Tag Archives: Boswell Sisters

GOLD IN THOSE GROOVES (Los Angeles, 1938)

Truman “Pinky” Tomlin, singer, composer, bandleader, film star

Everyone reading JAZZ LIVES could, with not much effort, compile a list of a dozen well-known and rewarding jazz recordings.  Your list might be entirely different, but I feel that we would recognize the names of most, if not all, of the entries. But what continues to delight me is the wonderful music to be found on recordings that don’t get any attention, those beneath the surface of the collective attention.

One such record is a recent purchase from eBay, and it’s repaid its original price (perhaps $2.99?) a dozen times over, even though its star, Oklahoma-born “Pinky” Tomlin, would not be at the top of many people’s lists.

The record isn’t listed in Tom Lord’s or Brian Rust’s discography, although the records Pinky made with (among others) Joe Sullivan and Joe Haymes are. Make of this what you will, but two sides made at the same session — SMILES and THE OLD OAKEN BUCKET — are listed (and thus certified as Official Jazz Records) although they are less memorable: I bought that disc also from eBay.

The orchestra is directed by Harry Sosnik, and features Pinky with Mannie Klein, trumpet; Andy Secrest, cornet; Abe Lincoln, trombone; Jack Mayhew, clarinet; Claude Kennedy, piano; Perry Botkin, guitar; Slim Jim Taft, string bass; Spike Jones, drums.  It was recorded in Los Angeles, April 23, 1938.

Those are illustrious names; some readers will notice that the band is close to the group that accompanied Mr. Crosby and Mr. Mercer on their version of the Gallagher-and-Shean vaudeville routine in July of that year: the evidence here. I suspect that more than a few worked in radio and were known as the best “studio” musicians on the West Coast.  The one unknown in this band, pianist Kennedy, I found out through reading Pinky’s autobiography, THE OBJECT OF MY AFFECTION (his best-known composition) was a friend and musical colleague of Pinky’s from Oklahoma.  (Just because you might be wondering, Truman Tomlin got his nickname early on because of his complexion.)

I wonder if this session was another of Jack Kapp’s crossover ideas, joining hot jazz, swing, and Western swing, to support Pinky, already well-known on radio and films.  Had Kapp noticed the success of Maxine Sullivan’s LOCH LOMOND, a swing version of a traditional song, or Ella Logan’s efforts (in all those cases, no composers to pay)?

But enough words.  Feast your ears (and, yes, there is authentic surface noise, because the original owner of this record played it often).

RED WING:

RED RIVER VALLEY:

These sides are fun, and that comes from their ease, the sweet balance between Pinky’s sincere Oklahoma voice, not trying to “get hot” except for the one upwards Bing-meets-Louis scat phrase on RED WING.  He’s telling us stories, and he’s completely earnest but never stiff.  Sosnik wasn’t always so swinging on other Deccas that bear his name, but the arranged passages are right on target, and it’s especially pleasant that the endings on both sides aren’t histrionic, but wind down gently.  Secrest plays beautifully, but it’s the band that charms me — its unsung heroes being Perry Botkin and Spike Jones, who certainly swung.

“It’s not in the discography, so it can’t be jazz.”  But it’s rewarding music.

I find myself charmed by Pinky: he seems guileless, someone who is being rather than acting.  Two more examples: one, from a 1937 film, where he, like Bing, seems to say to a viewer, “I’m on the screen, singing, and putting clothing into a trunk.  But you could do this, too.”:

Two decades later, Pinky faces Groucho, his essential sweetness intact:

A few words about THE OBJECT OF MY AFFECTION.  I read in Pinky’s autobiography how the song was a spur-of-the-moment creation that grew from the casual phrase that was its title.  But it has deep jazz credentials: Ella sang it early, and later in life, when she and Pinky were together at some public function, went out of her way to express her gratitude.

