Tag Archives: Harry DiVito

THRIFT as a VIRTUE

The record collectors used to call it “junking,” but it’s more elevated (cleaner, brighter lighting, safer environs) these days.  Goodwill and the Salvation Army are usually well-stocked with Andy Williams and Donna Summer vinyl, although oddities still pop up — SONGS OF THE RED ARMY, for one.

But the Beloved and I like thrift stores — for wardrobe choices that go beyond the Ralph Lauren racks at Macy’s, for odds and ends (a salad spinner, an unusual coffee mug, intriguing books).  And their supply of records is usually more interesting.

Here are the rewards from a tour of thrift shops in the Mill Valley – Larkspur – Fairfax – San Rafael area in California, the records ranging from the common to the unusual, one dollar or less each:

As Marc Myers would say (he loves the subtexts of odd Fifties record covers), we hope she is enjoying the music — another bachelor pad fantasy, but the woman who liked Clyde Hurley playing a ballad would be a real keeper.

A very different approach to female pulchritude and the male gaze, no?  I might have this music on CD, but felt it would be terribly disloyal to be in the SF area and pass this record by.  Madam here likes jazz piano!

With this one, we’re clearly into the unusual — even though it seems to be a supermarket label and I’ve never heard Billy Franklin play.  (Is it possible that it was a pseudonym?)  But the accompanying band is first-class: Mousey Alexander, drums; Hank D’Amico, clarinet; Hary DiVito, trombone; Whitey Mitchell, bass, and a very young Johnny Varro, piano.  I don’t think I’ll be sufficiently organized to bring this disc to the Sweet and Hot festival to show Johnny, but perhaps.  And the songs are hopeful, too: I’LL ALWAYS BE IN LOVE WITH YOU / INDIANA / SOUTH OF THE BORDER / THE WHITE CLIFFS OF DOVER / SHINE / ROYAL GARDEN BLUES / WAY DOWN YONDER IN NEW ORLEANS / MEMORIES OF YOU / SWEET SUE.

In many thrift and second-hand stores, the 78 rpm records there are often ancient classical, overpriced Edisons, Teach Your Canary To Sing, 4 Top Hits, or the like.  One of the stores had three paper albums and a number of loose records — the usual Sinatra and Gene Autry, but someone’s favorites from 1930-1, which I bought indiscriminately.  Who knows which Columbia or Victor dance band record is hiding a yet-undiscovered Jack Purvis bridge?

Oscar Grogan?  But the other side is Richard Whiting’s HONEY, which is usually performed at a medium tempo, so it’s hopeful.

Now, there’s a prize!  The reverse is MY MAN.

Probably quite sweet rather than hot, but for a dollar, everyone might take a risk.  The other side is INDIAN LOVE CALL, and I hope it’s a precursor of Louis with Gordon Jenkins, Tony Pastor with Artie Shaw.

One other photographed poorly, so the titles will have to suffice:  ME AND MY SHADOW (Johnny Marvin: “The Ukulele Ace,” with Clarinet Accompaniment) / MY SUNDAY GIRL (Charles Kaley, with Violin, Saxophone, and Piano): Columbia 1021-D.  The heart imagines Jimmy Dorsey, Joe Venuti or Matty Malneck, Arthur Schutt . . .

And two ringers — in that I paid more than a dollar for each one in an actual used record store.  But you’ll understand the reason for this sudden profligacy immediately:

I had this a long time ago, and it disappeared under unhappy circumstances: although Willie “the Lion” Smith and Jo Jones should have recorded in every decade prior to this, it’s a blessing that Hughes and Louis Panassie got them into a studio for this and another session as well.

I have heard the music from this two-band-spectacular, but it’s nice to have it on disc — with George Wettling, Nappy Trottier, Jack Maheu, Georg Brunis, Pee Wee Russell, Johnny Frigo, and Vic “Dickinson.”  The photograph of Jimmy and Art giving each other some skin is a good one, even if it’s a tossup whether the pretty model at rear left or the “redcap” looks less convincing.  Maybe Method acting hadn’t hit the Chicago studios yet?

