Tag Archives: Don Kirkpatrick

JON-ERIK KELLSO HONORS HENRY “RED” ALLEN (JAZZ AT CHAUTAUQUA, September 22, 2012)

Henry “Red” Allen deserves to be celebrated — a monumentally surprising individualist with deep New Orleans roots but as modern as you could want.  He demonstrated his quirky powers for four decades on record and in performance: in one phrase, harking back to street parades and the great trumpet tradition including his friend and sometime employer Louis Armstrong, then creating dancing angular phrases that came from nowhere, broke in through the side window, tap-danced in the air, and left in a flash.

If the history of jazz had not been compressed by star-makers and taxonomists (Louis to Roy to Dizzy to Miles, no local stops) more people would have noticed that Red’s phrasing and note choices are as deliciously odd as Lester’s or Monk’s — earlier.  With some splendid musicians, you can anticipate what they might play and what directions their solos might take: not Henry Red.  And as a singer. he blends the romance of an African-American Crosby and the wildness of Leo Watson, the good grease of Lips Page — always recognizable as himself.

In the Thirties, Red worked with the Fletcher Henderson band, the Mills Blue Rhythm Band, and eventually with Louis’ large band — which grew out of the 1929-30 Luis Russell Orchestra, perhaps the happiest band in jazz.  He recorded with a variety of blues singers, with Billie Holiday and James P. Johnson — but the records that many of us treasure are a series made for jukeboxes between 1933 and 1937.

Their premise was simple: get a small band of expert swing musicians (none of them famous enough to command salaries above scale), pass out current pop tunes, make sure the melody and lyrics were clear and distinct in an opening chorus, and let the fellows swing out.

Red’s cohorts on these recordings were (among others) trombonists Bennie Morton, Dicky Wells, and J.C. Higginbotham; reedmen Coleman Hawkins, Cecil Scott, Chu Berry, Hilton Jefferson, Russell Procope, Tab Smith, Buster Bailey, rhythm players Don Kirkpatrick, Horace Henderson, John Kirby, Bernard Addison, Lawrence Lucie, Walter Johnson, and others.  Many years ago these records were available in complete chronological order on vinyl and CD, but those issues are hard to find.  They rank with the best Fats Waller, Billie Holiday, and Mildred Bailey recordings.

But this is not simply a celebration of the hallowed dead.  Rather, like so many musical occasions that delight me, the music presented below merges the past and the present at once.  And if ever a musician could straddle 1933 and 2012 without ripping his suit trousers, it would be our man Jon-Erik Kellso.  He is wise enough to play himself rather than copying Red, but he loves the small band recordings Red and Coleman Hawkins created.  He and a congenial small band — Alex Hoffman, tenor saxophone; Bob Havens, trombone; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums — swung out in tribute to Red, Hawk, and the good music you could hear on a jukebox or at home in 1933-4 . . . at Jazz at Chautauqua 2012.

I’M RHYTHM CRAZY NOW comes from the (Horace) Henderson book, and it lives up to its title in an understated way:

THE DAY YOU CAME ALONG was a voluptuous hit for Bing Crosby at his most romantic — and it became a great showcase for Coleman Hawkins (yet another example of Crosby’s magnificent influence across “schools” and “styles”):

YOU’RE GONNA LOSE YOUR GAL, for better or worse, is purely instrumental here, so we miss out on the profound lines, “acting like a two-time lover / sneaking kisses under cover / you’ll wake up and you’ll discover”:

Fats Waller’s rhetorical urging us to joy, AIN’T CHA GLAD?:

From the very first session Red and Hawk attempted — with tuba and banjo at the orders of the recording executives — SISTER KATE:

I’VE GOT MY FINGERS CROSSED, a hot tune, might not have been recorded by Red — but Fats and Louis created memorable recordings of it (in Fats’ case, a film appearance) so it’s welcome here:

May your happiness increase.

“SISTER KATE”: BENT PERSSON and the HARLEM JAZZ CAMELS (Feb. 7, 2012)

I don’t wish I could shimmy like my Sister Kate.

I wish I could play trumpet like Bent Persson.  Or at least I wish I could hear him on a much more regular basis — which is why this video from Sweden both satisfies and tantalizes.

Here is Bent with a group — his Harlem Jazz Camels — friends who have played together since 1978.  They’ve made several CDs, but here they are in concert in the Aneby (Sweden) concert hall, just two days ago.  I am very grateful to the mysterious “jazze1947” for posting this on YouTube, and you will be, too.  The band is Goran Eriksson, alto, clarinet; Claes Brodda, clarinet, baritone, tenor sax; Stephan Lindsein, trombone; Lasse Lindback, string bass,  Ulf Lindberg, piano;  Sigge Delert, drums;  Goran Stachewsky, guitar and banjo.