Three versions, each showing the song’s durability and emotional appeal.  First, Carl Switzer:

Helvetia, Connie, and Martha:

Garnet Clark, Bill Coleman (“from brown to rosy red”), June Cole, George Johnson, Django:

May your happiness increase!

Advertisements

HARMONY AND HIJINKS: DUCHESS, “LAUGHING AT LIFE”

duchess-portrait

DUCHESS: Amy Cervini, Hilary Gardner, Melissa Stylianou

The superb vocal harmony group DUCHESS has released their second CD, LAUGHING AT LIFE, and it’s a wonder.

duchess-laughing-at-life

Here’s a sample of their originality, energy, and fun: EVERYBODY LOVES MY BABY, at the Jazz Standard, accompanied by Michael Cabe, piano; Matt Aronoff, string bass; Jared Schonig, drums.

 

For those of you who, like me, didn’t catch every rapid-fire turn of the new “original” lyrics, here they are in slow-motion print:

How did the Bozzie’s do their rapid-fire scatting
When they yes-siggle-dirred when they double dogged their Latin
There were so many words just a flyin’ and a rat-n-tatting how?

Vet, Martha, Connie gave us all the Heebie Jeebies
Said Duchess ought to try it but you know it isn’t easy
So we gotta tip our hat to the Bozzie’s oh, they really dazzle, wow!

Harmony and hijinks are the currency we deal in
Though we love the Bozzie’s honey, no we ain’t a-stealin’
Got a style that’s all our own and we know it’s so appealing here and now!

There’s only one problem with that gloriously expert and exuberant video.  A casual viewer might assume, “Oh, that’s a Boswell Sisters cover band,” in the odd parlance of this century, drop this versatile trio into a convenient classification, and be completely wrong. Someone else might misread the group because of their “vintage” twentieth-century repertoire.

But DUCHESS is not a tour of the local museum of past greatness, and no one pretends to be anyone else.

The glory of this group is their quirky sweet transforming energy, which enables them to do so many things so beautifully and with such deep emotions. LAUGHING AT LIFE is a wonderful showcase for their swinging versatilities.

The CD’s delights begin early, with a modern-Basie version of SWING, BROTHER, SWING — where one can delight in the three piquant voices and their distinctive blend (as well as a solo by postmodern intergalactic rhythm ‘n’ blues tenorist Jeff Lederer).

Then they move into familiar (and possibly dangerous) territory . . . the 1930 SUNNY SIDE OF THE STREET, a song that I would guess no one has ever called “dangerous.”  But as a song, it has become over-familiar and thus open to formulaic run-throughs in the same way as PENNIES FROM HEAVEN.  But halfway through this track, after a pleasing rhythm-section interlude, something magical happens.  Whitney Balliett called a similar instrumental passage “slow-motion leapfrog,” and on this track, the three voices slide over one another, each singer starting a phrase in a different place, creating a kind of three-dimensional cathedral of sounds.

There’s the rubato voices-plus-Michael Cabe’s sensitive piano reading of the verse of LAUGHING AT LIFE.  Then, Amy Cervini’s quite definite reading of GIVE HIM THE OO LA LA, with a fine solo from guitarist Jesse Lewis, a wooing WHERE WOULD YOU BE WITHOUT ME? featuring Melissa Stylianou, and a down-home frolic by Hilary Gardner on HALLELUJAH, I LOVE HIM SO!

The tender ache of EV’RY TIME WE SAY GOOD-BYE is followed by the hilarity of STRIP POLKA (thank you, Mister Mercer!).  And the bonus track, DAWN, a song known to only a few, is immensely touching — its author is someone we honor for other reasons.

Buy the CD and find out all.  I didn’t linger over every track for its delights: you can find the little bowers of bliss for yourself.

DUCHESS fans already know this, but it bears repeating: each of the three singers is a very distinctive soloist, but their blending is impeccable: their intonation and diction are splendid.  The clever and witty arrangements are complex, but only truly attentive listeners will understand just how beautifully layered they are — a key change here, an almost unnoticed shift from a lead voice with support to a unison ensemble, and more.  Incidentally, there are guest appearances by clarinetist Anat Cohen and trombonist / vocalist Wycliffe Gordon to add to the mix.

