Tag Archives: Hank O’Neal

ACOUSTICALLY YOURS: BARBARA ROSENE, DANNY TOBIAS, CONAL FOWKES (June 2, 2016)

I’ve known the warmly delightful singer Barbara Rosene for a dozen years . . . encountering her first, I believe, at The Cajun.  Barbara has been pursuing a different — but related — art recently, with paintings of jazz scenes in New York and a few depictions elsewhere.

Rosene Birdland booklet

To learn more about Barbara’s paintings and the book above, visit here.

Barbara held a showing of her paintings at Mezzrow, on West Tenth Street, last Thursday, and a number of art lovers showed up to admire.  Many friends were there: Neal Siegal, Debbie Kennedy, Dan Morgenstern, Simon Wettenhall, Pete Martinez, Conal Fowkes, Danny Tobias, Hank O’Neal, Maggie Condon, Marcia Salter, and many others.

Where Barbara is, music follows.  As it did, impromptu and without amplification.  The happy results below.

Conal Fowkes at the piano, exploring DEEP NIGHT, a song he recalled playing for Barbara many moons ago:

Danny Tobias joined Conal for a lyrical WRAP YOUR TROUBLES IN DREAMS:

LADY BE GOOD:

THESE FOOLISH THINGS:

THIS CAN’T BE LOVE:

SUNDAY:

LOVE ME OR LEAVE ME:

Barbara was urged to come up and sing, which she did, beautifully, without amplification, allowing the resonant beauty of her voice to come through with great clarity, on IT HAD TO BE YOU:

SWEET LORRAINE:

Barbara returned for A HUNDRED YEARS FROM TODAY:

How I wish that more jazz sessions could be like this: singing, relaxed, melodic, lyrical.  Maybe someone needs to start booking Fowkes-Tobias-Rosene?

May your happiness increase!

 

LIZA VISITS THE SAN DIEGO JAZZ FEST, THANKS TO MARC CAPARONE and RAY SKJELBRED (Nov. 27, 2015)

I’m getting to like flying less and less — not anxiety, but the feeling of being too big for a plane seat — but I am delighted I made it to this year’s San Diego Jazz Fest.  I had wonderful evidence that I’d made the right choice on Friday morning: this set featuring the delightful singer Dawn Lambeth, with Marc Caparone, cornet; Ray Skjelbred, piano, and later on a guest appearance by Jeff Hamilton, drums:

DAWN MARC RAY San Diego 11 27

I have not yet mastered the art of smartphone photography, so that is my own wide-angle lens, bottom right, but it gives you some idea. The very first performance went right to my heart: Marc and Ray, in duet, performed Eddie Condon’s LIZA:

And for those of you (like me) who find this song entrancing in its sweet late-Twenties way, here are the lyrics, reproduced by modern technology from the irreplaceable book EDDIE CONDON’S SCRAPBOOK OF JAZZ, created by Eddie and Hank O’Neal:

LIZA

I will be posting more video (subject to musicians’ approval) from the SDJF  — the 39th, I believe — masterfully orchestrated by Paul Daspit and his many associates, chief among them the thoughtful percussionist Hal Smith. What a pleasure it was and is.

May your happiness increase!

EDDIE and PHYLLIS, AT REST (September 26, 2015)

Eddie, Phyllis, and their daughters Liza and Maggie in Washington Square, New York

Eddie, Phyllis, and their daughters Liza and Maggie in Washington Square, New York

Maggie Condon — the surviving daughter of Eddie and Phyllis Condon — has been my friend for years, a fact I am proud to write.  Both of her parents passed into spirit some time ago, and their ashes had been kept in the family apartment.

Newlyweds Phyllis and Eddie

Newlyweds Phyllis and Eddie

This year, Maggie decided to put Eddie and Phyllis to rest in the cemetery where their headstone was, where they would be surrounded by Phyllis’ family, the Smiths.  This ceremony — very touching, both loving and sad and funny — took place on September 26, 2015, at Christ Church in Shrewsbury, New Jersey. When Maggie mentioned it to me, I immediately asked if I could come along, and then — with some trepidation — asked if she would like me to video it, and she agreed without a qualm.

