Tag Archives: Earl Scheelar

DAVE RADLAUER’S MUSICAL GENEROSITIES

The somber-looking fellow here might not be known to you, but he is the most generous of excavators, finding rare jazz treasures and making them available for free to anyone with a computer and many free hours.  His name is Dave Radlauer, and his site is called JAZZ RHYTHM.

RADLAUER portrait

As is often the case in this century, Dave and I have never met in person, but know each other well through our shared fascinations.  But first a word about JAZZ RHYTHM.  When you go to the site’s home page, you’ll see a left-hand column with famous names from Louis Armstrong to Lester Young, as well as many lesser-known musicians.  Click on one to hear a Radlauer radio presentation, with facts and music and anecdotage nicely stirred together.  The long list of names testify to Dave’s wide-ranging interest in swinging jazz.

But here comes the beautiful part.  Click on “Bagatelle jazz club,” for instance, and you will be taken back in time to a rare and beautiful place where delicious music was played.  Possibly you might not know Dick Oxtot, Ted Butterman, Frank Goudie, Bill Bardin, Pete Allen well, but their music is captivating — and a window into a time and place most of us would not have encountered: clubs in and around San Francisco and Berkeley, California, in the Fifties and Sixties.

Dave has been an indefatigable researcher and archivist, and has had the opportunity to delve into the tape collections of musicians Bob Mielke, Wayne Jones, Earl Scheelar, Oxtot, and others.  And the results are delightful sociology as well as musically: how else would I have learned about clubs called The Honeybucket or Burp Hollow? And there are mountains of rare photographs, newspaper clippings, even business cards.

When I visit Dave’s site, I always feel a mild pleasurable vertigo, as if I could tumble into his treasures and never emerge into daylight or the daily obligations that have to be honored (think: ablutions, laundry, bill paying, seeing other humans who know nothing of P.T. Stanton) but today I want to point JAZZ LIVES’ readers in several directions, where curiosity will be repaid with hours of life-enhancing music.

One is Dave’s rapidly-expanding tribute to cornet / piano genius Jim Goodwin — legendary as musician and singular individualist.

jim-goodwin

And this treasure box, brimful, is devoted to the musical life of Frank Chace — seen here as momentarily imprisoned by the band uniform.

CHACE Radlauer

On Dave’s site, you can learn more about Barbara Dane and Janis Joplin, James Dapogny and Don Ewell . . . all presented with the open-handed generosity of a man who wants everyone to hear the good sounds.

Dave has begun to issue some of these treasures on beautifully-annotated CDs, which are well worth your consideration.

RADLAUER CD one

I’m told that the music is also available digitally via iTunes, but here is the link to Amazon.com for those of us who treasure the physical CD, the photographs, and liner notes.

A postscript.  Until the middle Eighties, my jazz education was seriously slanted towards the East Coast.  But when the jazz scholar and sometime clarinetist John L. Fell befriended me, I began to hear wonderful musicians I’d known nothing of: Berkeley Rhythm, Goodwin, Skjelbred, Byron Berry, Vince Cattolica, and others. So if the names in this piece and on Dave’s site are new to you, be not afeared.  They made wonderful music, and Dave is busily sharing it.

May your happiness increase! 

EV FAREY’S BAY CITY JAZZ BAND (1958)

Sometimes the fabled past, unearthed, falls short of our expectations.  The rare recordings of the memorable band occasionally seem small: “Is that what we were waiting for all these years?” we ask.

But one disc by Ev Farey’s Bay City Jazz Band (TradJazz Productions CD 2123) has been a delight rather than a disappointment.

I first became interested in this music as after reading Jim Leigh’s insightful and witty memoir, HEAVEN ON THE SIDE — where he writes about this gig at the Sail ‘N.  And in the wake of Jim’s recent death, I have been listening even more to this disc — with great pleasure.

The band is led by cornetist Ev Farey (someone still playing beautifully — I can testify to this from seeing him in person just a few weeks ago); Jim on trombone; Tito Patri, banjo; Art Nortier, piano; Walt Yost, string bass . . . . and the remarkable Bob Helm on clarinet.

Some bands conspicuously exert themselves, as if they had to get our attention — but the 1958 Bay City Jazz Band knew how to take its time, to be intense without strain.  An easy-rocking momentum dominates the disc, whether the band is emulating Oliver on SNAKE RAG or building slow fires under RICHARD M. JONES BLUES and RIVERSIDE BLUES.  No one gets much out of the middle register; there are no long solos.  The emphasis is on a communal ensemble and each selection moves along on its own swinging path.  But the music is bright, imaginative, with no one tied to the original recordings.

The mood overall is lyrical — I found myself admiring Farey’s gentle, down-the-middle melodic embellishments, his singing tone, his amiable gliding motion.  Helm has long been celebrated as a nimble soloist but his ensemble playing doesn’t sound like anyone else’s (except perhaps his own version of Dodds and Simeon.)  Leigh’s  concise, homegrown ardor fits in neatly.  On recordings of this sort, often the front line and the rhythm section seem to be running on approximately parallel tracks — the two trios meet at the start and end of selections.  Not so here.

The repertoire comes from an imagined 1926 Chicago, with an emphasis on early Louis with a sideways glance at Morton and contemporaries: STRUTTIN’ WITH SOME BARBECUE; JAZZIN’ BABIES BLUES; HOUSE OF DAVID BLUES; GEORGIA BO BO; NEW ORLEANS STOMP; SMOKEY MOKES; GUT BUCKET BLUES; SAN; MECCA FLAT BLUES; COME BACK SWEET PAPA; SAN; SKID-DAT-DE-DAT; WILLIE THE WEEPER; MILENBERG JOYS.  Turk’s tribute to Helm, BROTHER LOWDOWN, is here, as is another Murphy discovery, GOT DEM BLUES, an 1897 composition believed to be the earliest published blues.

And in case you were wondering about the sonic quality of 1958 tapes, they were recorded close to the band and have been well-treated, so the music comes through nicely.

One of the particular bittersweet pleasures about this issue is that Jim Leigh wrote the notes.  Here’s an excerpt:

The music here can speak for itself.  There is quite a lot of tape wound on the band during my time on board, and this is some of the very best.  Helm would not have been comfortable to hear it said, but he is the star as he had been three years earlier with our ElDorado JB, as he was so often, with no matter whom.  As always, it is impossible to say whether he was more brilliant as a soloist or an ensemble player; it is all one pure stream of music and there was no virtue he valued more highly than what he called continuity.  From having been lucky enough to play with the man many times in different groups, my impression is still deep that Helm’s presence on the stand invariably brought out the best in his band mates.  Not through competitiveness, but rather the joy he communicated and the sheer pleasure of listening to/playing with such a musician.

To hear samples from a wide range of the TradJazz Productions CDs — featuring Bob Helm, Ev Farey, Hal Smith, Claire Austin, Darnell Howard, Leon Oakley, Jim Leigh, Frank Chace, Bud Freeman, Clint Baker, Earl Scheelar, Russ Gilman, Floyd O’Brien, Lil Hardin Armstrong, Baby Dodds, Natty Dominique, and others, click here.

To purchase LIVE! AT THE SAIL’N and learn about the Trad Jazz Production label’s other issues, click here.  (I understand that there’s a new Leigh CD, just released . . . . more about that soon.)

May your happiness increase.