Learn all the secrets here, and follow Duchess on Instagram, Twitter, and Facebook if you while away the hours in such revelries.  But most important, here you can purchase / download the CD through Bandcamp. Amazon, or iTunes.  You’ll find it extremely rewarding.

May your happiness increase!

 

ON A FAST PLANE TO CHINA: COMPANY B JAZZ BAND

JAZZ LIVES has made it possible for me to have friends all over — certainly more friends than I would have envisioned in middle school.  One of the most able is the swinging string bassist Jen Hodge, whose work I’ve admired on a number of CDs  with Bria Skonberg, Glenn Crytzer, Evan Arntzen, and other assorted Arntzens.  She’s also a charter member of the Company B Jazz Band, whose name makes more sense when you remember the Andrews Sisters’ recording about the boogie-woogie bugle boy of . . .

Company B photo

A sample of what Company B does with spirit:

For those who’d rather watch and listen than read, here’s the reason for this post:

Company B Jazz Band, of which Jen is an integral part, has been together since 2006, performing in 3-part close harmony style à la the Boswell and Andrews Sisters (though Company B also has transcriptions in their repertoire from other harmony groups of the era, such as The Keller Sisters & Lynch, the Mills Brothers, etc, as well as many of their original arrangements).

For more information about the band, please visit their site.

At the Boswell Sisters Revue concert in New Orleans last Fall, organized by Kyla Titus and featuring 3-part harmony groups from around the world, they were the only Canadian group at that prestigious event.  Now Company B is once again the only Canadian band invited to play at a prestigious festival, but this invitation is both more impressive and slightly more difficult to accomplish.

Company B Jazz Band has been invited to perform at the Nanjing International Jazz and World Music Festival in China this October. Their hot music will be heard all across the province Jiangsu, in a dozen different venues and municipalities.  It’s onerous enough to move six band members (plus wardrobe, instruments, equipment) within the United States and Canada . . . but the trip from here to China poses its own problems.

You can guess what might be next in this post.  Readers of JAZZ LIVES might know that I have some reluctance to use this blog as a platform for fundraising, but I do it when the request feels right.  Introducing Chinese listeners to the music of the Sisters Boswell and Andrews . . . as well as the others — this seems like a fine idea.  International relations, you know.  And I don’t write a post such as this without making a contribution on my own.

Here is the INDIEGOGO page — where you can read about the rewards for contributing, and find out more about the band.

Start with Boswell harmony, and who knows what kind of global harmony might result?

May your happiness increase!

“I GIVE UP, HONEY!” or WORDS TO THAT EFFECT (San Diego Jazz Fest, Nov. 30, 2014)

surrender lanin

Both Louis and  Bing recorded this wonderfully emotional song in 1931, as did the Boswell Sisters and Sam Wooding.  In the decade to come, Red Norvo, Benny Goodman, Jimmy Mundy, Artie Shaw, Roy Eldridge, Coleman Hawkins, Lionel Hampton, Bob Zurke and Joe Rushton, Harry James, Bobby Hackett, Wild Bill Davison, Frank Trumbauer, Teddy Wilson, Art Tatum.  And that’s only its first decade, and only those performances that were recorded.

surrender1

But we are also concerned with the more recent present — since I call this blog, with full intent, JAZZ LIVES.  On November 30, 2014, a stellar ad hoc small band under the leadership of pianist, vocalist, composer, and fantasist Ray Skjelbred took the stand at the San Diego Jazz Fest, and performed this song.