I offer this as a tribute to all Condons, Smiths, and Reppliers, at the gravesite or living vibrantly in our hearts.  The other speaker is our friend and my hero Hank O’Neal, who has done so much for the music for nearly forty years.

and the conclusion:

The video is not even up to my standards — there is wind noise and people occasionally block the camera.  But an outdoor scene is far less easy to document than even a noisy club, so I present it with those reservations.

This is the music played in the cemetery, which deserves to be heard complete:

But this is the song that keeps running through my mind as I think of this Saturday afternoon:

To me, this isn’t “Goodbye, Eddie.  Goodbye, Phyllis.”  Rather, it’s “Thank you, Eddie and Phyllis.”

May your happiness increase!

“THE SOURCE OF ALL OUR JOY”: REMEMBERING MILT HINTON

MILT

Milton John Hinton (1910-2000).

“The Judge.”  Universally beloved.  Here, with Herb Ellis, guitar; Larry Novak, piano; Butch Miles, drums:

I have The Judge in my mind as a sweetly heroic presence because he is on so many of the recordings that have shaped my consciousness.  I also have two photographic portraits of him (which he autographed for me in 1981) in my apartment, next to the door.  When I come in or go out, he is there to welcome me home or to wish me safe passage on the day’s journey.

He’s also powerfully in my thoughts because I went to the house in which he and Mona Hinton lived for decades — 173-05 113rd Avenue, Jamaica, New York — last Saturday (June 13) for an estate sale.  More about that later.

First, a reminiscence of Milt from a friend, Stu Zimny, whom I’ve known since high school, 1969.  We were comrades in eccentricity, united in our shared secret love of Milt, of Jo Jones, of Ed Beach, S.J. Perelman — playing records at each others’ houses, going to concerts and clubs.  Swing spies.  Jazz acolytes.

Danny Barker, Stu Zimny, Milt Hinton 1995

Danny Barker, Stu Zimny, Milt Hinton 1995

From Stu:

It was in the late-70’s sometime when I first met Milt Hinton.

It was a strange time in the music’s history. Although rock music had firmly enveloped the attention of most of my generation, my own musical trajectory was towards the the jazz of the 1930’s.  I had heard the incandescence of Louis Armstrong and his many disciples and was converted quickly. There was a power to this music unique in my experience. It is more common now in the internet age but we, myself and the author of this sacred blog in particular, formed a distinct minority, a sort of rear-guard action devoted to preserving this music.  Yet at that time there were still significant numbers of players of that “swing generation” alive and at least semi-active and one could see them play intermittently in certain mostly short-lived clubs in Manhattan and the occasional concert.  Although the general sentiment was that we had arrived a few decades too late.

I had heard that Milt was teaching a jazz seminar at Hunter College, I had taken up study of the double-bass shortly before, had lucked upon and acquired an excellent “axe,” and Milt was a legendary figure to bassists in particular.

In a fortuitous stroke of luck I encountered Milt on the subway on the ride to Hunter. (Milt was a frequent rider of the NYC subway system since he did not drive a car. The story goes that he had been driving a vehicle in Chicago decades before, as a gofer of some sort for the Al Capone organization, and a bad accident occurred which had traumatized him for life against driving a motorized vehicle.) I drove him to a fair number of gigs during the next few years for the mere opportunity to hang out and absorb what I might. Capone’s loss was my gain.

On the “A” train I gathered up my courage and struck up a conversation with him, the ultimate outcome of which was that if I wanted some tutoring I could drop by his home in Queens.  He did not need to make the offer twice. Especially since his attendance at Hunter was spotty due to his being on the road quite a bit.

Milt never really offered me “lessons” as such.  Although he did hand me a manuscript of scale patterns and suggested I work on them “for the next thirty years” and gave me a whole lot of physical advice about dealing with the bass. I would bring him bass music, usually some classical etude or duet, and we would play through it together. He was always up for the challenge. The mere fact that he would be willing to play with me and treat me like a colleague was a huge confidence boost.

Of course it was not only me who benefited from his largesse. Many bassists (and other instrumentalists) would drop by, most often just to hang out with an elder, “The Dean of Jazz Bassists.” Milt and Mona were extremely gracious and generous in opening their home to musicians. And feeding us, and making us feel like family, and part of a lineage that required support and protection.

