Tag Archives: Lawrence Lucie

HEROES WITH FOUNTAIN PENS AND MUSICAL INSTRUMENTS

The eBay seller jgautographs continues to delight and astonish.  They (she? he?) have several thousand items for sale as I write this, for auction or at a fixed price, and even if the later items are unusual yet unsigned photographs, what they have to show us is plenty, from Jacquelie Kennedy Onassis’ stationery, a Playbill signed by Arthur Miller (DEATH OF A SALESMAN, of course), Joey Heatherton, Eleanor Roosevelt, Robert Redford, Marjorie Kinnan Rawlings, Frederick Douglass, Stephen Sondheim, and more.  When people signed their name in cursive, and often before ballpoint pens were ubiquitous.

And did I mention they have jazz autographs for sale?  I remarked upon such wonders here and here about ten days ago.  I’ll leave it to you to search the thousands of items, but here are some of very definite jazz interest.  (This time, the seller is not showing the reverse of these signatures, as (s)he did earlier, so there is a slight air of mystery to these offerings.  But someone was hip.)

There must still be thousands of Tommy Dorsey signatures still circulating, but this one’s unusual: did TD sign it for a family friend, or for someone who asked what his middle name was?  I’ve not seen another like it, and the flourishes mark it as authentic.

Coleman Hawkins had gorgeous handwriting, which does not surprise me.  I have no idea if the signature and photograph are contemporaneous, though:

Someone who worked on and off with Hawk, including time in the Fletcher Henderson band and reunions in the 1956-7 period, my hero, Henry “Red” Allen:

and a signature rarely seen, Leon “Chu” Berry — also from the time when musicians not only signed their name but said what instrument they played:

So far, this post has been silent, but it would be cruel to not include the two small-group sides that bring together Hawk, Red, and Chu — under the leadership of Spike Hughes in 1933 (also including Sidney Catlett, Lawrence Lucie, Wayman Carver, Benny Carter, and Dicky Wells — truly all-star!

HOW COME YOU DO ME LIKE YOU DO?

SWEET SUE, JUST YOU (with a glorious Carver flute chorus):

Back to Chu Berry . . . he was playing in Cab Calloway’s band at the end of his life; in the trombone section was Tyree Glenn, who lived much longer (I saw him with Louis):

A star of that orchestra and a star in his own right, trumpeter Jonah Jones:

Here’s BROADWAY HOLDOVER, originally issued on the Staff label under Milt Hinton’s name, featuring Jonah, Tyree, Al Gibson, Dave Rivera, and J.C. Heard:

Our autograph collector friend also made it to a club where Pete Brown was playing — again, another signature rarely seen:

Pete, Tyree, Hilton Jefferson, Jerry Jerome, and Bernie Leighton join Joe Thomas for one of my favorite records, the Keynote YOU CAN DEPEND ON ME:

And (exciting for me) our collector made a trip to Nick’s in Greenwich Village, from whence the signatures of Pee Wee Russell and Miff Mole came.  Now, two musicians from the same schools of thought — the short-lived Rod Cless:

and trumpet hero Sterling Bose:

and because they have been so rare, here are the four sides by the Rod Cless Quartet with Bose, James P. Johnson, and Pops Foster on the Black and White label — I am told that the Black and White sides will be a Mosaic box set, which is fine news.  Here’s HAVE YOU EVER FELT THAT WAY? (with verse):

MAKE ME A PALLET ON THE FLOOR:

FROGGY MOORE:

and James P., brilliantly, on I KNOW THAT YOU KNOW:

If I could play clarinet, I would like to sound like Cless.

And a postscript of a personal nature: the auction ended a few minutes ago.  I bid on the Cless, the Pete Brown, the Bose, and on a whim (because I knew it would go for a high price) the Chu Berry.  Chu went for nearly $171; someone beat me by a dollar for Sterling Bose, but my bids — not exorbitant — won the Cless and Pete.  When they come in the mail, I envision a frame with Pee Wee, Rod, and Pete.  It will give me pleasure, and some years from now, it will give someone else pleasure also.

May your happiness increase!

THE MANY LIVES OF “DINAH LOU”

“DINAH LOU,” music by Rube Bloom and lyrics by Ted Koehler, from the 29th COTTON CLUB PARADE, perhaps would have gotten less attention and affection if it had not been the subject of several memorable recordings.

A footnote: the song was composed several years earlier, and recorded by Red Nichols (leading an expert but little-known post-Pennies Chicago band) at the end of 1932: I hope to share that disc in a future posting.

