Tag Archives: Hans Koller

BEAUTIFULLY POLISHED BRASS

Here’s something good.

And another taste:

CHRIS HODGKINS CDI don’t ordinarily like surprises, because so many of them feel as if someone has crept up behind me and popped an inflated paper bag to watch me suddenly soar up to the ceiling — but the most lovely surprise is meeting someone new and finding out that (s)he has deep joyous talents you’d never known of before.

Such a person is trumpeter / composer Chris Hodgkins.  In fairness, I’d already heard Chris play (on recordings only, alas) and admired him as a thoughtful lyrical trumpeter — someone who admired Louis, Ruby, Brownie, Humphrey Lyttelton, without imitating a phrase.  And I hear the same kind of tenderness I always heard in Joe Wilder’s playing.  (In the interest of accuracy, I will note that I first heard and wrote about Chris a few years ago here.

The two YouTube videos above offer music from the new Hodgkins CD, BACK IN YOUR OWN BACKYARD, which I celebrate here as an outpouring of sophisticated yet gentle Mainstream jazz.

I had the opportunity to write a few words for this disc, and they will serve as my enthusiastic endorsement:

Chris Hodgkins and friends do not have the international reputations they deserve, but they create endearing music that doesn’t reveal all its secrets at once.

Aside from two originals and the poignant BLACK BUTTERFLY, the repertoire suggests a formulaic Mainstream set that one might hear at a jazz party. But that narrow assumption vanishes once the music begins, for Chris, Dave, Erika, and Ashley offer serene yet searching chamber jazz, refreshing improvisations on familiar songs. (Although I suppose that SWEETHEARTS ON PARADE is now arcane to all but a few listeners.)

I delight in the delicately streamlined instrumentation, reminiscent of sessions by Ruby Braff and Warren Vache. Hearing this music, I am breathing in the light-hearted interplay, without the conventions of four-bar trades or ensemble-solos-ensemble. The players have created an airy, open music, full of pleasant wanderings but solidly grounded in melody and beating-heart rhythms.

And this music gladdens on many levels: a musician could analyze and admire subtle rhythmic displacements, chord substitutions, shifting textures. A casual listener would say, “What is that? That sounds beautiful,” and both responses would be true.

Chris is a master of his instrument. He can modulate from what Agatha Beiderbecke heard in her son’s playing, a “sudden perky blare,” to what Ruby Braff recognized in Lawrence Brown’s “a wonderful little cry.” I hear echoes of a grand tradition – everyone from George Mitchell to Clifford Brown and beyond – but Chris is himself throughout.

Emotionally warm music comes out of the emotions of the players – not only their love of sounds and textures, but a love for the people who have gone before and who have created personal art. On this CD, one hears everyone’s affection and admiration for the great ancestors, but Chris cites two people in particular.

One, his older brother, played trumpet, so Chris heard Louis and Morton and more, but, as he says, “When I was about 14 or 15, my brother said, ‘You don’t want to hear it, you want to play it!’ so he got me a trumpet from a second-hand shop and I never looked back.”

Later, Chris played with guitarist Vic Parker. “He was born in Cardiff, played in London before and during the war. In 1940 he worked at the Embassy Club in Bond Street playing accordion and double bass with Don Marino Barreto. He can be seen in Barreto’s band during a nightclub sequence in the musical film Under Your Hat. He came back to Cardiff and I used to work with him in the Quebec every Monday and Wednesday. We had a little duo, just playing standards, and he would sing in a Cardiff accent. When you’re young, you forget so much. You can be handed the keys to the kingdom and you don’t notice. Working with Vic was like that: he was in his late 60s then, one of the nicest guys you could meet.”

Chris has also played alongside Pete Allen, Rod Mason, Kathy Stobart, Humphrey Lyttelton (whose passionate influence I hear), Buddy Tate, and Wild Bill Davison.

Chris is also a wise generous leader, someone who knows that Being Out Front Always is hard on one’s chops as well as on band morale, so each performance makes his colleagues equals rather than subordinates. One of the most moving performances here is A NIGHTINGALE SANG IN BERKELEY SQUARE, an etude for piano and two double-basses, both celebration and elegy for wartime Britain, with death, romance, and endurance intermingled.

And those colleagues! Bassist Erika Lyons appeared on a BBC master class with Ray Brown, and studied with Buster Williams, Rufus Reid, and Hal Galper. Now she plays jazz festivals all over the world. Pianist Dave Price is a deep student of jazz piano from the Thirties to tomorrow, and he has worked with Tubby Hayes, Tony Coe, Nat Adderley, and Peanuts Hucko among many others. Bassist Ashley John Long is known not only for his work with Hans Koller, Bobby Wellins, Keith Tippett and others, but for his compositions for film, television, and the concert hall.