Throughout the next decade or so I would drop by, often in a vain attempt to help him organize the pile of the concert tapes and recordings collecting in his basement.

In 1989 I departed the east for directions west. When I came back for visits if Milt was in town he was always open for a rendezvous “between sets.”

I recall seeing him at the 1995 Monterey Jazz Festival and in San Diego at some sort of convocation. On the latter occasion, with minimal rehearsal, he was offered some pretty complex charts and played through them with ease. This was not an old guy resting on past accomplishments, he was fully alive to the music, to all music.

Sometimes players like Clark Terry and Major Holley would drop by. The basement couch was famous for having been used for sleep by Ben Webster during a period when he lived with the Hintons or at least paid an extended visit: I never knew which. Sometimes it is better not to ask too many questions.

The last time I saw Milt was around 1997 after I had returned east and lived in the Boston area. By that time he had stopped playing for physical reasons.  I heard of his passing via an NPR broadcast in 2000 at age 90.

Milt has been a major influence in my life, musically and moreover in modeling what it means to be an elder and the tribal obligation and joy of passing on knowledge and skills and musical tradition.

He was cross-cultural in the warmest and most charming and sincere ways; he insisted on wearing a yarmulka when attending the Jewish wedding of a mutual friend of ours.

Despite the hardships he had experienced growing up in the south, the depredations of growing up as a Black person in that era, he never harbored personal resentment about any of it that I could tell towards any individual.  He had an immense sense of dignity and a conscious sense of his own worth and that of his colleagues as men and artists; race was a secondary consideration.  He would say that “music has no color”.  This was also what motivated his legendary photographic documentation.  History was important, preserving it is important, this music is important. And if one was sincere in wanting to learn, he was available.

I am a better person for having known Milt Hinton, tribal chief, The Judge!

We cannot live through the dead, but we can invite them to live through us.

I love him always and forever.

It would be an impudence to follow that with my own tales of Milt.

I will say only that the phrase I’ve taken as my title was spoken by Ruby Braff from the stage of The New School in New York City, at a “Jazz Ramble” concert produced by Hank O’Neal on April 8, 1973 — featuring Ruby, Sam Margolis, Benny Aronov, and Milt.  Ruby spoke the truth.  Thanks to Tom Hustad, whose BORN TO PLAY — the Ruby Braff discography — for helping me be exact in my recollection.

MILT autograph 1983

Fast forward to June 13, 2015.

I had been seriously ambivalent about going to this estate sale.  As I told more than one friend, I didn’t know whether I would be frozen at the door, or, once in, would burst into tears.  Happily, neither took place.  My spiritual guide and comic comrade on line (as opposed to “online”) was Scott Robinson, and we made the time spent waiting in the sun telling tales of Milt. (Later, I met Phil Stern, and we, too, talked of music, joy, and sorrow, of empires rising and falling.)

Here, thanks to Phil, is the promotional video created by the company running the sale:

By the time I was able to enter the house, sometime around 10:00, I discerned that much of the more glossy contents had already been sold.  (I would have bought a chair covered in plastic from this shrine without thinking twice.)  And I sensed that the house had — apparently — been unoccupied since Mona’s death in 2008.  It was not quiet indoors: people shouted and argued.  I was in the land of secular commerce rather than dear worship.  I do not know how many people going in knew who Milt was; before and after my time indoors, I explained what I could of his majesty to a number of people outside who simply had seen ESTATE SALE and stopped by.

I have a limited tolerance for loud voices in small spaces, so I did not look through the hundreds of records in the basement (in cardboard boxes on and in front of the couch on which Ben Webster had slept).  But I bought about ten of Milt’s lps — going back to the early Fifties, mostly records I’d not heard or heard of on which he played.  His collection — even when I got there — was broad, with children’s records and comedy as well.  And he collected his friends’ records also.

Sitting by themselves on top of a pile of books — two 78s.  One, a 1932 Brunswick, Connee Boswell performing HUMMIN’ TO MYSELF and THE NIGHT WHEN LOVE WAS BORN — which touched me and made me think of Milt as a young man rapt in the beauty of Connee’s voice and her wonderful accompaniment of the time (Berigan, the Dorsey Brothers, Dick McDonough, Artie Bernstein, Venuti, Stan King).

