Tag Archives: Harvard

SATURDAY NIGHT AT THE GIRLS’ SCHOOL (December 1, 1951)

Concord Academy, Concord, Mass., established 1922 for grades 9-12, enrollment less than 500 students.  Surely I don’t understand upper-class girls’ boarding schools, but it seems the last place one would find a hot jazz concert — or was it a dance? — in late 1951.  Then again, jazz was still the popular music.  Doing research on the Boston hot jazz scene of this period, I came upon this passage from a 1950 story in the Harvard Crimson about the genesis of the school’s hot band, the Crimson Stompers.  Savor this as a relic of a vanished time, please:

They went twice to Smith College (Gifford is carried away by the memory where 200 girls in sweat shirts and dungarees sat in a semicircle and shrieked for the real oldtimers like “Coal Cart Blues” (an Armstrong standby).

That, I think, is the emotional connection between Concord Academy and jazz.

One of the musicians, cornetist Johnny Windhurst, then 25, had substantial fame.  Windhurst had been the second horn in Sidney Bechet’s quintet that broadcast from the Savoy Cafe in 1945; he had returned to the Savoy in 1949 with Edmond Hall’s band that had Vic Dickenson in the front line.  In New York, he had performed with Eddie Condon, Jack Teagarden, James P. Johnson, and other notables, at Town Hall and the Stuyvesant Casino; in 1952, he would be playing regularly at Eddie Condon’s on West Third Street.  Windhurst turned down opportunities to travel, would not learn to read music, and stayed close to home until his death in 1981.  He is a glorious player, his solos arching towards the skies.

Trombonist Eddie Hubble was an early associate of Bob Wilber, a superb extension of Jack Teagarden, and by this time he had performed with Red McKenzie, Wild Bill Davison, Frank Chace, George Wein, Doc Evans, Joe Sullivan.  He, too, was heard on Boston radio broadcasts.

“Ollie” Taylor [Oliver S. Taylor, Harvard, ’53] may not have continued on with music, and his recorded career is limited to two performances linked to drummer Walt Gifford.  But he was playing alongside professionals as early as 1948.  His father was a Harvard history professor, and the Harvard hot band, the Crimson Stompers, formed and rehearsed at the Taylor house.

I know even less about the fine supportive pianist Pete Hewitt: he recorded three sides with a band led by Gifford that also had Hubble.  Where did he go after Harvard?  Walt Gifford, Harvard ’52, managed the Crimson Stompers, and he had a professional career which I can follow into the Sixties, he did not get the notice his work deserved.  (Then again, I say to myself, “Who does?”)

That Boston-and-beyond scene was flourishing: Ed Hall, Frank Chace, and Frank Newton played and recorded with iterations of the Crimson Stompers; the young woman who would become Barbara Lea — born Leacock — was both their star singer and Windhurst’s girlfriend.

I also am reasonably sure that the music was recorded by Joe Boughton, who was an early and pious Windhurst devotee [archivist? stalker?], a wonderful thing, seventy years later — although I have a half-memory of some musician writing something like, “Wherever we’d be playing, he’d show up with the damned tape recorder and it would be running.”  To my right, as I write this, I have a photograph of Windhurst on my wall, inscribed to Boughton, with surprise at a “sober Saturday”! Thank goodness we have slightly more than a half hour of the music: all “Dixieland” classics, and beautifully played: strong soaring solos, wonderful rhythm (you don’t miss a string bass), nice riffs and backgrounds.  As young as they were, they were splendidly professional.  And not to slight Ollie Taylor, it is Windhurst and Hubble who continue to astonish (they were both continuing to do so when I saw them, separately, in 1971 and 1972.)

I also don’t know anything about a school like Concord Academy and its cultural anthropology.  Was this a dance?  Did the girls get to invite their beaux?  Or was it a social event where the band played for listening?  I don’t sense a large room crowded with eager teens; in fact, it’s hard to sense an audience at all.  I wish I knew, but here’s the music.  And what music!

In Windhurst I often hear Hackett, but Bobby with almost insolent ease, fluidity and power — although it’s clear that he’s absorbed Louis and the Condon trumpet crew.  When he moves around on the cornet, there’s never any strain, as he accomplishes versions of super-Bix.  And that sound! — full and shining.  Next to him, Hubble echoes Teagarden but also the slippery power and audacity of Lou McGarity and Brad Gowans.  Taylor’s approach is slightly less assured — more Parenti than Hucko — but his earnest lyricism is sweetly appealing, and occasionally (hear the end of his chorus on ONE HOUR, where he asks himself, “What would Pee Wee do?”) he comes up with memorable phrases, although occasionally he’s not completely familiar with the song.  Hewitt is wonderfully orchestral and spare at once, summoning Stacy and streamlined stride (SAINTS is the best example); he isn’t fancy in the ensembles, but you feel him providing solidly moving chordal support.  And Gifford plays splendidly for the band, sometimes pushing the hi-hat in the best Jo Jones fashion, otherwise relying on snare and bass drum, always thinking of what the band needs at the moment in the nicest Wettling manner.  It’s a very cooperative band — players who had worked together and readily created supporting figures.  And although the repertoire is familiar as “Dixieland,” the rhythmic emphasis here is on swing: they’re playing the tunes rather than copying the hallowed recordings.  Hear how Hubble and Windhurst leap into their solos on SAINTS.

Can you tell I admire this band?

