Tag Archives: Fred King

THE SOUNDS OF NEW ORLEANS (on DISC)

Three recent CDs from the George H. Buck family of labels are unusual sound-pictures of the riches of New Orleans jazz.

GEOFF BULL IN NEW ORLEANS (GHB BCD 203) is a CD reissue of trumpeter Bull’s first American session (October 1977, first issued December 1999).  Although Bull says that his first influences were George Lewis and Bunk Johnson, the music he made at Preservation Hall on this recording is far from what we would expect: light, floating, subtle.

A good deal of this is due to his beautiful playing, at times reminiscent of Bunk at his most lyrical (think of the American Music trios with Don Ewell); Bull can also sound like Marty Marsala or Henry “Red” Allen, but he is his own man, with a relaxed conception.  Making this session even more memorable is clarinetist Raymond Burke, free to roam in the front line alongside Bull.  Bassist James Prevost is a melodic swinger, and the rhythm section is completed by two strong individualists: Sing Miller, piano and vocal*; Cie Frazier, drums.

Rather than choose a program of Preservation Hall favorites, Bull and friends opted for pretty tunes not often played: PECULIAR / DO YOU EVER THINK OF ME? / A PORTER’S LOVE SONG TO A CHAMBERMAID / ONE FOR THE ROAD (a leisurely blues) / I’M NOBODY’S BABY / ALL ALONE / NEVERTHELESS / TUCK ME TO SLEEP IN MY OLD ‘TUCKY HOME* /JEEP’S BLUES / ZERO (I NEVER KNEW WHAT A GAL COULD DO) / THE NIGHT WHEN LOVE WAS BORN* / LET JESUS FIX IT FOR YOU* / HONEY – WHEN I GROW TOO OLD TO DREAM*.The results are sweet thoughtful jazz, conversational music that musicians play for their own pleasure.

My own Geoff Bull tale is musically rewarding: I hadn’t heard him play before encountering him (unbeknownst to me) in an after-hours jam session during the 2010 Whitley Bay International Jazz Festival.  Here’s his performance (with Michael McQuaid’s Late Hour Boys) of MAMA INEZ — Geoff’s rangy, relaxed lyricism is a standout:

Two volumes of rare, previously unheard material from producer Joe Mares’ archives (he was the younger brother of trumpeter Paul) are fascinating, and not only for their rarity (GHB BCD 522 and 530, available separately).  Almost all of the material is in excellent fidelity, and this selection from Mares’ collection — which, when transferred to CD, filed twenty-seven discs — comes from concerts and local clubs as well as radio broadcasts between 1948 and 1953.  Students of New Orleans jazz will be thrilled by new material from their heroes, captured live; others will simply find the music energetic, varied, and refreshing.

Volume One begins with the hilarious HADACOL RAMBLE — with an ensemble vocal chorus — that is somewhere between folk-song, medicine show, down-home comedy, and vaudeville routine advertising the miraculous benefits of Hadacol, a New Orleans patent medicine apparently far more efficacious than Geritol or Serutan.

Other delights on this disc include appearances by Johnny Wiggs, Irving Fazola, Bujie Centobie, Raymond Burke, and Dr. Edmond Souchon.  The repertoire is often familiar, but the musicians play INDIANA (for instance) as if it had not been worn out by decades of bandstand tedium.  The songs are HADACOL RAMBLE / HADACOL RAMBLE (vocal) / I’M GOIN’ HOME / BASIN STREET BLUES / ROYAL GARDEN BLUES / TIN ROOF BLUES / THE WORLD IS WAITING FOR THE SUNRISE / DIPPERMOUTH BLUES / AT THE JAZZ BAND BALL / SAVOY BLUES / THAT’S A PLENTY / HIGH SOCIETY / BASIN STREET BLUES / MUSKRAT RAMBLE / BILL BAILEY — and the collective personnel is Sharkey Bonano, Tony Dalmado, George Hartman, Johnny Wiggs, Pinky Vidalcovich, Irving Fazola, Harry Shields, Raymond Burke, Bujie Centobie, Julian Laine, Emile Christian, Jack Delaney, Roy Zimmerman, Bill Zalik, Burt Peck, Stanley Mendelsohn, Frank Federico, Edmond Souchon, Sherwood Mangiapane, Chink Martin, Arnold Loyocano, Johnny Castaing, Fred King, Roger Johnson, Monk Hazel, Abbie Brunies — a fine mix of veterans and less-familiar players — but everyone solos with fine brio and no one gets lost in the ensemble.

The second volume is equally good — with most of the same players remaining.  (This selection adds Tony Almerico, Tony Costa, and Lester Bouchon.) Three standouts are the fine Stacy-inspired pianist Jeff Riddick (heard on seven selections), inspired work from drummer Ray Bauduc (on five), and Jack Teagarden — whose performance of BASIN STREET BLUES is especially inspired and happy, contrary to my initial expectations.

The songs are CLARINET MARMALADE / ALICE BLUE GOWN / THE WORLD IS WAITING FOR THE SUNRISE /PECULIAR / THE LAND OF DREAMS / INDIANA / SHE’S CRYING FOR ME /MISSOURI TWO BEAT / BASIN STREET BLUES / WHO’S SORRY NOW? / TIN ROOF BLUES / MARIE / HIGH SOCIETY / I’M A DING DONG DADDY / I’M GOIN’ HOME.