The other deserves its own picture.  It has been well-played, but that is a triumph rather than a criticism.

MILT 78Although Milt and Billie Holiday were not regularly recording together, their history on record is a long one — 1936 to 1959 — and I am sure he was proud of the music they made together.  I imagine Milt in 1939 bringing home this new release, which he would have been thrilled to possess and hear — perhaps showing his name on the label to his new bride. (Incidentally, the Brunswick people invented a new guitarist — Dave Barber — instead of properly identifying Milt’s dear comrade in the Cab Calloway band, Danny Barker.  The other side, WHAT SHALL I SAY? has the same error.)

Such a beloved artifact made all the clangor of commerce worthwhile, although I still think sadly of the rubble of mugs in the kitchen, the piles of posters, aging books and records.  Where did they go?  I hope that the rarer items had already gone to a place where they would be treasured.

Stu learned lessons about playing the bass from Milt that he couldn’t have learned any other way, and I celebrate his experience.  But I think we both learned much — even though we might not have understood it at the time — from these men who were, without proclaiming it, great spiritual parents.  We learn from the open-hearted behavior of the greatest teachers.

They treated us with gentleness and respect, an amused kindness, saying by their openness that we were welcome in their world.  No one ever said, “Kid, I’m busy now.  Go away.”

Our real parents might have taken our devotion for granted, or been very busy trying to make us become what they thought we should be, but many of these Elders were happy to know we existed — without trying to get us to buy anything from them.  They accepted our love, and I feel they welcomed it and returned it. In their music and their behavior, they taught by example: the value of beauty, of simplicity; how to say in a few notes something that would take the hearer years to fully grasp.  How to make our actions mean something.

We were able to see and hear and speak with the noblest artists on the planet, and it is an honor to celebrate one of them, The Judge, whose quiet modest majesty will never fade.

May your happiness increase!  

A FEW GLOWING SECONDS OF GLORY

When I returned to my apartment in New York, I thought, “I need music in here. Music will help remind me who I am, what I am supposed to be doing, where my path might lead.”  Initially I reached for some favorite performances for consolation, then moved over to the crates of homemade audiocassettes — evidence of more than twenty-five years of tape-trading with like-minded souls.

One tape had the notation PRIVATE CHICAGO, and looking at it, I knew that it was the gift of Leonora Taylor, who preferred to be called “Gypsy,” and who had an unusual collection of music.  When I asked drummer / scholar Hal Smith about her, he reminded me that she loved the UK clarinetist Archie Semple. Although I don’t recall having much if any Archie to offer her, we traded twenty or thirty cassettes.

PRIVATE CHICAGO had some delightful material recorded (presumably) at the Evanston, Illinois house of Edwin “Squirrel” Ashcraft — amateur pianist, sometime composer, friend / benefactor to jazz musicians. Squirrel was both a dear friend of Pee Wee Russell, Joe Rushton, Eddie Condon, Boyce Brown, Johnny Mercer, George Barnes, Lee Wiley, Jimmy McPartland, Bud Freeman, and many others — one facet of a very intriguing life.  He deserves a biography.

But back to the music.

I played through the side of the cassette, rewound it, and played it again.  And I kept returning to a short improvisation: BATTLE HYMN OF THE REPUBLIC, played by Johnny Windhurst (cornet or trumpet) and Jack Gardner (piano) with possibly other players in the background — I hear a murmuring clarinet offering harmony notes — recorded, Gypsy’s typed notes say, circa 1950.

Neither Windhurst nor Gardner is as well known as they should be. Windhurst (1926-1981) was recognized young as a brilliant player, and got to play with the best — Sidney Bechet and Pops Foster in Boston when he wasn’t voting age, then Ed Hall, Vic Dickenson, Kenny Kersey, John Field, Jimmy Crawford a few years later, moving on to be one of Eddie Condon’s regulars, briefly recording with Jack Teagarden and on his own date with Buell Neidlinger, on a Walt Gifford session, with Barbara Lea (he was both colleague and boyfriend) then moving upstate to Poughkeepsie, New York, where he died too young (once being mugged and beaten) of a heart attack.

