Tag Archives: Jerry Bruno

WITH A TWIST, PLEASE: JULY 1962

Before “genre-bending” or “crossover music,” there were recordings such as this, purchased for one dollar at a local yard / garage sale a few days ago — worth so much more:

DIXIELAND WITH A TWIST BEAT

This music was recorded in New York, July 1962, in what I can assume was an attempt to merge two audiences — those elders, who still liked “Dixieland jazz,” and didn’t think that term was something to shrink from, and their children, who were busy Twisting on the living room rug, thanks to Chubby Checker and a clearly defined loud rhythm pattern.

Both “Dixieland” and “the Twist” were recognizable — and thus saleable — genres that the average consumer of music could be expected to know about.  (A few years earlier, there had been successful recordings called DIXIELAND GOES MODERN, SWING GOES DIXIE, DIXIELAND HITS COUNTRY AND WESTERN . . . a series of experiments that often produced good — if occasionally odd — musical results.)  Perhaps some consumers saw this disc as a doubly interesting product, a musical two-for-one.

Somerset Records were also offering “popular long play albums” including SING ALONG WITH THE HONKY TONKS, SYMPHONY FOR GLENN, OLDIES FOR PIPE ORGAN, LA PACHANGA!!, POLKA EXTRAVAGANZA, and several records attempting to capture the market for original cast albums (two compressed shows with nearly anonymous singers). I think this label, like Bravo, Design, and Spinorama, was sold in racks near the cashier in your local supermarket.

In John Updike’s short story, “A&P,” coincidentally also published in 1962, the nineteen-year old narrator, Sammy, describes such products pitilessly as “records at discount of the Caribbean Six or Tony Martin Sings or some such gunk you wonder they waste the wax on.”

The “liner notes” on the reverse are enthusiastic almost beyond endurance.  I can’t reproduce the many fonts, but please imagine an exuberant art director who believed in visual stimulation:

THE DIXIE ALL-STARS

FOR YOUR LISTENING OR TWISTIN’ PLEASURE

BLOW UP A STORM OF

DIXIELAND

with a TWIST BEAT

SIDE ONE

SOUTH RAMPART STREET PARADE

TWISTIN’ DIXIE

GOLDEN SLIPPERS TWIST

LONESOME RAILROAD BLUES

MIDNITE IN MEMPHIS

THE SAINTS

SIDE TWO

MISSISSIPPI MUD

STARBURST RAG

RAMPART ST. STOMP

DOWN BY THE RIVERSIDE

MUSKRAT RAMBLE

BOURBON STREET FISHFRY

PEANUTS HUCKO, “CUTTY” CUTSHALL, PEE WEE ERWIN – MY WHAT FINE DIXIE COMPANY. SHADES OF MOTHER COME ON HERE!!!! – ADD THE KING OF THE TWIST DRUMMERS, GARY CHESTER, AL CAIOLA ON GUITAR, BILL RAMAL HONKIN’ SAX, AND MOE WECHSLER ON PIANO (OOPS, WE NEARLY FORGOT “THE BEAVER) – ON BASS, JERRY “BEAVER” BRUNO AND FORGET IT; IT’S A DOWN HOME PARTY THAT SAYS “DIG WHAT YOU WANT – EVERYTHING IS HAPPENING RIGHT NOW.” PARTY TIME!!

Directed by D. L. Miller     Cover art – G.L. Phillips

This stereophonic 33 1/3 R.P.M. long playing record has been mastered employing the Westrex cutter head system driven by a Sculley lathe. We do not claim full fidelity when played on a monaural phonograph. This is a stereo recording manufactured to the highest stereophonic audio standards.

At this point, I know some of my readers want nothing more than to hear a sample — a wish I can easily gratify. Come with me back to 1962.  And let your impulses take you where they may.  It is indeed PARTY TIME!!

Side One:

Side Two:

Should anyone think I focus on this disc in a spirit of mockery, that isn’t my intention. The “jazz soloists” play their parts with spirit, expertise, and conviction — soloing as they would in any context, given these songs to improvise on. I do not hear disdain or ironic distance; rather, I hear professionalism and enthusiasm. The rhythm was perhaps not what they were accustomed to, but a heavy underpinning was not all that different from a rhythm and blues date . . . and it was a paying gig playing MUSKRAT RAMBLE, which was better than many other options offered them. At the end of the sessions, I am sure everyone went home (or to the gig at Condon’s or Nick’s) reasonably satisfied that they had been given a chance to play — and if these records became hits, so much the better. “We called it music,” one of their guiding spirits had said, and what I hear is just that, Twist or not.

May your happiness increase!

 

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CONAL FOWKES HAS GOOD NEWS (and GOOD GIGS)!

Pianist / singer / actor / string bassist / composer Conal Fowkes always delights us — a sly wit, a romping pianist, a propulsive bass player, an all-around civilized man.

CONAL

So it was a special pleasure to read Conal’s most recent good news, which I pass along to you.  He deserves the award and a great deal more.

It is with great pleasure that I can announce that I, along with my dear friends and colleagues Eddy Davis, Yrving Yeras and Lisa Yeras, won a GRAMMY at the 55th Annual GRAMMY Awards for Best Compilation Soundtrack for Visual Media for my work on the Oscar winning film Midnight In Paris.  I can be heard throughout the movie as the voice and piano of Cole Porter, played by French actor Yves Heck, and also as part of the Yerason Trio, playing “Barcarolle” by Offenbach, with Yrving and Lisa Yeras (violins) in an arrangement written for the movie by Eddy Davis. The news came as a big surprise but nevertheless a great thrill!

Let me take this opportunity also to tell you of a few up-coming gigs I have in the NY /Tristate area.

Sunday, Feb. 17th, I’ll be playing in duo with the amazing, ridiculously talented, Scott Robinson (various reeds, brass & sonic devices). Shanghai Jazz, Madison NJ. 3:30pm-5:30pm http://www.shanghaijazz.com/ This is an event run by the New Jersey Jazz Society so it doesn’t appear on the Shanghai Jazz website, but we WILL be there!

Thursday, Feb. 21st, I’ll be in a quartet with singer Barbara Rosene http://barbararosene.com/ — and Andy Stein (violin) and Pete Martinez (clarinet). Birdland, 315 W 44th St, NYC http://www.birdlandjazz.com/ This gig will be to release Barbara’s new CD “Nice and Naughty,”at the 5:30 pm show (one set).

Saturday, Feb. 23rd, I’ll be performing with veteran singer Judi Marie Canterino*, guitar legend Bucky Pizzarelli, and bassist Jerry Bruno, at the Church of the Holy Communion, Norwood, New Jersey: 5-6:30 pm.

*And a word from JAZZ LIVES: “veteran singer Judi Marie Canterino” sang duets with Jimmy Rushing at The Half Note — Spring and Hudson Streets — when I was there in 1972.  That’s a seriously impressive credential.

May your happiness increase.