I can’t wait until I encounter a three-speed turntable!

Advertisements

1959: JACK, BOBBY, GENE, KENNY

I don’t quite know how “Wolfgang’s Vault” tapped into the great store of recordings made — presumably for the Voice of America — for the 1959 Newport Jazz Festival, but the second neatly-wrapped present has arrived.  What interests me are two sets: one featuring the master, Jack Teagarden, with his working band of the time (Don Goldie, trumpet; Henry Cuesta, clarinet; Don Ewell, piano; Stan Puls, bass; Ronnie Greb, drums).  Aside from delightful work from Ewell — in ensemble as well as solo — and a very happy Teagarden, the band itself is workmanlike rather than inspired.  But for ROYAL GARDEN BLUES, a medley of ROCKIN’ CHAIR and BODY AND SOUL, and a closing SAINTS, Teagarden got to add his great friend and colleague (they had been recording together for more than twenty years) Bobby Hackett, who plays splendidly.  Goldie, a very competent lead trumpeter with marvelous facility but less imagination, chooses to play a chorus or two of trades with Hackett, which perhaps a wiser man would have avoided.  But Hackett has BODY AND SOUL to himself — two and a-half exquisite minutes, after which Teagarden says, “Wonderful!  Bobby Hackett!  The most beautiful trumpet in the world.  Just trumpet from heaven.”  And although I feel sorry for Goldie, I wouldn’t argue with Teagarden’s praise.  SAINTS, taken too fast, closes the set.  Goldie’s second try at a Louis Armstrong imitation is a liability; Ewell’s rocking stride and Hackett’s soaring solo more than make up for it.

Hear for yourself: http://www.wolfgangsvault.com/jack-teagarden-with-bobby-hackett/concerts/newport-jazz-festival-july-05-1959.html

Three days earlier, the Gene Krupa Quartet had performed at Newport, with pianist Ronnie Ball, Lester Young-inspired tenor saxophonist and clarinetist Eddie Wasserman, and bassist Jim Gannon.  Wasserman is rather off-mike, but that allows us to hear Krupa, in enthusiastic form, work his way through SWEET GEORGIA BROWN, a medium-tempo WORLD ON A STRING, a slow LOVER MAN, and a twelve-minute STOMPIN’ AT THE SAVOY.  Again, this set is primarily notable for Krupa — fiercely himself wherever he was, which is something to admire, even amongst jazz writers eager for “innovation” and “development.”  Krupa did attempt to go with the fashion of late-Forties bebop (the musical equivalent of the berets and dark glasses his musicians wore for photographs) but he did play much the same way in 1972 — when I saw him last — as he had in 1938.  Why?  Because it sounded good, as it does here.

http://www.wolfgangsvault.com/gene-krupa-quartet/concerts/newport-jazz-festival-july-02-1959.html 

Finally, there’s a set from July 3, 1959, featuring Phil Napoleon on trumpet, Harry DiVito, trombone, the wondrous Kenny Davern on clarinet, the still-active Johnny Varro on piano, Pete Rogers, bass, and Sonny Igoe, drums. 

I haven’t had the opportunity to listen to this set, but the combination of Davern and Varro — or Davern and anyone — is enough for me.

http://www.wolfgangsvault.com/phil-napoleon-and-his-original-memphis-five/concerts/newport-jazz-festival-july-03-1959.html

Although I would assume that the estates of the artists aren’t receiving payment for the dissemination of their music, at least more people are getting to hear it — pushing away the day when no one knows who Bobby Hackett, Jack Teagarden, or Gene Krupa is.  (Not “was,” mind you.)  Wolfgang’s Vault is also featuring other concerts from this edition of the Newport Jazz Festival, including Dizzy Gillespie . . . rarities coming to the surface for us to hear!  What’s next?  I have my fingers crossed that someday the concerts from the first years of the Festival will surface: I’ve been reading about those lineups for years.  Someday, Wolfgang?