I saw him in person once, at Your Father’s Mustache in New York in 1972 — with Herb Hall and Herb Gardner (the latter someone who is very much with us) and Red Balaban.  Windhurst was capable of the most beautiful melodic flights of fancy — a cross between heavenly music of the highest order and Bobby Hackett — but he couldn’t read music, disdained the idea of doing so, and thus turned down higher-paying and possibly higher-visibility gigs from bandleaders.  I read somewhere that Woody Herman wanted to hire him, offered him good pay, promised to teach him to read, but Windhurst — a free spirit — would have none of it.

There is one video extant of Windhurst — I wrote about it, and him, in 2009 (and received wonderful comments from people who had played alongside him) here.

I did not know much about pianist Gardner, except that what I’ve heard suggests a delicate barrelhouse approach, and I seem to recall he was a large man called by some “Jumbo Jack.” But an exquisite biographical sketch of Jack by the diligent writer and researcher Derek Coller can be found here.  (Our Jack Gardner is not the man who led an orchestra in Dallas in 1924-5.)  Jack first recorded with Wingy Manone and Jimmy McPartland, then got more visibility with Harry James (you can hear him on SLEEPY TIME GAL and he is also on Sinatra’s first recording with James) 1939-40, then he crops up with Muggsy Spanier, Red Nichols, Bud Freeman, and after being captured on sessions at Squirrel’s from 1950-52, we hear no more from him.

I know THE BATTLE  HYMN OF THE REPUBLIC as a very assertive religious song in which the enemies of the Lord receive divine punishment:  “He is trampling out the vintage where the grapes of wrath are stored / He hath loosed the fateful lightning of His terrible swift sword,” and so on, even though later verses of the song — known to how many? — suggest that there is a balm of kindness.

More importantly than the theological, I and others know it as a hot number — think of “Red Nichols” as played by Danny Kaye and “Louis Armstrong” as played by himself in THE FIVE PENNIES, sending the sermon. Everyone from Art Hodes to George Lewis to Gerry Mulligan has recorded it, but I suggest that no version you will ever hear matches the sweet delicacy of this brief celestial interlude by Windhurst and Gardner.

Windhurst doesn’t venture far from the melody — the recording catches less than a whole chorus, and aside from a bluesy transformation near the end, it is melodic embellishment rather than harmonic improvisation.  But he treats the melodic line with lightness, fervor, and love; every note is caressed; his tone is so beautiful as to make “golden” into an affront.  Gardner plays a simplified version of barrelhouse support but never gets in Windhurst’s way. The whole duet is tender, yearning — the music of the spheres in under a minute.

Glory, glory, hallelujah.

May your happiness increase!

“POUR ME ONE MORE PAL”: MISTER RUSSELL INSCRIBES A PRECIOUS OBJECT

There are only two record albums (in the 78 RPM sense) circa 1944-45 that have Pee Wee Russell as leader.  One is on Disc, and features an uncredited Muggsy Spanier, Vic Dickenson, Cliff Jackson, Bob Casey, and Joe Grauso: the cover is a drawing by David Stone Martin.

The other, a year or so earlier, was part of a project started for the musicians appearing at Nick’s in Greenwich Village to have records to sell — to publicize their efforts and the club’s music.  Three 78 albums were created: featuring Muggsy Spanier, Miff Mole, and Pee Wee.  Other musicians on these dates included Lou McGarity, Gene Schroeder, guitarists Fred Sharp or Carl Kress (Eddie Condon was under contract to Decca), and drummer Charles Carroll, if I recall correctly.

A friend passed this one on to me.  It is inscribed, but more about that in a moment:

ROLLINI and RUSSELL 002

The inscription reads

To The Good Doc.

Henry Sklow

Pour me one more Pal

Best to you

Pee Wee Russell

ROLLINI and RUSSELL 003

If I could time-travel, one of my requests would be to be back somewhere in the Forties, so that I could ask Pee Wee Russell for his autograph and be called “Pal.”  Or perhaps “Chum.”  What more could I ask for?

I learned from Hank O’Neal and Eddie Condon’s EDDIE CONDON’S SCRAPBOOK OF JAZZ that Henry Sklow was a dentist who loved the music and his job was to keep an eye on the bottle or bottles at the Jimmy Ryan’s jam sessions . . . so the request Pee Wee made in his autograph must have been one he made often in real life.

