Tag Archives: King Lear

A STAGE FULL OF BRIGHT LIGHTS: WILD BILL DAVISON, BOBBY HACKETT, JIMMY McPARTLAND, BUCK CLAYTON, JIMMY ARCHEY, VIC DICKENSON, GENE SEDRIC, ED HALL, FRANK SIGNORELLI, JOE BUSHKIN, MARIAN McPARTLAND, MILT HINTON, POPS FOSTER, MAX WAYNE, GEORGE WETTLING, JO JONES, TONY SPARGO, LEE WILEY (Town Hall, New York City, April 12, 1952)

 Here’s a vibrant paradox: the musicians who understand themselves deeply know that singularity is the great goal.  Be aware of where you’ve come from, revere your heroes and know the tradition, but be yourself.  At the same time, play well with others: understand that the community of jazz improvisation is sacred, and work for “the comfort of the band,” to quote Baby Dodds.

In this Town Hall concert, from April 12, 1952, that delicate paradox is on display in every performance.  Here’s the roadmap.

This Saturday concert, produced by Bob Maltz, was billed as a farewell party for Wild Bill Davison, who was leaving New York to tour. It was recorded by the Voice of America for broadcast overseas, which may be the source of this copy.  The introduction is by Al “Jazzbo” Collins, with Marian McPartland playing softly underneath his paragraphs:

BLUE SKIES / I CAN’T BELIEVE THAT YOU”RE IN LOVE WITH ME / HINDUSTAN Wild Bill Davison, Ed Hall, Jimmy Archey, Frank Signorelli, Pops Foster, George Wettling /

THE LADY IS A TRAMP / SOMEONE TO WATCH OVER ME (Bushkin) – DON’T BLAME ME (Milt) – DINAH (Buck) – HALLELUJAH! – BLUES (Jo) Joe Bushkin, Buck Clayton, Milt Hinton, Jo Jones /

CLARINET MARMALADE / DAVENPORT BLUES / ROYAL GARDEN BLUES Jimmy McPartland, Vic Dickenson, Gene Sedric, Marian McPartland, Max Wayne, Tony Spargo /

ANY TIME, ANY DAY, ANYWHERE / STREET OF DREAMS / MANHATTAN / [Roy Haynes mentioned] ‘DEED I DO / I’VE GOT A CRUSH ON YOU Lee Wiley, Joe Bushkin, Buck Clayton, Milt Hinton, Jo Jones /

Collins jokes and talks to fill time . . .

FIDGETY FEET / SISTER KATE (Vic, vocal) / SWEET GEORGIA BROWN / Bobby Hackett, Vic Dickenson, Gene Sedric, Marian McPartland, Max Wayne, George Wettling //

THAT’S A PLENTY (explosively) / I CAN’T GIVE YOU ANYTHING BUT LOVE / SAINTS Davison, Archey, Hall, Signorelli, Foster, Wettling //

Listening to these musicians, at the peak of their expressive powers, I thought of Ruby Braff (in Boston when this concert took place) and the subject of the party, Wild Bill Davison.  Ruby was often cutting about his colleagues, except for half-a-dozen who he held sacred.  Thus, in my hearing, Wild Bill was “that moron.”  But later in life — perhaps in the wonderful conversations he had with Steve Voce, Ruby unwound enough to praise Bill: he “had drama.” 

But my point is not to praise Bill in isolation.  Every musician at this concert has their own drama — Lee Wiley wooing, Vic Dickenson telling stories, Wild Bill taking a hot-jazz-flamethrower to the curtains to see if they would catch fire.  The concert reminds me of a televised production of KING LEAR where every role was filled — gorgeously — by a star actor (Laurence Olivier, John Hurt, Michael Gambon, Leo McKern, Diana Rigg) — and they meshed wonderfully, their reverence for the play and for each other evident.

It also reminds me that there was a time, nearly seventy years ago, where both Milt Hinton and Pops Foster were available for a gig, as were Marian McPartland and Tony Spargo.  A proliferation of riches!  And even if you think, “God.  Another version of FIDGETY FEET, for goodness’ sake?” listen — you’ll be startled out of your preconceptions and hustled into joy.

May your happiness increase!

I GOT IN THE GROOVE(S) AT DOWN HOME

I went record-shopping yesterday (January 11, 2014) at one of my favorite places on the planet, the Down Home Music Store on San Pablo Avenue in El Cerrito, California — details here.  The only fault I’ve ever found with DHMS is that they are only open from Thursday through Sunday, so I have to plan my life accordingly.  But I came home with a cardboard box of 78s, one 45, 10″ and 12″ lps.  Total price: less than a hundred dollars for hours of fun and amazement.

A brief list follows, just to encourage all of you who have such leanings to pay the lovely amiable folks at the DHMS a visit soon.  Of course, the records I bought aren’t there in multiple copies, but they have an astonishing selection of new compact discs covering every kind of music I can think of, and some I haven’t even imagined.