The first version I encountered was Red Allen’s, from July 19, 1935, with Henry “Red” Allen, J.C. Higginbotham, Albert Nicholas, Cecil Scott, Horace Henderson, Lawrence Lucie, Elmer James, Kaiser Marshall.  Notably, it was the first of four songs recorded at that session — a warm-up, perhaps, for the delightful Frolick that is ROLL ALONG, PRAIRIE MOON.  I think you can hear what captivated me years ago: a good song and lots of very satisfying, individualistic melodic improvisation: much art packed into a small package:

On August 1, Chuck Richards sang it with the Mills Blue Rhythm Band — Red was in the band, but sang on the Bloom-Koehler TRUCKIN’.  However, he takes a soaring solo — more in a Louis mode than his usual way — with marvelous interludes from Billy Kyle, J. C. Higginbotham, and Buster Bailey.  Richards was a competent balladeer, but to me the real star here is the band, with a very lovely reed section:

On January 20, 1936, Ivie Anderson sang it with the Duke Ellington Orchestra (three takes, of which two survive).  I don’t know which of these two was recorded first, but I’ve distinguished them by sound and length.  Talk about wonderful instrumental voices — in addition to Ivie, whom no one’s equalled.

2:25:

2:34:

And the most delightful surprise (August 25, 1955): a live performance by Humphrey Lyttelton, trumpet; Bruce Turner, clarinet, alto saxophone; Johnny Parker, piano; Freddy Legon, guitar; Jim Bray, string bass; Stan Greig, drums:

The motive behind this leisurely long satisfying performance may have been nothing more complex than “Let’s stretch out and keep taking solos,” but it works so splendidly: hearing this is like watching two marvelous tennis players volley for hours with the ball always in the air.  It feels very much like a magical return to a late-Thirties Basie aesthetic, with none of the usual patterns of an opening ensemble giving way, after the horn solos, to rhythm section solos.

Will anyone adopt DINAH LOU as a good tune to improvise on in this century?

May your happiness increase!

THE CATALYTIC MISTER DANDRIDGE

putney-dandridge-78

We  have so much to thank Fats Waller for.  He could be the subject of a thousand posts, and the joy he spreads won’t ever diminish.  But, like Louis Armstrong, who he was and what he did were perceived immediately as marketable commodities.  In the early Thirties, with the coin-operated automatic phonograph a new and exciting phenomenon, Waller’s popularity was immense.  But he was under contract to Victor Records, so the other labels looked for their own “Fats” to compete for public attention.

Thus, piano-playing entertainers who could put over a song in a jocular way were valuable.  Swinging pop songs of the day — songs often from films — was the thing.  The very talented women Lil Hardin Armstrong and Cleo Brown recorded for Decca, as did Bob Howard.  Willie the Lion Smith did his own recordings for that label.  Tempo King, Stew Pletcher, Adrian Rollini, and Louis “King” Garcia recorded for Bluebird; Taft Jordan for Melotone, Stuff Smith for Vocalion. Henry “Red” Allen, Billie Holiday, and Mildred Bailey existed in their own aesthetic worlds, but it’s clear they ran parallel to the Waller phenomenon, with a substantial bow to Louis.

Photograph courtesy of ON THIS DAY IN JAZZ AGE MUSIC, with thanks to Confetta-Ann Rasmussen.

Photograph courtesy of ON THIS DAY IN JAZZ AGE MUSIC, with thanks to Confetta-Ann Rasmussen.

Our subject for today, though, is Putney Dandridge, who made a series of recordings in 1935-36 for Brunswick Records.  He is well-known to only a few, I believe, and so I am doing something atypical for JAZZ LIVES and reprinting the detailed Wikipedia entry — more detailed than the Blessed John Chilton’s paragraph:

Louis “Putney” Dandridge (January 13, 1902 – February 15, 1946) was an African American bandleader, jazz pianist and vocalist.

Born in Richmond, Virginia, Dandridge began performing in 1918 as a pianist in the a revue entitled the Drake and Walker Show. In 1930, he worked for a time as accompanist for tap dancer Bill “Bojangles” Robinson, including appearances in the important black musical Brown Buddies. In February 1931, Dandridge appeared in the cast of the musical revue Heatin’ Up Harlem, starring Adelaide Hall at the Lafayette Theatre in Harlem. After touring in Illinois and the Great Lakes region, Dandridge settled in Cleveland, Ohio, forming his own band, which included guitarist Lonnie Johnson. This period lasted until 1934, when he attempted to perform as a solo act. He took his show to New York City, beginning a series of long residences at the Hickory House on 52nd Street and other local clubs. From 1935 to 1936, he recorded numerous sides under his own name, many of which highlighted some major jazz talents of the period, including Roy Eldridge, Teddy Wilson, Henry “Red” Allen, Buster Bailey, John Kirby, Chu Berry, Cozy Cole and more. Appearing to vanish from the music scene in the late thirties, it is speculated that Dandridge may have been forced to retire due to ill health. Dandridge died in Wall Township, New Jersey at the age of 44.