May your happiness increase, Pals!

GOODBYE, RED BALABAN. FAREWELL, BOB GREENE

I’ve written very sparingly about the deaths of jazz musicians in JAZZ LIVES — for one reason, thinking that turning this blog into an ongoing necrological record was at odds with its title. But without saying that one musician is more important than another (Bobby Gordon, Frank Wess, Al Porcino, Jim Hall, Chico Hamilton, Sam Ulano, and a dozen others I am not mentioning here) I want to write and share a few words about two deaths of late 2013.

One was the bassist / guitarist / singer / impresario Leonard “Red” Balaban, the other, pianist Bob Greene.  Both of them were ardent workers in the jazz vineyards, and both (in their own subtle ways) did as much to advance the music as more-heralded musicians.

I had occasion to observe and interact with Red Balaban many times in 1972-5, again in 1975-the early Eighties, and once in 2013. In the summer of 1972, I learned from reading the listings in THE NEW YORKER that Sunday-afternoon jazz sessions were being held at Your Father’s Mustache (once Nick’s, now a Gourmet Garage — sic transit gloria mundi) on Seventh Avenue and Tenth Street.  I and several friends made pilgrimages there.  The Mustache was a huge hall with sawdust on the floor, creaking long tables and wobbly chairs.  But for a nominal admission charge and the purchase of food and drink of dubious quality, we could sit as close to the bandstand as possible and (often) illicitly record the music.  The house band — Balaban and Cats — harking back to Red’s heritage in show business with the Chicago movie theatre chain created by Balaban and Katz — was usually a sextet, with Red playing string bass and singing, occasionally guitar or banjo, rarely tuba.  He called the tunes in consultation with the guest star, chose tempos, and led the session.  The Cats I remember were Marquis Foster, Buzzy Drootin, Dick Wellstood, Bobby Pratt, Chuck Folds, Red Richards, Sal Pace, Kenny Davern, Joe Muranyi, Dick Rath, Herb Gardner, Ed Polcer, Doc Cheatham, and I am sure there were others.  The guest stars, stopping in from Olympus or Valhalla, were Bobby Hackett, Ruby Braff, Buddy Tate, Jo Jones, Dicky Wells, Vic Dickenson, Benny Morton, Bob Wilber — enough stiumlation for a lifetime.  I was a college student with limited funds, so I didn’t see every session: missing Gene Krupa, Al Cohn, Lou McGarity, and others.  But I did see Eddie Condon in the audience, which would make the Sunday sessions memorable even if no music had been played.  And his daughter Liza was there now and again, photographing the musicians.

A few years later, I saw Red occasionally as a member of Mike Burgevin’s little band at Brew’s, playing alongside Vic Dickenson and other luminaries.  Eventually, Red and Ed Polcer created the “last” Eddie Condon’s, on 54th Street, and I went there when I could — the house band, as I recall it, included Ed, Vic, Herb Hall, Jimmy Andrews, John Bunch, Connie, Kay, Ronnie Cole, and another galaxy of visitors, including Helen Humes, Al Hall, Jimmy Rowles, Brooks Kerr, Marty Grosz, Bob Sparkman, Ruby Braff, Joe Bushkin, Milt Hinton, Jo Jones.  At Condon’s one could also see Billy Butterfield, Dan Barrett, Soprano Summit, Zoot and Al — a midtown oasis, now gone.

Finally, I got to meet Red once again, after a lapse of decades, at the October 2012 house party created by Joel Schiavone and Jeff Barnhart. I introduced myself as someone who had good reason to be grateful to him for those Sunday sessions, and we chatted a bit.

Thanks to CineDevine, we have two samples of Red, late in his career, gently entertaining the room, with assistance from Jim Fryer, Jeff Barnhart, and others.  In a Waller-Razaf mood:

and something pretty from Rodgers and Hart:

A musician I respect, someone around in those New York years, had this to say about Red: “Not only did he love the music, but thousands upon thousands of dollars went through his hands and into the hands of musicians.  What he did with Condon’s # 3 is part of New York City jazz history.  He was a kind man who came from a very interesting family.  He wasn’t Ray Brown or Bob Haggart, but he kept jazz alive.”

