHEER — as the sheet music indicates.  Here is a very sweet contemporaneous version by Joe Venuti and his Orchestra, with Joe very reserved. In addition to a nice orchestral sound, fine lively piano (Schutt?) and guitar (McDonough,Victor, or Kress?) — both unidentified in Lord and Rust — there is a gorgeous vocal by Dolores Reade, who gave up her singing career to marry Bob Hope.  Nothing against the comedian, but that was a real loss to everyone else. (I found a copy of this 78 in a California thrift store, so it might have enjoyed some popularity.)

Here are several “Americondon” improvisations for this holiday, taken from the 1944-45 broadcasts of segments of Eddie’s Town Hall Concerts.  Some of these videos end with the introduction to another song, but you can — I believe — find much more from these concerts on YouTube, almost always mysteriously labeled and presented.  (Performances featuring Hot Lips Page are presented on a channel apparently devoted to Willie “the Lion” Smith, for reasons beyond me — whether ignorance or deceit or both, I can’t say.  But if you know the name of a song performed at a Condon concert, you have a good change of uncovering it there.)

Those who listen attentively to these performances will find variations, both bold and subtle, in the four versions that follow — tempo, solo improvisations, ensemble sound.

Here’s that Berlin song again, featuring Bobby Hackett, Miff Mole, Pee Wee Russell, Ernie Caceres, Jess Stacy, Sid Weiss, Gene Krupa:

and featuring Max Kaminsky, Ernie, Pee Wee, Jess, Bob Casey, Eddie, Joe Grauso, at a slower tempo, with wonderful announcements at the end.

and featuring Max, Miff, Ernie, Pee Wee, Jess, Jack Lesberg, George Wettling, and happily, a much more audible Eddie — doing an audition for a Chesterfield (cigarette) radio program:

and from the very end of the broadcast series (the network wanted Eddie to bring in a comedian and he refused), here are Billy Butterfield, Lou McGarity, Pee Wee, Ernie, Gene Schroeder, Sid Weiss, and my hero, Sidney Catlett, whose accompaniment is a lesson in itself, and whose closing break is a marvel:

You’ll hear someone (maybe announcer Fred Robbins?) shout “WOW!” at the end of the first version: I agree.  Happy Easter in music to you all.

May your happiness increase!

“SINCERELY”: LOUIS ARMSTRONG: THE DECCA SINGLES 1949-1958

its-all-in-the-game-louis

Slowly, slowly, our awareness of Louis Armstrong spreads and deepens.  Of course, someone out there is still saying that everything after POTATO HEAD BLUES was a colossal misstep.  And somewhere, another gently misguided soul is suggesting that “Louis Armstrong was the worst thing that ever happened to traditional jazz,” which is a direct quotation and one that tried my peaceful nature to the breaking point.

But many people understand or have come to understand — to feel — that whatever Louis touched, he made beautiful.  So I write what I believe: that the recordings newly issued by Universal, annotated by our own local hero, Ricky Riccardi, are some of Louis’ greatest.  They are masterpieces of technique, drama, and above all, emotion.  And if I hear whimpers, “But they’re commercial!  The songs are so beneath him,” I will call Security to clear the room.

Here is the official link to the Universal Records issue — 95 songs, available through Apple here for download.  No, they aren’t going to be issued on CD. Downloads, like love, are here to stay — so ask a niece or nephew to assist you. And if the idea of intangible music — sounds without a tangible disc, shellac, vinyl, or plastic, is odd and threatening, think of downloading as new-fangled radio.

However, there are characteristically wise and rewarding liner notes by Mister Riccardi, about fifty thousand words, so knock yourself out here.  I believe that the cost for the whole package is $44.95 and individual tracks are priced at $1.29, which is not prohibitive.  As we have gotten used to cheap food in the last forty or fifty years, we also expect music to be free.  Silliness and selfishness, but that’s another blogpost.  This one is to celebrate Louis.

louis-armstrong-decca-singles

I listened to all ninety-five sides recently, and I am floating.

45-record-case-better

I grew up with some of these recordings —  Louis and Gordon Jenkins, especially — so they are very tender artifacts to me.  I came to Louis slightly later than the time period of this set: I think I bought my first record in 1963, although the experience of buying individual 45 rpm discs in paper sleeves is a part of my childhood.  Department stores had record departments, as did the “five and dime” stores, Woolworth’s, Kresge’s, W.T. Grant, so hanging out there was a real part of my childhood and adolescence.  Of course, I separated myself from my peers early, but that is not something I lament.  In the Sixties and Seventies, Decca collected many of these sides on 12″ lps — SATCHMO IN STYLE, SATCHMO SERENADES, and the like.  This is to say that perhaps ten of the ninety-five sides were new to me, but the music is astonishing throughout.

Several aspects of this set are powerful to me and will be to you.  One is the trumpet playing. Louis’ unrivaled ability to make a “straight” melody come alive — “tonation and phrasing,” he called it — shines through every track.  Listeners who only see brass instruments in the hands of people who have spent the requisite ten thousand hours may not know how difficult what he does, casually, from track to track.  Ask a trumpet player how easy it would be to reproduce four bars of Louis.  I think you will be startled by the answer.  I know people rightly hold up his recordings of the Twenties and Thirties as examples of astonishing grace and power — and they are — but his trumpet playing in 1949-1958 is awe-inspiring, his huge sound captured beautifully by Decca’s engineers.

(And for those who worry about the “jazz quotient,” Louis is so strongly evident throughout that this should be enough — but one also hears from Billie Holiday, Ella Fitzgerald, Louis Jordan, Jack Teagarden, Earl Hines, Billy Kyle, Trummy Young, Barney Bigard, Billy Butterfield, Allan Reuss, Charles LaVere . . . )

Another pleasure is the alchemy Louis works on the material.  For those who are appalled by, let us say, YOUR CHEATIN’ HEART or SKOKIAAN, I ask them to take a deep breath and evaluate the lyric and melodic quality of, perhaps, THAT’S WHEN I’LL COME BACK TO YOU before criticizing the “pop” material. And if a record of WINTER WONDERLAND brought people to hear and warm to Louis, then the large reach into popular songs — nothing new — that Jack Kapp and Milt Gabler did is a very good thing.

The final thing that kept revealing itself, over and over, was Louis’ deep innate romanticism, his delight in singing and playing about love — hopeless love, disappointed love, fulfilled love — all the shadings from bleak to ecstatic.  Even those people who admire Louis as I do have not always given him credit as a great poet of love, vocally and instrumentally.  His dramatic sense is peerless on these records.

If you feel as I do, perhaps I am overstating the obvious.  But if you don’t, I ask you to listen to this:

and this, which to me has some of the emotional power of Billie’s Commodore ballads:

and this tender hymn, which I’ve loved for decades:

I know that 2016 has been a dazzling year for reissues and issues of material never heard before — consider several new Mosaic sets and the two volumes of material from the Savory collection — but this music is extraordinary: you can’t afford to miss these dreams.

May your happiness increase!