Together, they make BACK IN YOUR OWN BACKYARD what jazz recordings should be, no matter what genre: warm, wide-awake, deeply personal.

If you go to the channel that Chris has created on YouTube, you can hear two more beauties from BACK IN YOUR OWN BACKYARD and more lovely music.

The CD offers SWEETHEARTS ON PARADE, A NIGHTINGALE SANG IN BERKELEY SQUARE, DROP ME OFF IN HARLEM, A KISS TO BUILD A DREAM ON, STRUTTIN’ WITH SOME BARBECUE, SUNDAY, ANGEL EYES, LIKE SOMEONE IN LOVE, BLACK BUTTERFLY, JEEPERS CREEPERS, BACK IN YOUR OWN BACKYARD, ALMOST LIKE BEING IN LOVE, SWINGING AT THE COPPER BEECH, BUDDY BOLDEN’S BLUES, YOU’D BE SO NICE TO COME HOME TO, VP, JUST FRIENDS — and it’s beautifully recorded. Here you can find out more — including how to purchase the disc, which I do recommend.

May your happiness increase!

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OSCAR PETTIFORD, FOUND

OP front

Bassist, cellist, and composer Oscar Pettiford is in the odd position of being both legendary and forgotten (as Whitney Balliett wrote of Pee Wee Russell). If you ask any aficionado of jazz string bass playing to name a dozen favorites — living and dead — it’s likely that the names will come easily.  But Pettiford’s is often not among them.

Yes, he died young, but not before performing and recording every famous musician (with some notable exceptions) in a short career.  An incomplete list would include Duke Ellington, Louis Armstrong, Charlie Parker, Bud Powell, Miles Davis, Billie Holiday, Thelonious Monk, Dizzy Gillespie, Art Tatum, Django Reinhardt, Les Paul, Charlie Christian, Gil Evans, Sonny Rollins, Art Blakey, Woody Herman, Coleman Hawkins, Ray Charles, Stan Getz, Lucky Thompson, Charles Mingus, Zoot Sims, John Coltrane, Sonny Stitt, Julius Watkins, Ben Webster, Sammy Price, Ruby Braff, Mel Powell, Ellis Larkins, Max Roach, Shelly Manne, Billie Holiday, Red Norvo, Clifford Brown, Buddy De Franco, Phineas Newborn, Kai Winding, Roy Eldridge, Ray Brown, Lionel Hampton, Don  Byas, Clyde Hart, Earl Hines, Budd Johnson, Joe Thomas, Pee Wee Russell, Jimmy Giuffre, Martial Solal, Attlia Zoller, Lee Konitz, Warne Marsh, Billy Eckstine, Cozy Cole, Shadow Wilson, Charlie Shavers, Johnny Hodges, Rex Stewart, Cootie Williams, Ed Hall, Lawrence Brown, Sonny Greer, Maxine Sullivan, Dick Hyman, Eddie Bert, Joe Derise, Ike Quebec, Jonah Jones, Buck Clayton, Helen Humes, Benny Harris, Boyd Raeburn, Serge Chaloff, Howard McGhee, Sir Charles Thompson, Wynonie Harris, Vic Dickenson, Red Rodney, Tal Farlow, Denzil Best, Jo Jones, Leo Parker, Al Haig, Al Hibbler, Nat Pierce, Bill Harris, Howard McGhee, J.J. Johnson, Art Taylor, Wynton Kelly, Lockjaw Davis, Jackie McLean, Kenny Clarke, Dave McKenna, Milt Jackson, John Lewis, Chris Connor, Hank Jones, Earl Coleman, Thad Jones, Tommy Flanagan, Donald Byrd, Billy Taylor, Chuck Wayne, Roy Haynes, Art Farmer, Gigi Gryce, Al Cohn, Frank Wess, Jimmy Cleveland, Barry Galbraith, Joe Morello, Joe Wilder, Harry Lookofsky, Jimmy Jones, Urbie Green, Ernie Royal, Herbie Mann, George Barnes, Clark Terry, Dave Schildkraut, Helen Merrill, Jimmy Raney, Horace Silver, Doug Mettome, Quincy Jones, Duke Jordan, Hank Mobley, Kenny Dorham, Cecil Payne, Toots Thielmans, Red Garland.