Before they begin (after the little whimsical 1938 Carnegie Hall Concert interlude)  — you can hear someone, perhaps  Marc, warping its title into I SEE RENDERED DEER, but this is America and freedom of speech is said to prevail.  The other nobilities on the stand are Hal Smith, drums; Beau Sample, string bass; Katie Cavera, guitar; Marc Caparone, cornet; Jim Buchmann, clarinet and saxello:

The mood, for those who know their antecedents, is more Boyce Brown – Wild Bill Davison (“The Collector’s Item Cats”) than Bing.  But for those who haven’t had enough of this lovely song in its natural habitat, here is something rare and, even better, complete.  Bing starred in several Mack Sennett shorts early in his career, often appearing as himself and delighting in the slapstick and broad verbal comedy.  Here is I SURRENDER, DEAR:

May your happiness increase!

FEELING AFFECTIONATE?

PINKY TOMLIN

Here’s the theme song for all affectionate types (which I hope is a large audience) — this on-air version from January 1935:

And later in 1935, one of my favorite recordings ever:

It was issued under the name of pianist Garnet Clark, but it’s more often presented these days as a Django Reinhardt recording.  The stars are Clark, trumpeter Bill Coleman (catch his wonderful Louis-homages at the end, two, gloriously), clarinetist George Johnson, string bassist June Cole.  Poor Garnet Clark had a short life and a shorter recording history, dying young and in a psychiatric institution.  But how he could play!

Extra credit to those who know who Pinky Tomlin is.

I hope that the air today is full of people humming and singing this song.

May your happiness increase!

“DUCHESS” SWINGS BY, ON DISC AND IN PERSON

A delicious new group has made an equally satisfying debut CD.  See here!

DUCHESS — an ebullient female trio — is quirky, swinging, silly, and loose but exact.  The three “girl singers,” justly known for their own solo work, are Amy Cervini, Hilary Gardner, Melissa Stylianou — listed here in alphabetical order, no ranking implied — and they are backed by swinging modernists  —  Michael Cabe, piano; Paul Sikivie, string bass; Matt Wilson, drums; Jeff Lederer, saxophone (1, 5, 6, 9, 11); Jesse Lewis, guitar (1, 2, 7, 8).  The surprising and fresh arrangements are by producer Oded Lev-Ari for their debut CD on the Anzic label.  You can read more about DUCHESS here.

Many jazz groups have clear antecedents or they follow a pattern (you can provide your own examples here).  But I don’t think there’s been any group like DUCHESS for decades.  This isn’t to suggest that they are a conscious re-enactment of the past, although they do perform one spiffy homage to the Boswell Sisters on HEEBIE JEEBIES.  They are inspired by Connie, Vet, and Martha, but in the most inventive way — their close harmony performances are startlingly alive and full of surprises, tempo changes, and sophisticated play.

Each track is a miniature symphony for voices, shifting their places in the great musical dance, and a lively improvising ensemble.  For one instance — there is a famous second bridge to P.S., I LOVE YOU (which I know from Sinatra’s Capitol version): in this new version, each of the singers takes one line in the bridge, something so pleasingly startling that I had to play the track again to be sure I’d heard correctly.

The atmosphere isn’t a re-creation of the Boswell Sisters’ recordings or of their “approach” in some mechanistic way, but DUCHESS seems — to my ears, anyway, to play with the question, “What would the cheerful radicalism of the Sisters’ elastic improvisations be like with three different singers and a new band, all of us fully cognizant of what has come after 1936?”  So one hears a rhythmic pulse that evokes the Basie band brought forward in to this century, and tenor saxophone playing that sounds like Paul Gonsalves, updated and made even more personal.  The magnificently musical drumming of Matt Wilson drives it all along, with quiet brushwork when the mood requires it.

