Tag Archives: Frank Socolow

HOLY RELICS, BEYOND BELIEF (Spring 2020 Edition)

The eBay seller “jgautographs,” from whom I’ve purchased several marvels (signatures of Henry “Red” Allen, Rod Cless, Pee Wee Russell, Pete Brown, Sidney Catlett, among others) has been displaying an astonishing assortment of jazz inscriptions.  I haven’t counted, but the total identified as “jazz” comes to 213.  They range from “traditional” to “free jazz” with detours into related musical fields, with famous names side-by-side with those people whose autographs I have never seen.

As I write this (the early afternoon of March 21, 2020) three days and some hours remain.

Here is the overall link.  Theoretically, I covet them, but money and wall space are always considerations.  And collectors should step back to let other people have a chance.

The signers include Benny Carter, Betty Carter, Curtis Counce, Jimmy Woode, Herb Hall, Bennie Morton, Nat Pierce, Hot Lips Page, Rolf Ericson, Arnett Cobb, Vernon Brown, Albert Nicholas, Bobby Hackett, Vic Dickenson, Sammy Margolis, Ed Polcer, Ed Hall, Billy Kyle, Sam Donahue, Al Donahue, Max Kaminsky, Butch Miles, Gene Krupa, Ray McKinley, Earl Hines, Jack Teagarden, Arvell Shaw, Barrett Deems, Buck Clayton, Babs Gonzales, Benny Bailey, Joe Newman, Frank Wess, Pharoah Sanders, Kenny Burrell, Reggie Workman, Stanley Turrentine, Louis Prima, Wayne Shorter, Tiny Bradshaw, Harry Carney, Juan Tizol, Bea Wain, Red Rodney, Frank Socolow, Bobby Timmons, George Wettling, Roy Milton, Charlie Rouse, Donald Byrd, Kai Winding, Kenny Drew, Kenny Clarke, Steve Swallow, Shelly Manne, Frank Bunker, Charlie Shavers, Ben Pollack, Jess Stacy, Ron Carter, Bob Zurke, Jimmy Rushing, Cecil Payne, Lucky Thompson, Gary Burton, Jaki Byard, Noble Sissle, Muggsy Spanier, Don Byas, Pee Wee Russell, Slam Stewart, Hazel Scott, Ziggy Elman, Buddy Schutz, Ernie Royal, Boyd Raeburn, Dave McKenna, Claude Thornhill.

And signatures more often seen, Louis Armstrong, Dave Brubeck, Marian McPartland, Ella Fitzgerald, Anita O’Day, Hoagy Carmichael, Artie Shaw, Sidney Bechet, Gerry Mulligan, Cab Calloway, Rosemary Clooney, Wynton Marsalis,Tommy Dorsey, Oscar Peterson, Billy Eckstine, Mel Torme, Chick Corea, Count Basie.

In this grouping, there are three or four jazz-party photographs from Al White’s collection, but the rest are matted, with the signed page allied to a photograph — whether by the collector or by the seller, I don’t know.  And there seems to be only one error: “Joe Thomas” is paired with a photograph of the Lunceford tenor star, but the pairing is heralded as the trumpeter of the same name.

My head starts to swim, so I propose some appropriate music — sweet sounds at easy tempos, the better to contemplate such riches, before I share a half-dozen treasures related to musicians I revere.

Jess Stacy’s version of Bix Beiderbecke’s CANDLELIGHTS:

Harry Carney with strings, IT HAD TO BE YOU:

Lester Young, Teddy Wilson, Gene Ramey, Jo Jones, PRISONER OF LOVE:

Here are a double handful of autographs for your amazed perusal.

Bob Zurke:

Charlie Shavers, name, address, and phone number:

Lucky Thompson, 1957:

Jimmy Rushing, 1970:

Harry Carney:

Juan Tizol:

Bill Coleman:

Buck Clayton:

Hot Lips Page (authentic because of the presence of the apostrophe):

Joe Sullivan:

Don Byas:

George Wettling:

Frank Socolow:

Benny Carter (I want to see the other side of the check!):

And what is, to me, the absolute prize of this collection: Lester Young, whom, I’m told, didn’t like to write:

Here’s music to bid by — especially appropriate in those last frantic seconds when the bids mount in near hysteria:

May your happiness increase!

SWINGING GENEROSITY: “BLUE SKIES”: SID CATLETT and THE REGIS ALL STARS (1944)

Let’s get the carping out of the way instantly: I’ve never yet seen a copy of this 78 that didn’t have surface noise; the recording studio sounds cramped; the piano could use some home improvement.  But here’s some of the best jazz you can imagine, from Sidney Catlett (drums / leader); Oscar Pettiford (string bass); Eddie Heywood (piano); Frank Socolow (tenor saxophone); Edmond Hall (clarinet); Charlie Shavers (trumpet), improvising on Berlin’s BLUE SKIES:

The record begins with a typical rippling / echoing bit of virtuosity from Heywood — who had been recording with Coleman Hawkins, Ed Hall, and Billie Holiday, among others, for a few years: fast company!

The ensemble chorus that follows is reminiscent of Shavers’ previous employer, John Kirby — but looser, less mannered.  There are many opportunities for Heywood to shine through, in the manner of a more powerful Billy Kyle.  Because of the surface noise and the nature of the studio, Sidney doesn’t come through powerfully — we hear some brush accents — but he’s saving his force for what follows.

We hear him push Socolow into his solo chorus (the tenorist employing swoops and glides from Ben Webster) as Heywood’s comping is spare and propulsive.  But listen to how Sidney shadows and urges Socolow on at the bridge, a musical “Go on, man!  I’m right behind you and I agree with everything you play here!”

But Sidney doesn’t need to be the whole show, and he doesn’t upstage Hall and Shavers by echoing each rhythmic emphasis they present: in the best old-fashioned way, he plays time, supporting their efforts.

It’s only in the last chorus that he comes out into the open, in trades with Heywood (and an interlude for Pettiford) before the band takes the last eight bars.  I couldn’t notate what Sidney plays, but it’s dance music of the most exalted kind.  And — rather like a solicitous parent who makes sure everyone’s plate is full before helping himself — he’s made sure that everyone gets a solo, first.

Such generosity is rare and should be celebrated.  Sidney Catlett sounded extraordinary by himself, but made sure that everyone else sounded better than they would otherwise.  And it’s audible even through the mid-Forties surface noise.

Good deal!  And thanks to “cdpix” for posting this delight, and to another Sidney for the inspiration for this posting.

HIS FATHER’S VOICE

Even if you don’t know Sidney Catlett (1910-1951, possibly the greatest percussionist in jazz) and his living son — a famous basketball player — you owe it to yourself to read this very touching article about son and father finding one another in ways that transcend the ordinary. 

Here are two links to the Washington Post article — and jazz fans will find the name of the author a special bonus.  I’m going to go through my day hearing in my head the sound of Spencer Clark (bass saxophone) in a trio with Erroll Garner and Sidney. 

Imagine what it feels like to hear your father’s voice for the first time when you are in your fifties:

And Sidney’s musical voice still reverberates for the rest of us:

http://bit.ly/eROa0t

http://www.washingtoncitypaper.com/articles/40429/what-brought-big-sid-and-little-sid-catlett-together/

WHAT WOULD BIG SID DO?  ALL MONEY GOES TO THE MUSICIANS.

https://.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=VBURVAWDMWQASwww