Tag Archives: Bud Wilson

LEE WILEY AND FRIENDS: “DADDY, YOU’VE BEEN A MOTHER TO ME”

The video that follows is visually unrewarding, but aurally I hope it will make up for the eight minutes of blackness.  What follows is both rare and odd: a performance of a forgotten sentimental 1920 pop song by Fred Fisher —

MOTHER one

Most of us know Fisher as the composer of DARDANELLA, PEG O’MY HEART, CHICAGO, and a few others, but this maudlin ballad (Mother is in Heaven, admiring the fine job Daddy has done of taking her place and raising the singer) must have stuck in someone’s mind, for at an informal session at Bill Priestley’s house on August 29, 1959 (recorded by John Steiner) this song emerged — in two versions — performed by an unusual collection of musicians: Lee Wiley, vocal; Frank Chace, clarinet; Art Hodes, piano; an uncredited Bud Wilson, trombone; Clancy Hayes, drums.  (Hayes was usually singing and playing guitar or banjo; drumming was not his forte.)  I have some small doubts that it is indeed Hodes at the piano, for the accompaniment lacks any of his trademarks.  Did Squirrel Ashcraft take over the piano chair and begin this song, reminding everyone of how memorable this ancient ballad was?

Here is the performance:

and here is the sheet music for those of you who wish to serenade and accompany at home:

MOTHER two

and

MOTHER three

and

MOTHER four

and

MOTHER five

Now, a postscript about the provenance of this music.  My dear (late) friend John L. Fell sent this cassette around 1988, but I thought I’d lost the tape.  And when I’d mention to a few people that I had a copy of a John Steiner tape where Lee sang and Frank Chace accompanied her, they would grow animated.  Then I’d say, “One of the songs is ‘DADDY, YOU’VE BEEN A MOTHER TO ME,'” and their response would usually be skepticism, widened eyes, and hilarity — because in the circles I travel in, to “be a mother” often has meanings that aren’t quite maternal.

When yesterday afternoon I had the right combination: a functioning cassette deck, my video camera, and a reasonably quiet room, I decided to make this video . . . and share it with you.  Lee’s fans will appreciate another example of her beautiful tone; Frank’s admirers will note his rather subdued and lovely accompaniment.  I wonder how they came to this song, and whether there were jokes made about its title before they tried it out.  It’s all mysterious, but I hope you find the music repays close listening and amateurish film-making.

May your happiness increase!

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FRANK CHACE ON DISC

This post is meant as a follow-up to my lengthy presentation of letters from the Chicago clarinetist to me.  When Frank Chace died, many jazz listeners who would have admired his work were unaware of it, and the first question asked on several online forums was “Where can I hear his recorded work?  Here’s a brief overviewm beginning with something of a sentimental artifact.

These aren’t compact discs, but 78s from the first recording session of both Marty Grosz and Frank Chace.  Dick Wellstood had already been recording since 1946; Pops Foster and Tommy Benford were veterans. 

Two other titles were recorded: the session was reissued on ten-inch lps on the Pax / Paradox label.  Compact disc reissue, anyone?

Since most of my readers prefer compact discs, here is a brief (and perhaps incomplete) listing of current issues of Frank’s music, in approximate chronological order.

DEWEY JACKSON LIVE AT THE BARREL CLUB, 1952 (Delmark).  This session, recorded by Delmark’s founder Bob Koester, finds Chace with trombonist Sid Dawson and St. Louis trumpet legend Jackson as well as long-time friend Don Ewell. 

SALTY DOGS 1955 (Windin’ Ball).  This features trumpeter Birch Smith, who arranged for the music to be recorded, the legendary trombonist Jim Snyder, John Cooper (piano); Jack Lord (banjo); Bob Rann (tuba); Dick Karner (drums).  Visit http://www.tradjazzproductions.com/music3.html to hear an mp3 of Frank — and to order the CD from TradJazz Productions.

HOORAY FOR BIX: Marty Grosz and his Honoris Causa Jazz Band, 1957 (Riverside / Good Time Jazz).  These sessions — under Marty Grosz’s leadership – pair Frank with cornetist Carl Halen, Bill Priestley on guitar and second cornet, Bud Wilson on trombone, Bob Skiver on reeds, Tut Soper on piano, and others.  (The outlandish names on the liner are pseudonyms — for reasons I have never discerned, since most of the players were not under contract to any other company.)  This might be the best introduction to Frank on record.  A vinyl record of alternate performances showed up very briefly at the end of the vinyl era (and the alternate material was again issued on a compact disc on the British J&M label.)

JIMMY ARCHEY / DON EWELL LIVE AT THE EMPORIUM OF JAZZ, 1967 (GHB: 2 CDs).  Recorded live at the Emporium of Jazz in Mendota, Michigan, home base for the Hall Brothers’ Jazz Band, this live issue features Archey, Don Ewell, trumpeter Bill Price, and drummer Red Maddock among others.

FRANK CHACE and his CHICAGO LOOPERS, 1987 (Jazzology: 2 CDs).  This 2009 issue pairs Frank with the fine drummer Hal Smith, the Bix-inspired cornetist Tom Pletcher, gutty trombonist Tom Bartlett, bassist Dan Shapera, and pianist Joe Johnson.  The candid portrait of Frank at work is by his friend Terry Martin. 

Jazzology plans to issue a complete 2-CD set of the sessions Frank recorded with Butch Thompson, Charlie DeVore, John Otto, Hal Smith, and others — originally issued in part on vinyl as BUTCH THOMPSON AND HIS BOYS.

Should anyone suggest a hidden agenda — ranking the merit of these recordings by the size of the images above — nothing of the sort is implied or expressed. 

Other CDs with appearances by Frank have come and gone — a Vanguard session led by Jim Kweskin (featuring Marty Grosz and Ted Butterman) called JUMP FOR JOY; Frank’s one track from a 1981 Newport Jazz Festival tribute, CHICAGO JAZZ SUMMIT (Atlantic).  Much of his recorded work has been issued on spectacularly obscure recordings: two records by Marty Grosz and his Gaslighters on Audio Fidelity; a session with Dave Remington on Jubilee (a record, oddly enough, that has surfaced a good deal online — in inexpensive V+ copies); with Doc Evans on Soma (where Frank plays baritone sax as well as clarinet).  But Frank’s refusal to play or record music not to his liking make his recorded oeuvre smaller than it should have been.  Ironically, at times I tried to interest two producers of traditional jazz records in doing a Frank Chace recording — preferably a new session — by sending them a cassette of chace in 1958 and 1997.  I received, as I recall, polite demurrers.  Not, mind you, that Frank was ever eager to record: his Chicago friends did herculean wheedling and coaxing with very little result.  But it took until 2009 — and the efforts of Hal Smith — to have a CD issued under Frank’s name, which is a pity.

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