One 45 EP of the late-Forties West Coast Fletcher Henderson band with Vic Dickenson as prominent soloist.

Several 10″ lps: Paul Lingle solo on Good Time Jazz; Pee Wee and Ruby at Storyville, 1952; early Artie Shaw with strings;

12″ lps: a Queen-Disc Italian bootleg of Goodman 1938, all with Dave Tough; another copy of the Harry James 1937 Brunswicks on Tax; Edmond Hall’s PETITE FLEUR on United Artists; Eddie Barefield with Vic and Taft Jordan on UK RCA Victor’s SWING TODAY series; the New Hampshire Library of Traditional Jazz collection of 1949 airshots from the Savoy in Boston with Hall, Windhurst, and Vic; Wingy Manone’s late-Fifties Deccas as TRUMPET ON THE WING; TUTTI’S TRUMPETS on Buena Vista; Jimmy Rowles playing Ellington / Strayhorn on Columbia . . .

78s: a 12″ Commodore of MEMPHIS BLUES / SWEET SUE with Muggsy and Pee Wee; the Asch album set of Mary Lou Williams with Bill Coleman and Al Hall; two copies of THE WORLD IS WAITING FOR THE SUNRISE / MOOD AT TWILIGHT by Mel Powell and a clarinetist (one for Kati P); I WANNA WOO by Joe Haymes; Musicrafts by Joe Marsala and Joe Thomas, by Teddy Wilson’s Quintet; late-Twenties Brunswicks by Nick Lucas; early-Twenties ditto by the Cotton Pickers; Tab Smith and Trevor Bacon on Decca; Betty Roche with Earl Hines, Pettiford, Hodges, and Catlett on Apollo; several Forties sides by the Charioteers, one “with orchestra directed by Mannie Klein”; an Edison 78 of some hopeful dance tune; an early Vocalion of TESSIE! STOP TEASING ME; one of the Bluebirds with Peg La Centra and Jerry Sears and Carl Kress . . . and more.  (I am doing this from memory and haven’t even looked at the box.)

And the experience of buying records is so sweetly nostalgic for someone like myself who found great pleasure in stores like the DHMS.  The results are more than “collecting,” “amassing,” and “having”; I learn something every time.  For instance: the soundtrack to this post is the 1938 Goodman band, with glorious work from the Man Himself, Bud Freeman, Vernon Brown, Dave Tough, and Jess Stacy — but did you know that when DON’T BE THAT WAY was announced for a repeat performance on Camel Caravan, it was credited as being “Professor Goodman’s own tune.”  I feel very sorry for Edgar Sampson and hope that the royalty checks made up for the erasure.

Some of the records had identifying labels on them; many were well-played and well-loved.  I thank you, dear Collectors with Taste whose possessions I am now enjoying.  What gifts you pass on!

And as far as record-buying, I know that someone could read this as another example of excessive materialistic self-gratification, when there are people on the planet so much less fortunate.  I know I do not need more music, but I retreat into KING LEAR mode and mutter, “O, reason not the need!”  Records are less expensive than bringing a hundred knights with me wherever I go.

So, if you can get down to the Down Home Music Store, I commend it to you.  If you can’t, I understand, so play some music for yourself today.  It lifts the heart.

May your happiness increase! 

“I WANT! I WANT!” (Part Two)

From Fernando de la Riestra (translated by Samantha Avila):

Why have so many records?

There is no reason even for necessity or for accumulation.  Simply said, I get a great amount of tranquility in knowing that they will grow old beside me.  The tranquility that comes with the knowledge of the absolutely precious existence of the music and being able to enjoy it.  There are occasions when I enjoy putting the disc in the player and I profoundly enjoy the prolonged sounds of the music, just the way it was originally presented to us.  The amount of music makes it easy to finding the rhythm that’s just right.  Tomorrow or the day after tomorrow or even next week, that may the state that coincides with the determined work of Sonny Rollins, and it is a great thing to have Sonny in my home to immerse myself in his music.  But sometimes the rhythm is very fast and other times it’s irritatingly slow.  But just to know that it’s there at anyone’s disposition, as a stimulus to ultimate knowledge — as well as the guarantee of a simple and sure life full of momentum.  I have many records and CDs but I never speculate about the possibility of being able to listen to every single one of them all the time, and I don’t speculate about the absurd question whether there will be time to listen to all of them. 

From KING LEAR:  “”O reason not the need!  Our basest beggars / Are in the poorest thing superfluous.  Allow not nature more than nature needs, / Man’s life is cheap as beast’s.”

From “Willie The Weeper” (thanks to Mike Durham):  “Now tell me, what would you do? / If you could have all your dreams come true?  / There’s something tells me, you’d lock the door, / Like Willie the Weeper, you’d cry for more.”   

Three very different perspectives, no? 