Their inspiration for this particular performance is a rare but notable 1933 session featuring Henry “Red” Allen and Coleman Hawkins — the two sides were rejected at the time but test pressings survived of SISTER KATE and SOMEDAY SWEETHEART.  The other musicians were Dicky Wells, Russell Procope, Bernard Addison, Don Kirkpatrick, Bob Ysaguire or John Kirby, and Walter Johnson.

Bent and the Camels do not copy the famous solos — but keep the swinging ambiance of the original session.  Hear for yourself:

“jazze1947” even shows up in New York City in search of the real thing: you can visit his channel here.  With luck, perhaps he recorded more from this wonderful concert.

“THE GREATEST LIVING HOT MUSICIANS”

I’ve been very fortunate to meet generous people through JAZZ LIVES — and a new one is archivist / jazz trombonist Rob Hudson, who works for the Carnegie Hall Archives. 

He found me because of a posting I did on Fats Waller’s rather uneven 1942 concert at the hall, and we chatted about the event, the music, and what recorded evidence remains.  (To my knowledge, only a BLUES in Bb — a duet for Fats and Hot Lips Page, and a HONEYSUCKLE ROSE featuring Max Kaminsky, Bud Freeman, Pee Wee Russell, Eddie Condon, John Kirby, and Gene Krupa have come to light, although I am sure that the concert was recorded in full.)

But back to the Carnegia Hall Archives: I asked Rob what materials were in the vaults relating to my hero (and yours, too) Eddie Condon, and this magical document appeared.  It’s not in the best shape, but it is the poster for the October 14, 1944, Condon concert (Rob told me that this had been used as the backing for another poster in someone’s collection, which strikes me as incredible). 

What’s even more incredible is the collection of signatures.  Some of them have to have been from the Forties and perhaps from a visit to Condon’s club — but since trumpeter Johnny Letman signed and dated his signature “1959,” I imagine a jazz fan bringing this around with him to the clubs (Condon’s, Ryan’s, the Metropole) and asking the musicians, the Mighty, to sign it.

Everyone’s here — from Don Frye to Maxine Sullivan to Frank Newton and Pee Wee Russell: a collection to cherish.  There;s Ralph Sutton, Ellington copyist Tom Whaley, Lee Blair, Harry Carney, Jimmy Crawford, James P. Johnson, Zutty Singleton, Art Tatum (via his rubber stamp), Don Kirkpatrick, Omer Simeon (from the Fifties Wilbur DeParis band) and more.

Thanks to Rob, to the Carnegie Hall Archives, and to Maggie Condon — for permission to share this wonderful piece of paper with you:

Courtesy of the Carnegie Hall Archives

 I’m looking forward to visiting the Archives to see their other treasures — and possibly reporting back to my loyal readers.  The strains of a Condon-organized OLE MISS are in my head . . .

PAPER, NOT EPHEMERAL

This piece of paper comes from the collection of Boston jazz aficionado Samuel Prescott, and it’s an absolute Who’s Who of jazz stars who came through that city in the Forties.  The Prescott papers (and discs) are now held by the University of New Hampshire Library, and they took good care of this piece of paper, crowded with signatures of great men and women:

On the back (invisible at the moment) is the autograph of one Duke Ellington.  And here are the names that the librarians found: a good pastime for a rainy day with a magnifying glass: 

Earl ‘Fatha’ Hines (twice).  Al Morgan.  Pete Brown.  Joe Battaglia (piano).  Shirley Mhore (vocal).  Gene Sedric.  Art Hodes.  Vic Dickenson.  J. C. Higginbotham.  Roy Eldridge.  Erskine Hawkins (twice).  Joe Marsala.  Adele Girard.  Jimmy Shirley.  Jess Stacy.  Ev Schwarz (pian0).  John Kirby.  James P. Johnson.  Edmond Hall.  Louis Armstrong.  Billy Kyle.  Bob Wilber.  Frankie Newton.  Willie ‘Bunk’ Johnson (twice).  Baby Dodds.  Johnny Windhurst.  Johnny Field (bass).  Sparky Tomasetti.  Jack Teagarden.  Dick Wellstood.  Pops Foster.  Sidney Bechet.  Sandy J. Williams.  Jimmy Archey.  Howey ‘Peacoo’ Gadboys.  Sidney de Paris.  Rex Stewart.  ‘Wild’ Bill Davison.  Pleasant Joseph.  Henry ‘Red’ Allen.  Milton ‘Mezz’ Mezzrow.  Pee Wee Russell.  Don Kirkpatrick.  Max Kaminsky.  Paul Watson.  Bob Guy.  Charlie Holmes.

Amazing, no?