Tag Archives: DEATH OF A SALESMAN

HEROES WITH FOUNTAIN PENS AND MUSICAL INSTRUMENTS

The eBay seller jgautographs continues to delight and astonish.  They (she? he?) have several thousand items for sale as I write this, for auction or at a fixed price, and even if the later items are unusual yet unsigned photographs, what they have to show us is plenty, from Jacquelie Kennedy Onassis’ stationery, a Playbill signed by Arthur Miller (DEATH OF A SALESMAN, of course), Joey Heatherton, Eleanor Roosevelt, Robert Redford, Marjorie Kinnan Rawlings, Frederick Douglass, Stephen Sondheim, and more.  When people signed their name in cursive, and often before ballpoint pens were ubiquitous.

And did I mention they have jazz autographs for sale?  I remarked upon such wonders here and here about ten days ago.  I’ll leave it to you to search the thousands of items, but here are some of very definite jazz interest.  (This time, the seller is not showing the reverse of these signatures, as (s)he did earlier, so there is a slight air of mystery to these offerings.  But someone was hip.)

There must still be thousands of Tommy Dorsey signatures still circulating, but this one’s unusual: did TD sign it for a family friend, or for someone who asked what his middle name was?  I’ve not seen another like it, and the flourishes mark it as authentic.

Coleman Hawkins had gorgeous handwriting, which does not surprise me.  I have no idea if the signature and photograph are contemporaneous, though:

Someone who worked on and off with Hawk, including time in the Fletcher Henderson band and reunions in the 1956-7 period, my hero, Henry “Red” Allen:

and a signature rarely seen, Leon “Chu” Berry — also from the time when musicians not only signed their name but said what instrument they played:

So far, this post has been silent, but it would be cruel to not include the two small-group sides that bring together Hawk, Red, and Chu — under the leadership of Spike Hughes in 1933 (also including Sidney Catlett, Lawrence Lucie, Wayman Carver, Benny Carter, and Dicky Wells — truly all-star!

HOW COME YOU DO ME LIKE YOU DO?

SWEET SUE, JUST YOU (with a glorious Carver flute chorus):

Back to Chu Berry . . . he was playing in Cab Calloway’s band at the end of his life; in the trombone section was Tyree Glenn, who lived much longer (I saw him with Louis):

A star of that orchestra and a star in his own right, trumpeter Jonah Jones:

Here’s BROADWAY HOLDOVER, originally issued on the Staff label under Milt Hinton’s name, featuring Jonah, Tyree, Al Gibson, Dave Rivera, and J.C. Heard:

Our autograph collector friend also made it to a club where Pete Brown was playing — again, another signature rarely seen:

Pete, Tyree, Hilton Jefferson, Jerry Jerome, and Bernie Leighton join Joe Thomas for one of my favorite records, the Keynote YOU CAN DEPEND ON ME:

And (exciting for me) our collector made a trip to Nick’s in Greenwich Village, from whence the signatures of Pee Wee Russell and Miff Mole came.  Now, two musicians from the same schools of thought — the short-lived Rod Cless:

and trumpet hero Sterling Bose:

and because they have been so rare, here are the four sides by the Rod Cless Quartet with Bose, James P. Johnson, and Pops Foster on the Black and White label — I am told that the Black and White sides will be a Mosaic box set, which is fine news.  Here’s HAVE YOU EVER FELT THAT WAY? (with verse):

MAKE ME A PALLET ON THE FLOOR:

FROGGY MOORE:

and James P., brilliantly, on I KNOW THAT YOU KNOW:

If I could play clarinet, I would like to sound like Cless.

And a postscript of a personal nature: the auction ended a few minutes ago.  I bid on the Cless, the Pete Brown, the Bose, and on a whim (because I knew it would go for a high price) the Chu Berry.  Chu went for nearly $171; someone beat me by a dollar for Sterling Bose, but my bids — not exorbitant — won the Cless and Pete.  When they come in the mail, I envision a frame with Pee Wee, Rod, and Pete.  It will give me pleasure, and some years from now, it will give someone else pleasure also.

May your happiness increase!

“JONATHAN STOUT and his CAMPUS FIVE” SWING!

Perhaps it’s because I live in New York, but I had heard little about guitarist Jonathan Stout and his various swing ensembles until recently, but when I heard that Jonathan often employed pianist Chris Dawson and Hal Smith, when I read that he considers Allan Reuss his favorite rhythm guitarist . . . then I began to pay attention.

And, as Arthur Miller has Linda Loman say in DEATH OF A SALESMAN in quite a different context, “Attention must be paid.”

To be blunt, there are many orchestras and combos billing themselves as “Swing bands.”  Most of them, although diligent, miss the point.  Swing isn’t simply a matter of wearing the appropriate period clothing; it isn’t a matter of copying arrangements off the records or from the page.  Ellington called it “bouncing bouyancy,” and he was of course right.  It isn’t a matter of letting the tenor soloist wail in a post-bop manner for a number of choruses on A STRING OF PEARLS.  To play Swing convincingly, it’s necessary to swing — and not everyone is born with that rhythmic / harmonic / melodic DNA.  But the musicians who make up Jonathan Stout’s “Campus Five” know what it’s all about — not in some academic way, not by reproducing old records live.  They feel it, and the evidence is right here. 

The band appeared at the Cicada Club in Hollywood on May 17, 2009, for three long sets.  Amazingly, these performances are accessible in their entirety on YouTube (which usually restricts civillians to ten minutes) and in High Definition.  The band, for this occasion, is made up of  Jim Ziegler, trumpet (and an engaging Southern-tinged vocal on CHEEK TO CHEEK), Albert Alva on tenor sax and clarinet; Richard Geere on piano; Jonathan himself on acoustic and electric guitar; Wally Hersom on bass; and, for this occasion, Hal Smith on drums; Hilary Alexander is the sweetly genial girl singer.

Here’s the first set — including a number of variations on jazz classics, HONEYSUCKLE ROSE and S’WONDERFUL; material made famous by the Benny Goodman Sextet featuring Charlie Christian, BENNY’S BUGLE and ROSE ROOM, the Lionel Hampton FLYIN’ HOME, and several charming vocals from Miss Alexander, including COW COW BOOGIE, SUNNY SIDE OF THE STREET, and Lester Young’s vocal feature, JUST A LITTLE BIT SOUTH OF NORTH CAROLINA. 

The dancers enjoyed themselves: I did as well.    

P.S.  Ending the set is some rather tedious period banter between the master of ceremonies and the owner of the club, which some may wish to avoid.