Fernando de la Riestra speaks of the possibility for pleasure the sprawling amplitude of music can give us, and suggests we live in these moments of gratification and amplitude without needlessly gnawing on the darker questions: “Will I live to hear all of this?  Am I greedy?  Do I deserve to have all this?”

And since some of our musical idols are now dead, having as much of their music around us is a way to make it feel as if they never died: fantasy and fancy, but a way to stop our grief at their absence.  In my ears, Louis is alive . . .  But I am a Lapsed or an Enlightened Completist who no longer strains to have every note his idols ever recorded.  I did that often in my youth and found it frustrating: I did not have the resources to buy or trade for every Ben Webster recording (for example) and some of them were less than perfect . . . with apologies to Ben, of course.

Lear (early on in his painful path to seeing clearly) says to his hard-hearted daughters that the difference between people and animals is that we can allow ourselves more than bare subsistence. 

The anonymous lyricist of “Willie the Weeper” suggests that it is human nature to want and want more — although in the interests of accuracy, I must point out that Lear has yet to realize that a complete human being (king or not) is not defined by the number of knights in his entourage, but by how deeply and well he loves and forgives and receives the loving forgiveness of others. 

And Willie, having a wonderful time in his dreams, is driven by opium — so he might not speak for us all.

I am returning to this topic because the enthusiasm of the comments suggested to me that these were serious questions that went deep.  And I wanted to offer a musing illustration. 

In my previous post, SIDNEY CATLETT, TRIUMPHANT, I shared three images of photographs of Big Sid that had appeared for sale on eBay.  Sidney is my hero: he made everyone else sound better; he was himself; he brought joy; he was deeply loved and is deeply missed.  And he is not a recognizable figure to many beyond this world of jazz and percussion.

Now it can be told: I bid on and won the large portrait at the bottom of that blogpost. 

I am a very restrained bidder: I bid on less than one percent of the things I covet, and I set a monetary ceiling for myself: had the bidding gone up and up, I would have left the arena early.  And I am not a vindictive bidder: I will not purchase something to be the only one on the planet who has it.  If someone had outbid me — as has happened before — I assume only that my rival has more money and more desire . . . and I hope (s)he enjoys the purchase immensely! 

Did I NEED the photograph?  Certainly not. 

I need to pay my bills, have clean clothing, food and drink . . . but I could certainly have proceeded forward in my life without this purchase.  And in a world where so many people are less fortuntate, it would seem an impiety to proclaim that I needed this object.

But I did WANT it.  Why?

Some of my feeling comes from the adult desire for autonomy.  We are, as children and perhaps as adults, surrounded by people who don’t necessarily see the world as we do and disapprove of our pleasures.  In bidding on this photograph, I am not automatically responding to the people who said, sometimes angrily, “What do you need that for?  Haven’t you got enough of that as it is?” 

But perhaps part of being an adult with freedom and some disposable income (thus terribly fortunate) is the Thorstein Veblen principle in a mild, non-judgmental way: I can afford to buy myself something that won’t keep me warm or house me — but something that will please me when I perceive it. 

I no longer have to ask my mother for an advance on my allowance to buy a Louis Armstrong record I had never seen before (she was good about such things) so buying the portrait of Sidney is a way of saying, “I am adult enough to trust myself to spend a little money on something not essential to my life; I am adult enough to spend money on something that will please me whenever I look at it.”   

Another person might say, “What I want for dinner tonight is simply a bowl of cereal.  Or scrambled eggs and toast.  Why should I not please myself?”

Freedom to act with individuality, the maturity and self-knowledge to trust one’s impulses. 

And I will be able to hang the photograph on the wall at eye-level so that I will see Sidney as I go past him, and will be able to muse on his generous brilliance. 

I can never BE Sidney, but I can hope to draw something from his example: Be youself.  Be excellent at whatever it is you do.  Do it so that you give your gift to others. 

And there’s more.  I would call my bidding on that photograph a selective acquisition: were I to feel passionately that I had to have copies (or originals) of every photograph taken of Sidney Catlett, then I would be in a different realm.  Frankly, although I revere Sidney, I do not want to have him on every wall of the apartment: he would become inescapable.  There’s room for Pee Wee Russell, too, and my own photographs of living musicians.

I also think that my desire for the photograph is a quiet response to ignorance and mediocrity.  Strong words, you say.  Fighting words, even.  But my words are not idly chosen.  The world outside has very little interest in or knowledge of the music I and others love and celebrate here. 

Having a portrait of Sidney is my own way of saying to the world that ignores him, the world that raises mediocrities to stardom, “THIS is what you should be honoring.  I know he means nothing to you, but I refuse to forget him and what he did.”  

Having things that give us pleasure will not keep us alive a moment longer; our collections of beloved objects will have to find other owners when we die. 

But if we enter into an uplifting spiritual relationship with the things we do purchase, perhaps our lives will be enhanced by the powers they continue to possess.

And — a mournful postscript: there are so many things in our lives that we cannot control, so making these small decisions to bring beauty, elation, and solace into our existence is very important . . .