Tag Archives: Harlem

“ARE YOU READY? THEN JUMP STEADY!”

This seems not only an invitation to the dance but to a way of life.

Since staring at the label can only take us so far, here are the sounds:

That 1940 recording proves that Louis’ maligned Decca band had by this time was a first-rate swing band, as well as a swinging dance band.  Hear how Sidney Catlett understood Louis as few ever did, and Big Sid knew how to express his personality without insisting on being the whole show, a lesson many people can still learn.  If personnel listings are accurate, this band was, in addition to Louis, Bernard Flood, Shelton Hemphill, Henry “Red” Allen, Wilbur DeParis, George Washington, J.C. Higginbotham, Rupert Cole, Charlie Holmes, Joe Garland, Bingie Madison, Luis Russell, Lee Blair, Pops Foster, and Sidney Catlett — a powerful gliding group full of friends from the Luis Russell band of 1929-30.

That would be a post in itself — Louis and Jack Palmer writing a jovial novelty tune that also is a wonderful swing record, showing us why Harlem audiences so enjoyed the band as well as its leader.

Palmer, also, is crucial here: he, Cab Calloway, and Frank Froeba had created THE JUMPIN’ JIVE (whose refrain is “Hep hep hep”) in 1939 — first recorded by a Lionel Hampton small group, and it was a substantial hit.  Whether Palmer found Louis or the reverse, HEP CATS’ BALL (which was not a hit) seems a Louis-enhanced version of the same idea: you can have a wonderful time in Harlem if you know the way uptown.  Almost eighty years later, I wonder how many people spoke this way, and for how long, but it doesn’t perplex me.

But there’s more here than a fine Louis Armstrong performance that gets little to no attention.  How about two?  How about some comparative listening?

This great surprise came into my field of vision just a day ago — thanks to Javier Soria Laso, who found it and sent it to Ricky Riccardi on Facebook, which is where I encountered it:

Louis Armstrong at WABC

As the site-writer points out, Louis and the band recorded this on March 14, 1940, for Decca, and played it on the air three days later.  Mills Music (still run by Irving Mills?) used a service that recorded performances of Mills-owned compositions off the air . . . for their archives or for purposes I don’t, at this remove, understand.  But the result is a treasure.  The conventional wisdom is that live performances are longer than 78 rpm recordings, but the airshot is almost twenty seconds shorter.  The tempo is faster, and it is less restrained — hear Louis’ ad lib comments, including “I mean it!”, there is a splendid break by J.C. Higginbotham, still at the peak of his shouting powers, and we can hear the little variations within the arrangement, with a great deal of delicious Catlett embellishment, encouragement, and joy.

Airshots of Louis before World War Two are not plentiful, or at least that used to be the case before selections from the Fleischmann’s Yeast programs were issued on CD, and the late Gosta Hagglof’s collection of Cotton Club airshots on the Ambassador label — a disc I am proud to have written the notes for.  But who knew that HEP CATS’ BALL would emerge and be so rewarding?

Incidentally, Ricky Riccardi’s second volume on Louis, covering this period, called I’VE GOT A HEART FULL OF RHYTHM, will be published in 2020.  I’ve read an early version and it is characteristic Riccardi: warm, enthusiastic, and full of new information.

While I was shuttling back from one recording to another, I did as we all do — a little online research, and found some relevant trivia.  1697 Broadway, as Google Images tells me, is now home to the Ed Sullivan Theater, Angelo’s Pizza, and various unidentified offices.  Here’s what it looked like in mid-1936, when HELP YOURSELF ran at the Popular Price Theatre of the Federal Theatre Project.  I regret I can’t take you inside the building at that time to show you what Ace Recording looked like in 1940; you will have to imagine:

NEW YORK – JULY 1: Exterior of the Manhattan Theatre at 1697 Broadway at West 53rd Street, New York, NY. It later becomes The Ed Sullivan Theater. Image dated July 1, 1936. (Photo by CBS via Getty Images)

It’s a foxy hop.  Meet me there!  (“There” is problematic.  The original Cotton Club had been in Harlem, but it was segregated — providing Black entertainment for Whites only.  By the time Louis was broadcasting for CBS “from the Cotton Club,” it had moved downtown to Broadway and 48th Street and was no longer segregated, but it closed in 1940.  So go the glories of hepdom.)