This suggests that Oscar’s peers respected him and called him for gigs and recordings.  It’s not as if he was obscure: his career was longer than, say, Blanton’s or Steve Brown’s.  But, oddly for jazz, which loves to mythologize the musicians who die young and abruptly (and Pettiford died as the result of a 1960 automobile accident) he hasn’t received the benefit of the weird reverence fans and writers have for the young dead.

Of course, it could be that bass players don’t get the respect they and their instruments deserve, but it is and was hard to ignore Pettiford on a session. He offered a rhythmic foundation that was powerful rather than obtrusive, but when he soloed, his lines have the solid eloquence that any horn player would aspire to — while seeming light rather than ponderous.  And as the list of players above suggests, his musical range was exceedingly broad: he wasn’t captured on record in free jazz or ragtime, but he elevated every other variety of jazz and jazz vocal performance he was part of.  Had he lived longer, he might have enjoyed the visibility of a Milt Hinton or a Ray Brown, but we have only brief moments of him on film (the 1945 THE CRIMSON CANARY) and a few seconds of his speaking voice.

Surely he should be better known.

Enough words and keystrokes for the moment: listen to his 1960 feature on WILLOW WEEP FOR ME:

and here he is, playing his own BLUES IN THE CLOSET — from a little-known 1953 television broadcast — on cello (which he took to for a time after breaking an arm in a baseball game):

And his stirring solo on STARDUST:

Now, two pieces of good news that might go some distance in making Oscar’s name and music known to a larger audience.  One is that there is a YouTube channel, PettifordJazz, with sixty videos of Pettiford solos, ensembles, and compositions.  That means that no one has to start collecting Oscar’s music — it is being made available to all for free.

Oscar (or “O.P.”, as his colleagues called him) also spent the last two years of his life in Europe (mostly in Scandinavia and Germany), and recorded often there.  Sessions with guitarist Attila Zoller have been issued and reissued on a variety of labels (in the vinyl era, they appeared on Black Lion) and a famous 1960 concert in Essen with Bud Powell, Kenny Clarke, and Coleman Hawkins was available forty years ago.  Recordings made in 1958-59 for the German radio network have now been issued for the first time on compact disc, in beautiful sound, as OSCAR PETTIFORD: LOST TAPES — GERMANY 1958 / 1959, on SWR Music.

American expatriates Lucky Thompson (on soprano sax for a gorgeous, melancholy SOPHISTICATED LADY) and Kenny Clarke (drums on the final five performances of the disc) are the “stars,” but Zoller stands out as a beautifully measured guitarist.

OP cover rear

And although some US critics of the time might have been condescending to European players, this disc shows their equal mastery. Trumpeter Dusko Goykovich duets with Oscar on the opening BUT NOT FOR ME.  Other notable players here are clarinetist Rolf Kuhn; light-toned tenorist Hans Koller; baritone saxophonists Helmut Brandt, Helmut Reinhardt, Johnny Feigl; altoist Rudi Feigl; guitarist Hans Hammerschmid; drummers Jimmy Pratt and Hartwig Bartz.  The songs are a mix of standards and originals: BUT NOT FOR ME / SOPHISTICATED LADY / A SMOOTH ONE / O.P. (Hans Koller) / MINOR PLUS A MAJOR (Kuhn) / POOR BUTTERFLY / ANUSIA (Hans Koller) / MY LITTLE CELLO (Pettiford) / THE NEARNESS OF YOU / YESTERDAYS / ALL THE THINGS YOU ARE / BLUES IN THE CLOSET (Pettiford) / BIG HASSLE (Hammerschmidt) / ATLANTIC (Helmut Brandt) / ALL THE THINGS YOU ARE / BLUES IN THE CLOSET — the last two are live performances.

And just because it’s accessible and stirring, here is that film clip — from an otherwise undistinguished 1945 murder mystery, THE CRIMSON CANARY, which features Hawk, Pettiford, Howard McGhee, trumpet; Sir Charles Thompson, piano; Denzil Best, on a fast SWEET GEORGIA BROWN line by Hawkins called HOLLYWOOD STAMPEDE:

Ultimately, I think if you’d asked Coleman Hawkins, Duke Ellington, or any number of jazz luminaries, “What about this O.P. fellow?  Should I listen to him?” the answer would have been a very strong affirmative.  So let us do just that. These tapes were lost, but have been found: spread the word about Oscar.  Remind those who have forgotten; introduce those who never knew.  “Learn it to the younguns!” as the youthful protagonist of Ellison’s INVISIBLE MAN hears at the start of that novel.

May your happiness increase!