If you find yourself tired of routine performances of the “classic” repertoire, these three discs will be a refreshing corrective.

May your happiness increase.

BUNK and WIGGS

 Names to conjure with — the classic monickers of two New Orleans brass giants, Willie “Bunk” Johnson (1879 or 1889-1949) and John Wigginton Hyman (1899-1977).  Bunk is widely-known; Wiggs should be.   

Two new compact discs present these men in very congenial settings. 

Let’s take “Johnny Wiggs” first.  Wiggs is yet another living proof that there are second and third acts in American lives: he recorded in 1927 and then not again for two decades (in the meantime, he had a successful career as a teacher and home-builder); he continued playing until his death.  Wiggs also fascinates me because of his deep lyrical strain: his early influence was Joe Oliver, but he fell under the spell of Bix Beiderbecke and (to my ears) he often sounds the way I imagine an elder Bix would have sounded: melancholy, introspective, singing softly to himself.

Wiggs has often been represented on record as the lead horn in a traditional New Orleans ensemble, and these settings haven’t always done him justice, because the energetic bandsmen have sometimes created a raucous good-time environment.  Best of all are his chamber sessions with only clarinetist Raymond Burke (another poetic soul), guitar (often Dr. Edmond Souchon), and bass — recorded on the Paramount label in the Fifties and I think impossible to find. 

But the Wiggs sessions collected on a new CD show his deep feeling and wide range.  Some of this music was issued on an lp — also called CONGO SQUARE — but this CD issue adds previously unissued material.  Here’s one of the original 78s:

 The music on the CD covers the years 1948-73, and was primarily recorded in New Orleans — one particularly exuberant small group includes Wiggs, clarinetist Bujie Centobie, tenorist Eddie Miller (their limpid sounds intertwining), and the Stacy-Bix pianist Armand Hug.  But to me the most interesting combination was suggested by the ever-inventive Hank O’Neal, who set up a date for Wiggs to record four of his own compositions . . . in New York, with a “New York” quartet of Dill Jones (from Wales), Cliff Leeman (from New England), and Maxine Sullivan (from Baltimore).  The results are special, making me wish that Wiggs had been transported out of his native element more often.  He’s worth discovering or rediscovering.

Bunk Johnson is a different case entirely: someone who has his own mythology, a figure with such a clearly defined identity that there were pro-and-anti Bunk forces at work.  I first heard Bunk on his earliest recordings, and was unimpressed: he seemed a rudimentary player doing his best but not always being able to break free from the near-amateur musicians surrounding him. 

It was only later when I heard his “Last Testament” recordings for Columbia in 1947 that I could hear what he was doing and revel in his beautiful melodic simplicity, the emotional directness of his lines, the delicacy of his embellishments. 

But it was clear to me (although some disagree) that Bunk was a more sophisticated musician than the contexts he was often placed in.  Put next to the vehemently competitive Sidney Bechet in Boston, he often held his own but sometimes sounded as if he had been dropped into the Golden Gloves. 

In front of a sympathetic, swinging band, he blossomed and relaxed.  He had just that setting in the recordings now issued on an American Music CD — a 1947 concert with cornetist Doc Evans’s rocking little band and the perfect support of pianist Don Ewell.

Ewell hasn’t been celebrated enough — certainly not sufficiently in his lifetime.  But he was an elegantly swinging pianist, his subtle approach encompassing Jelly Roll Morton’s ruffles and flourishes and the later swing of Hines, Stacy, Fats, and James P. Johnson.  It says a good deal about Ewell that he seemed to be the favorite pianist of both Jack Teagarden and Frank Chace.  And Bunk Johnson.  A year before this concert, Bunk, Ewell, and drummer Alphonso Steele had recorded as a trio in New York for American Music — playing pop tunes and old favorites: WHEN THE MOON COMES OVER THE MOUNTAIN, I’LL TAKE YOU HOME AGAIN KATHLEEN, IN THE GLOAMING, OH, YOU BEAUTIFUL DOLL, JA-DA, YOU’VE GOT TO SEE MAMA EVERY NIGHT, POOR BUTTERFLY, and WHERE THE RIVER SHANNON FLOWS. 

At the Minneapolis concert, there are vibrant full-band versions of traditional standards such as HIGH SOCIETY, THE SHEIK OF ARABY, and SISTER KATE, but there are also wonderful examples of the Bunk-Ewell partnership.  (One elaborately wayward performance after hours, where Bunk is trying to teach Ewell the harmonies to HEARTACHES, both of them having imbibed more than they should, has been preserved in the Jazzology book on Bunk: SONG OF THE WANDERER, by Barry Martyn and Mike Hazeldine, as is their IN THE GLOAMING.)

But this concert presents what is, to me, the clearest representation of what Bunk could do — out of the recording studio, having a wonderful time, inspiring and being inspired by a first-rate group. 

 And now for some compelling musical evidence (music also available from the George H. Buck family of labels):

Bunk, Ewell, and Alphonso Steele in New York City, 1946:

Wiggs with the legendary guitarist Snoozer Quinn in 1948:

To order the Bunk / Ewell / Evans CD, click here:

 http://www.jazzology.com/item_detail.php?id=AMCD-129

To order the Wiggs CD, click here:

http://www.jazzology.com/item_detail.php?id=BCD-507

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