May your happiness increase!

JOEL FORRESTER FIVE at THE SHRINE (June 29, 2017): JOEL FORRESTER, MICHAEL IRWIN, MICHI FUJI, DAVE HOFSTRA, MATTHEW GARRITY

This post isn’t about painting or poetry, but about music that — in its own ways — enacts what those other arts do.

I SAW THE FIGURE FIVE IN GOLD, painting by Charles Demuth, in tribute to William Carlos Williams’ poem

I’m referring to the music created by the Joel Forrester Five at the Shrine in New York City on June 29, 2017.  The Five is Joel, piano and compositions; Michi Fuji, violin; Michael Irwin, trumpet; Dave Hofstra, string bass; Matthew Garrity, drums.  I encourage you to enter in to the world of the Five, the bubbling of their collective imaginations.

DON’T ASK ME NOW:

SOME THINGS DON’T WORK OUT (a grieving masterpiece):

AFTER YOU, JOEL:

YOUR MOVE:

ABOUT FRANCOISE:

WITHOUT HER:

SILENT NIGHT BLUES:

FLIP-FLOP:

If you missed this afternoon concert, do not fret; you can see and hear the Five on July 24 for another uptown gig.  And an hour with the Five can be more (ful)filling than longer gigs with other ensembles.

I’ll let Joel explain it all in jocular style:

Monday July 24th is special!  My new quintet, the JOEL FORRESTER FIVE, will play a ONE-HOUR gig, 6-7 pm, in a Central Harlem bar. …You say: we did that LAST week.  Well, yes, we did; but this is a DIFFERENT bar. It’s call SILVANA (not to be confused with a 50s make of tv), 300 W.116th St. at Frederick Douglass Blvd. Take the C train to 116th.  I just like playing with these folk in ANY circumstances: Mike Irwin on trumpet and Michi Fuji on violin. And SILVANA is a jolly joint. [I recall that a close friend who’s an animator became himself quite animated when a Forrester band last played SILVANA, two years in arrears.]

May your happiness increase!

AS CINEMA, IT HAS ITS LIMITS: AS A TIME MACHINE, IT’S FLAWLESS: “HARLEM IS HEAVEN” (1932)

The great connoisseur of popular culture, especially women singers, Alan Eichler, just shared with us his VHS copy of the 1932 film HARLEM IS HEAVEN.  It’s a great gift, as it may be the first “all-colored” feature sound film, with starring roles for Bill “Bojangles” Robinson, Putney Dandridge, James Baskett, and with incidental music provided by Eubie Blake and his Orchestra, also with an appearance by Noble Sissle.

HARLEM HEAVEN poster

Now, I have reservations about the film itself.  Henri Wessell as “Chummy” and Anise Boyer as “Jean” are both beautiful young people, although their naturalistic acting is, to my taste, none too subtle.  And the plot (the film was written and directed by Irwin R. Franklyn) is thin to the point of transparency.

But what other film shows us so much of Bill Robinson as an actor, singer, and dancer — the stair dance sequence has been shown often but without credit, but the rest was new to me.  The dancers are presented to us as the world-famous Cotton Club entertainters, which is a look behind the scenes that we would otherwise not have had.

And this is serious business: is there any other film in the history of cinema that has Putney Dandridge as a deadly moral avenger who is never arrested or tried? I rest my case.

Even though I could not view the whole film in one sitting, I was captivated from the start by the little touches of 1932 Harlem reality: the marquee reading MILLS BROS. and the glimpse of the exterior of Connie’s Inn. Then, later on, there is a whole history of early-Thirties theatre and music and dance.  For fans of pre-Code splendor, “Jean” takes off her dress, revealing beautiful silk lingerie, while “Chummy” looks elsewhere, and later on there is a brief catfight between “Jean” and “Greta Rae.”  Worth viewing?  That’s up to you.

Here’s the film.

On its own terms, it is indeed Heavenly.  Thank you, Alan.  And here — reaching back even more — is Bill, in Technicolor (!) in the 1930 DIXIANA:

May your happiness increase.