Without Red Balaban, I doubt that I — and many others — would have heard as much memorable music as we did in those New York years.  So we owe him a great deal.  And he will be missed.  Another view of Red can be found here.

Pianist Bob Greene also left us late in 2013.

Bob devoted his life to celebrating Jelly Roll Morton and his music. He wasn’t the only pianist who has done so, but his emulation was fervent. I saw him summon up the Master at Alice Tully Hall in 1974 with a lovely little band (Pee Wee Erwin, Ephie Resnick, Herb Hall, Alan Cary, Milt Hinton, Tommy Benford).  They couldn’t quite turn that austere space into a Storyville bordello or the Jungle Inn (it would have required an architectural reconstruction taking years) but the music floated and rocked.  Across the distance of the decades, I think of Bob as a brilliant actor, committed with all his heart and energy to one role and to the perfection of that role — not a bad life-goal.

Bob was respected by his peers.  Mike Lipskin said, “Bob was a fine performer of Jelly Roll Morton compositions, and devoted much of his life to keeping the memory of this giant early jazz pioneer alive. I had the pleasure of seeing him in concert many years ago.”  And a man we just lost, Bobby Gordon, told me, “I have fond memories of Bob for 40 years. He was always enthusiastic about music. I recorded with him 40 years ago and most recently for Jazzology. It was wonderful to record with him again, and a joy to be with such a remarkable talent. I will miss him……..a dear friend.”

Here’s a beautiful expansive piece by Hank O’Neal, a very lively evocation of Bob:

The first time I saw Bob Greene, he was playing a poor electric piano with a fairly loose ensemble, on the back of a flat bed truck. The band on the truck was trying, unsuccessfully, to recreate the feeling generated by old time bands on wagons in New Orleans. It is a long way from New Orleans to Manassas, Virginia, and 1967 was a half a century removed from those heady days in the Crescent City. I don’t remember the enterprise stirring up much support for the first Manassas Jazz Festival, but Bob was on board because his old friend, Edmund “Doc” Souchon was also there, and Doc had probably asked him to come along. I know it happened because I have a snapshot to prove it. In another snapshot from the same day he’s playing cornet.

You had to look pretty hard to find out anything about Bob. He’s not well-known today, rarely mentioned in any of the standard jazz reference books, and you have to dig pretty deep to come up with any information at all, but the bits and pieces are there if you look for them. And the story and the music he’s made along the way are both wonderful.

Bob’s first love was Benny Goodman, Jess Stacy and the swing guys who were all over the place when he was a teenager. He could still, when asked, do the best imitation of Stacy I’ve ever heard, but at some point he heard Jelly Roll Morton, and was hooked. Until his death in 2013, he remained one of the foremost exponent of Jelly’s music in the land. There are other guys who could play more notes, play King Porter Stomp louder or Fingerbuster faster, but when it came to really delivering the goods, with just the right mix of technique, exuberance and sentiment, nobody else even came close.

There are other guys who play Morton’s compositions well, in the style, often with more sheer technique, but, for the most part, this is just a portion, usually a small portion, of their repertory. The music of Jelly Roll Morton and some of his circa 1900 contemporaries, made up about 90 percent of Bob’s playbook, and the telephone doesn’t ring very often these days, or any other days for the past few decades, for someone to play a recital of Morton’s music. Which was just fine for Bob. He never had any intention of being a full time musician. The world was just full of too many other things to try.

Bob made his first recordings in 1950 with Conrad Janis (Circle) and in 1951 with Sidney DeParis (Blue Note) and recorded intermittently for the next sixty years, whenever it was convenient. His performance schedule was about the same. He played in and around New York City in the 1950s and Washington D.C. in the 1960s because he was writing some pretty fancy stuff for assorted notables to read on radio or in political speeches. Goodness knows what else he may have been up to. When he wrote a book about the OSS exploits of his cousin, Paul Blum, he had no difficulty gaining access to the highest levels of the intelligence community. But back to the music.

After Bob climbed down off the back of the truck during the ill-fated parade in Manassas, I discovered he could also play a real piano and when he played Morton it was special. As I’ve suggested, he made up in spirit and authenticity what he may lacked in a formidable technique. Not that he made mistakes, he didn’t, but to this particular pianist, passion was the point, not technique. He had all he needed to get his point across. Much in the same as Thelonoius Monk. Other people played Just A Gigolo better than Monk, but nobody played it with more quirky feeling.