This is one of those CDs that doesn’t fully reveal all its pleasures or exhaust itself on one hearing.  I was so delighted, listening to voices and instruments tumbling over each other in neatly acrobatic exuberance, that I haven’t yet figured everything out (who is that singing now; who’s leading the harmony?) after several listenings.  I can only say that the three voices are singular in themselves, in range, timbre, and sound, but that they blend marvelously. And the blending is anything but formulaic.  One can’t go to sleep while DUCHESS is romping.  Their simple cheerfulness blasts through LOVE BEING HERE WITH YOU, LOLLIPOP, the aforementioned HEEBIE JEEBIES, and even in the medium-tempo swaggering performance I hear the whole group grinning.  But for me the real triumphs are the more tender offerings: a melting QUE SERA, SERA, P.S., I LOVE YOU; a shape-shifting I’LL BE SEEING YOU, and BLAH, BLAH, BLAH — that most surprising comic love poem.

Speaking of BLAH, BLAH, BLAH, here’s the group’s live performance of that Gershwin opus at their home base, the 55 Bar:

This points up another facet of DUCHESS — their willingness to traverse the ground between silly and witty.  They aren’t slapsticky in their comedy, but their light-hearted approach is elevating.  And they are never blah.

Here are the songs on the CD:

1. “I Love Being Here with You” (Peggy Lee, Bill Schluger) / 2. “There Ain’t No Sweet Man” (Fred Fisher) / 3. “Que Sera, Sera” (Jay Livingston, Ray Evans) / 4. “My Brooklyn Love Song” (Ramey Idriss, George Tibbles, featuring Hilary) / 5. “A Doodlin’ Song” (Cy Coleman, Carolyn Leigh, featuring Amy) / 6. “A Little Jive Is Good for You” (Ralph Yaw) / 7. “P.S. I Love You” (Johnny Mercer, Gordon Jenkins) / 8. “Hummin’ to Myself” (Sammy Fain, Herb Magidson, Monty Siegel, featuring Melissa) / 9. “It’s a Man” (Cy Coben) / 10. “I’ll Be Seeing You” (Irving Kahal, Sammy Fain) / 11. “Lollipop” (Beverly Ross, Julius Dixon) / 12. “Blah, Blah, Blah” (George Gershwin, Ira Gershwin) / 13. “Heebie Jeebies” (Boyd Atkins)

You can bring some of this joy into your life with the CD, or, if you are in the tri-state area, you should know that DUCHESS, backed by the same band as on the album, will perform an album-release show at New York City’s Jazz Standard on March 3, 2015.

In most time zones, that’s tomorrow.

Shows are at 7:30 and 10 PM, and you can buy tickets and learn more about the group here.

May your happiness increase!

Duchess_v1r4_-_square_depth1

Dsc_7495_web_depth1

JAMES DAPOGNY’S CHICAGO JAZZ BAND at the EVERGREEN JAZZ FESTIVAL (Part Four)

One of my great pleasures of 2014 was the opportunity to see, hear, and admire James Dapogny’s Chicago Jazz Band — in their sets at the Evergreen Jazz Festival. I can’t think of another band playing now that so beautifully balances thoughtful arrangements and eloquent solos.

Here you can see three other mini-sets by this band at Evergreen.

The CJB is or are James Dapogny, piano and arrangements; Jon-Erik Kellso, trumpet; Chris Smith, trombone, vocal; Kim Cusack, clarinet, alto saxophone, vocal; Russ Whitman, clarinet, tenor and baritone saxophone; Rod McDonald, guitar; Denver native Dean Ross, string bass; Pete Siers, drums.

Gershwin’s expression of pleasure, even without Ira’s words, ‘S’WONDERFUL:

Elmer Schoebel’s clever / hot praise of swinging royalty, PRINCE OF WAILS:

What other song do you know that takes its name from a popular chewing tobacco?  Only COPENHAGEN:

Another favorite from the dawn of jazz, the TIN ROOF BLUES:

I think of the Boswell Sisters when I hear SENTIMENTAL GENTLEMAN FROM GEORGIA:

And the official set-closer of the Chicago Jazz Band, WASHINGTON POST MARCH:

The CJB played much more at Evergreen, so you can expect even more delights.

May your happiness increase!