“THE HOME OF SWEET ROMANCE”: REBECCA KILGORE, DAN BARRETT, JOHNNY VARRO, WAYNE WILKINSON, NICKI PARROTT, DANNY COOTS at the ATLANTA JAZZ PARTY (April 18, 2015)

SAVOY

It wins you at a glance.

Where?  The Savoy Ballroom, of course.  The  Home of Happy Feet in Harlem stopped being a Swing mecca in 1958, but its spirit remains.

That spirit was very much in evidence at this year’s Atlanta Jazz Party, and on April 18, 2015, Rebecca Kilgore and a wonderful small band brought it even more sharply into focus with a performance of Edgar Sampson’s STOMPIN’ AT THE SAVOY. Her Stompers were Dan Barrett, trombone; Johnny Varro, piano; Wayne Wilkinson, guitar; Nicki Parrott, string bass; Danny Coots, drums.  (Does that closing riff owe its existence to Coleman Hawkins and Roy Eldridge?)

You don’t need a ballroom with these wonderful musicians.

May your happiness increase!

MILT GABLER APPROVES: RAY SKJELBRED, MARC CAPARONE, JIM BUCHMANN, KATIE CAVERA, BEAU SAMPLE, HAL SMITH at SAN DIEGO (Nov. 4, 2014)

Few readers of JAZZ LIVES were actually enjoying the music on Fifty-Second Street, or at a Jimmy Ryan’s jam session, or were in the audience after-hours in Harlem, Chicago, or Kansas City.  What we have now are reminiscences, photographs, and the very rare live recording.  We have to rely on issued recordings for evocations of those times and places, and — infrequently — live performances in this century.  Every so often, I am sitting in front of a band whose musical energy is so wise, so deep, and so intense, that I say to myself, “That’s what it might have sounded like at the Lincoln Gardens,” or “uptown in 1941,” or “at the Reno Club.”

This performance — recorded on November 4, 2014, at the San Diego Jazz Fest — made me think, “This is an unissued Commodore session . . . rejected because it ran too long.”  I don’t have higher praise than that, and since I think the dead know, I believe that Milt Gabler is feeling the good spirits too.

Milt Gabler

Milt Gabler

 

The musicians (or wizards of feeling?) are Ray Skjelbred, piano and inspiration; Marc Caparone, cornet; Jim Buchmann, clarinet; Katie Cavera, guitar; Beau Sample, string bass; Hal Smith, drums.

The song chosen is really a layer-cake of three.  First, DIGA DIGA DOO (by Jimmy McHugh and Dorothy Fields) — a song made for romping, even though its people-of-color-are-so-hedonistic lyrics are now hard to sing.  It’s overlaid by KRAZY KAPERS, a riff created at the 1933 “Chocolate Dandies” session overseen by John Hammond (the awful band title aside, it was a hot mixed group), and then the song that Ray murmurs about — the one that went too long at Carnegie Hall — Louis Prima’s SING SING SING, with or without commas, which gives Ray a chance to evoke Jess Stacy, always welcome.

When I was busily setting up the video on YouTube — writing a title, description, and creating tags, one of the suggested tabs that the YT machinery came up with was

Wow

My feelings exactly.

It’s in moments like this — nearly seven minutes of moments — that I feel I’m doing the important work of my life (with no offense meant to the students I teach) . . . attempting to make the evanescent permanent, attempting to make the local heroes world-famous.  It makes the knapsack with cameras and tripod feel feathery, not burdensome.

Commodore label

And — quite relevant to this music — I just read that Mosaic Records has completed an eight-CD set of the complete Commodore and Decca recordings of Eddie Condon and Bud Freeman, which will be available in mid-April.  Need I say more?

May your happiness increase!

 

DAWN AND CHRIS GIVE THE CAB DRIVER DIRECTIONS IN SWING STYLE

One of my favorite singers, Dawn Lambeth.

One of my favorite pianists, Chris Dawson.

A swinging early-Thirties Ellington song, DROP ME OFF IN HARLEM.  I have to point out that the lyrics by newspaper writer Nick Kenny are less than fresh . . . but one can listen around the hackneyed phrases to admire Dawn’s sweet, light-hearted approach to the song, the textures and timbres of her voice, and the swinging, faithful, and elegant piano of Mister Dawson.