The first time I really heard Bob was when I was asked to round up the gear to record a band to be led by the then legendary, now largely forgotten drummer, Zutty Singleton. The gear came from Squirrel Ashcraft, the recorder, microphones, even the take-up reels. It was February 12, 1967, I remember the date with great affection because it was the very first commercially released record I ever worked on. It was also my first encounter with Zutty, still a marvelous drummer, and the only person I ever heard in person who could almost simulate a melody on the drums.

Bob Greene was a strong presence among many exceptional players that day and the highlight of the recording, to me at least, was a duo, just Zutty and Bob, on Cake Walking Babies From Home. I don’t know if Jelly ever played the tune, but if he did, he would have played it like Bob played it that day, and maybe Zutty would have been around to make sure. This was Johnson McRee’s first record for his Fat Cat’s Jazz label, and except for a solo outing by Don Ewell, perhaps the best record he ever produced.

In the 1970s, I asked Bob to record for Chiaroscuro on many occasions, but he always declined. There was always a semi-legitimate excuse. He was the only person I asked to record in those years who didn’t jump at the chance, including Bob’s first idol, Jess Stacy. In the late 1970’s Bob assembled his World of Jelly Roll Morton band, made a fine record for RCA, played Carnegie Hall a few years and toured successfully with the group. But most of the time he was in between New Orleans, Paris, Tokyo and New York, rarely in any place for very long. He slowed down long enough to record all the Jelly Roll Morton tracks for Louis Malle’s fine film, Pretty Baby and he enthralled audiences with his Jelly Roll show at numerous Floating Jazz Festivals. I recorded one of these shows in the late 1980s. Maybe I’ll listen to it one day and see if it should be released.

In 1994 we produced an event for Cunard on Queen Elizabeth 2, a 12-day survey of the music of New Orleans, and Bob was on board, as both Jelly Roll Morton and as the pianist with the Preservation Hall Jazz Band. The New Yorker’s noted critic, Whitney Balliett, was also on board, in disguise as Baby Dodds, tastefully accompanying Bob on a snare and cymbal. Romantic that he was, Bob fell in love with the ship and was heartbroken when he learned that much of the furniture in the ship’s Theater Bar, where he held forth nightly with Whitney, was to be taken off QE2 when it reached New York, and given to the Salvation Army. He decided he had to have a table and four leather chairs and set about finding a way to work it out.

When we docked, I left via the crew gangway, and saw Bob at the other end of the pier in heated conversation with a man in a Salvation Army uniform. Longshoreman were hauling the furniture and putting it inside a truck. I later learned that Bob got his furniture. The deal was for a table and four leather chairs, in the best condition possible, delivered to his home on 92nd Street. In exchange, Bob promised to assemble a band, including Whitney, to play for a Salvation Army Christmas party. A decade or so later Bob moved out to the end of Long island and that old Theater Bar furniture moved with him, a few miles closer to Southampton. This is the kind of thing that appealed to Bob.

If Bob had worked at a career in music half as hard as he worked at getting that furniture, who knows what might have happened? But perhaps nothing would have happened, which is the case with most people who try to have a career in jazz, and he wouldn’t have had nearly as good a time as he had for the past 91 years. He was one of a handful of pianists I’d go out of my way to hear because he always made me happy. He had the same effect on others.

In November 2006 he toured Japan and a lot of other people went out of their way to hear him. After that he began working on a project to present a Jelly Roll Morton show at Jazz At Lincoln Center but it didn’t work out. A year or so after that he asked what I thought of getting him together with Joshua Bell for some duets. I thought it sound like a good idea, that Bell could do a lot worse. That didn’t work out either but an awful lot did and the music that resulted with simply wonderful.

Bob and friends:

MAMIE’S BLUES (2006):

I THOUGHT I HEARD BUDDY BOLDEN SAY (2010):

TIGER RAG (2011):

Thinking about these men, all I can say is this.

Not everyone is a Star, but everyone counts.  And fortunate are those who can follow their life’s calling and share their passions with us.

May your happiness increase!