The songs are WAY DOWN YONDER IN NEW ORLEANS / IF I COULD BE WITH YOU / JADA / JAZZ ME BLUES / SOMEDAY SWEETHEART / SAINTS / SUGAR (faded out):

The recording — I feel certain it’s tape or a 33 rpm acetate — has been edited to eliminate both applause and pauses between songs, and the microphone is inside the band so that we hear the musicians’ comments to each other.  Was it broadcast on the local radio station?  And the recordist turns up the right knob while Hewitt solos so that his sound isn’t lost: this isn’t an accidental “capture.”

On Facebook, I hear many young bands showing their skills — sometimes simply their enthusiasm.  I wish many of them would study this tape: it’s a model of how to play this repertoire with great expertise and passion while making it look easy, aiming for polished small-band swing rather than trying to replicate some more ancient evidence.

Enjoy the glowing sounds as well as the little mysteries that accompany them: the people who could have explained it all are gone. Think of a time when such a band could exist and play a date at a local school.  Days gone by for sure.  (I wonder whether Concord Academy has its own archives: one can dream.  I will send this post to them.)

P.S.  I invite the word-averse to skip what follows.  Between 2006 and 2020, I carried video recording equipment to gigs; with large interruptions, I had brought audio equipment from 1971 to 2006 and sometimes beyond.  Through the immense kindness of jazz benefactors John L. Fell, Bill Coverdale, Bill Gallagher, Bob Hilbert, Roy Bower, Bert Whyatt, Tom Hustad, Hal Smith, Ricky Riccardi, Sonny McGown, and others, I’ve amassed hours — years, it seems — of rare recordings, primarily on audiocassette.  Thanks to a grant from the Charles Sammut Foundation and Laura Wyman’s encouragement, I figured out how to convert those cassettes into moderately-competent YouTube videos, and I’ve been doing this for the last month.  Why?  Some of this activity is an antidote to pandemic boredom-and-loneliness, but there is also my thought that when my executors come to clean out my apartment, and they are a very hip bunch, no one has room for three or four hundred cassettes.  It pained me that if I didn’t do something about it, my tapes (for example) of Bobby Hackett, Vic Dickenson, Joe Thomas, Teddy Wilson, Jo Jones, Bennie Morton . . . would never be heard.  That was intolerable to me.  So I hope you greet these audio rarities with the pleasure that I take in sharing them.

May your happiness increase!

JAZZ STUDIES PROGRAM, NOVEMBER 1948

Sixty-five years ago, if you found yourself deeply entranced by hot music, you studied it in the ways available to you.  You collected records and talked about them with other devotees: Lee Konitz and Omer Simeon, bootleg reissues on labels like Temple and Baltimore. If you tended towards the dogmatic, you quarreled over Bunk Johnson versus Dizzy Gillespie. If someone had records you’d never heard, you had listening sessions where each of you could share the good sounds. You sought out live performances and talked to the professional musicians. You read Marshall Stearns and Barry Ulanov, Rudi Blesh and Art Hodes, DOWN BEAT, METRONOME, THE JAZZ RECORD, and more.

But perhaps most importantly, you didn’t find your jazz in classrooms, but in frat houses, dances, basement rec rooms, and the houses of friends and friends’ parents.

If you were any good (and even if you weren’t) you formed a band. One of the best was a Harvard group — The Crimson Stompers — of such fame that Ed Hall, Bobby Hackett, Bob Wilber, a young Barbara Lea (then a Wellesley girl) Frank Chace, and Vic Dickenson sat in.

From drummer Walt Gifford’s scrapbook, thanks to Duncan Schiedt, here’s a portrait of what embodying the jazz impulse at college was sixty-five years ago:

CRIMSON STOMPERS 11 48

Bill “Hoagy” Dunham is still with us and still playing Monday nights at Arthur’s Tavern in Greenwich Village, New York City.  Any memories of this, Bill?

The photograph is before my time, but I salute the young men enjoying themselves.  What is college for if you can’t explore new subjects?

May your happiness increase!

BILL DUNHAM REMEMBERS BARBARA LEA

The good friend of JAZZ LIVES, pianist and bandleader Bill Dunham, sent his recollections of Barbara Lea for us:

I guess I’m Barbara’s oldest friend – both in terms of age and friendship.  She was at Wellesley (where she was Barbara Leacock out of Detroit) when I was Harvard in the late 40’s.  We met on a blind date and dated briefly (I was pretty inept and Larry Eanet took over in that department).  It was there that I introduced Barbara to the Harvard Crimson Stompers a Dixieland band that was really a hot item among the college jock fraternities (Dartmouth, etc.) Her singing career started!  I was a member of the Stompers at the time and can remember how we were all knocked out by this Wellesley girl’s singing!

During her senior year at Wellesley and after graduation she sang at local Boston clubs – some not too upscale including a Mafia-run club where she called me one night and asked me to please come down the next night because she had been threatened by a gang thug.  I was to call a police lieutenant should there be a confrontation.  I was not too enthusiastic about this assignment but fortunately it went OK with me sitting nervously clutching the policeman’s phone number.

As you know, Barbara made scores of LPs, CDs, etc.  One of my favorites is the one she made with Johnny Windhurst, a marvelous young trumpet player.  He incidentally sat in with the Grove Street Stompers a number of times.

Barbara has often been labeled as a young Lee Wiley. Yes, one can pick up traces of Wiley in her singing but Barbara was her own person and had her own approach to singing the great standards with a beautiful, pure, ungimmicky voice!

I have been a close friend of hers since college and will really miss her!

Another pianist with young Barbara Lea