I wish this duo — or the larger version, Dawn Lambeth and Friends — were coming to my city, soon.  And yours, too.

May your happiness increase.

“LIVE SPORT”: A JAM SESSION AFTER HOURS IN THE VICTORY PUB, NEWCASTLE (Oct. 28-29, 2012) with the STARS of THE WHITLEY BAY CLASSIC JAZZ PARTY

Once more . . . if “Mister Mike” isn’t someone recognizable to you, would you kindly take a minute and read this?  It would mean a great deal to many people, and, to paraphrase Dizzy Gillespie, “No him, no this.”

“This” turns out to be my video record of the closing notes of the 2012 Whitley Bay Classic Jazz Party — a jam session on Sunday night held in the Victory Pub of the Village Newcastle.  Some of the details are indistinct — I would have made a very bad spy — because a video camera, even on a tripod, is an ungainly dance partner.  I wrote down personnels on the back of two JAZZ LIVES cards, which have now vanished into that place where Things That Vanish go.  So if I’ve left out the name of a noble participant, email me at swingyoucats@gmail.com. and tell me.

Or you can simply observe musicians brilliantly at play in the dark.

LONESOME BLUES (from the Hot Five book) Thomas Winteler, soprano saxophone; Frans Sjostrom, bass saxophone; Martin Litton, keyboard — he deserves a grand piano! — ; Roly Veitch, guitar; Josh Duffee, drums):

AFTER YOU’VE GONE (Thomas Winteler, soprano saxophone; Rico Tomasso, trumpet; Frans Sjostrom, bass saxophone; Martin Litton, keyboard; Martin Wheatley, guitar; Josh Duffee, drums):

I NEVER KNEW Andy Schumm, cornet; Rico Tomasso, trumpet; Jens Lindgren, trombone; Thomas Winteler, Michael McQuaid, Norman Field, reeds; Martin Wheatley, guitar; Frans Sjostrom, bass saxophone, and others):   

ONCE IN A WHILE (for Louis and the Hot Five — performed by Rico Tomasso, trumpet; Jens Lindgren, trombone; Thomas Winteler, Michael McQuaid, Norman Field, reeds; Spats Langham, guitar; Manu Hagmann, bass; Josh Duffee, drums, and others):

MY MELANCHOLY BABY (traditionally the dreaded request by inebriated patrons in the bar, but Spats Langham turns it into a masterpiece of tender swing here, aided by Andy Schumm, cornet; Kristoffer Kompen, trombone; Henri Lemaire, string bass; Matthias Seuffert, tenor saxophone; Michael McQuaid, alto saxophone, Josh Duffee, drums. The admiring watchers include Frans Sjostrom, Martin Wheatley, Stephane Gillot):

I SAW STARS (which I associate with the 1934 debut of Django and Stephane on Ultraphone — here rendered with sweet fervor by Roly Veitch, guitar / vocal; Rico Tomasso, trumpet; Matthias Seuffert, Michael McQuaid, reeds; Alistair Allan, trombone; Henri Lemaire, string bass; Josh Duffee, drums):

Then, as if by magic, the scene shifted . . . suddenly it was 1941; we were at Minton’s (or someplace north of 125th Street in Harlem, New York City; I had turned into Jerry Newman, recording swing-to-bop for posterity . . . you’ll hear what I mean.

LESTER LEAPS IN (Martin Litton, keyboard; Michael McQuaid, alto saxophone; Rico Tomasso, Andy Schumm, trumpet; Matthias Seuffert, tenor saxophone; Alistair Allan, trombone; Martin Wheatley, Roly Veitch, guitar; Manu Hagmann, string bass; Josh Duffee, drums):

TOPSY (Martin Litton, keyboard; Michael McQuaid, alto saxophone; Rico Tomasso, trumpet; Matthias Seuffert, tenor saxophone; Alistair Allan, trombone; Martin Wheatley, Roly Veitch, guitar; Manu Hagmann, string bass; Josh Duffee, drums):

After those last notes had stopped echoing, I (and some others) made our weary, happy way to bed . . . rocking gently on what we had heard, dreaming sweetly of the 2013 Party.

For Mister Mike.

And, as always, tickets are on sale to the 2013 Party, the best-organized high-spirited living jazz museum, here.

May your happiness increase.