Here he is, appearing as “the Stage Manager,” in the 1932 film HARLEM IS HEAVEN, starring Bill Robinson and James Baskette.  Putney appears about ten minutes into the film, and you can see him speaking, chewing gum, scatting, at the piano:

Now, I am not making a case for Dandridge as Waller’s equal.  He was a serviceable swing / cocktail pianist at best, and he plays on five of the first six sides of the series.  But something spectacular can come from a liability, and the result of Putney’s piano playing — say that quickly if you dare — was that Teddy Wilson was called in for the remaining sessions.  As a singer, he was an enthusiastic amateur with a wide uncontrolled vibrato, a limited range, and a scat-singing tendency that was, I think, anachronistic even for 1935.  But in the great vaudeville tradition, he knew the songs, he put them  over with verve, and even when his vocals are most difficult to listen to, one focuses on the gem-like accompaniment.

I have no record of John Hammond’s involving himself in these sessions. I believe the Brunswick supervisor for these dates was Harry Gray.  Perhaps Wilson acted as contractor and went to the Rhythm Club the night before a date and said, “Are you free at noon tomorrow?  It’s fifty dollars?” and selected the best musicians he could from the Mills Blue Rhythm Band, Willie Bryant, Chick Webb, Stuff Smith, Goodman, Ellington, Henderson, Calloway, Redman.

It intrigues me that often the splendid playing on these discs is done by musicians who were less in the public eye, thus giving us opportunities to hear people who played beautifully and were not given the opportunities that the stars were.  The players include Roy Eldridge, Henry “Red” Allen, Doc Cheatham, Shirley Clay, Richard Clarke, Bobby Stark, Wallace Jones, Chu Berry, Buster Bailey, Johnny Russell, Tommy Mace, Teddy McRae, Charles Frazier, Joe Marsala, Carmen Mastren, Arnold Adams, Nappy Lamare, Clarence Holiday, Lawrence Lucie, Dave Barbour, John Trueheart, Eddie Condon, Allan Reuss, John Kirby, Grachan Moncur, Mack Walker, Wilson Myers, Ernest Hill, Artie Bernstein, Bill Beason, Walter Johnson, Cozy Cole, Slick Jones, Sidney Catlett.  When Wilson was out of town with the Goodman orchestra, Clyde Hart, Ram Ramirez, or James Sherman took his place.  I’d suggest that students of Thirties rhythmic practice have a two-semester intensive study seminar in front of them in these discs.  Without fanfare, these were racially mixed sessions.

Here’s a sample — goofy, exuberant, and delightfully swinging.  Don’t take your eyes off the screen, for the great jazz scholar Franz Hoffmann has inserted a (silent) clip of Putney performing in 1933 from the film SCANDAL, and he looks exactly as he sounds:

I wrote before that Dandridge is little-known, and that might be true, but his SKELETON IN THE CLOSET was part of the soundtrack for a video game, BIOSHOCK 2, so it pleases me to imagine some Youngblood listening to the complete Putney through his earbuds on his way to school.  Stranger things have happened.

The Dandridge anthology I knew in the Seventies was three records on the Rarities label; there are two CDs on the Chronological Classics series, and (the best — sound by John R.T. Davies) is a two-CD set on the Timeless label, issued in 1995.  YouTube — or “Orchard Enterprises” — has made all 44 sides available here.  I don’t recommend listening to all of them in a row, because Putney’s vocal approach might pall — but they are  priceless reminders of a time when great songs and great musicians were in the air in a way that would be unusual today.  Here’s the YouTube collection.  (Please, I can’t vouch for its correctness, and if it doesn’t play in your country I can’t fix it . . . but consider the price of admission).

Thanks to Marc Caparone, the great Inspirer.

May your happiness increase!

JON-ERIK KELLSO HONORS HENRY “RED” ALLEN (JAZZ AT CHAUTAUQUA, September 22, 2012)

Henry “Red” Allen deserves to be celebrated — a monumentally surprising individualist with deep New Orleans roots but as modern as you could want.  He demonstrated his quirky powers for four decades on record and in performance: in one phrase, harking back to street parades and the great trumpet tradition including his friend and sometime employer Louis Armstrong, then creating dancing angular phrases that came from nowhere, broke in through the side window, tap-danced in the air, and left in a flash.

If the history of jazz had not been compressed by star-makers and taxonomists (Louis to Roy to Dizzy to Miles, no local stops) more people would have noticed that Red’s phrasing and note choices are as deliciously odd as Lester’s or Monk’s — earlier.  With some splendid musicians, you can anticipate what they might play and what directions their solos might take: not Henry Red.  And as a singer. he blends the romance of an African-American Crosby and the wildness of Leo Watson, the good grease of Lips Page — always recognizable as himself.

In the Thirties, Red worked with the Fletcher Henderson band, the Mills Blue Rhythm Band, and eventually with Louis’ large band — which grew out of the 1929-30 Luis Russell Orchestra, perhaps the happiest band in jazz.  He recorded with a variety of blues singers, with Billie Holiday and James P. Johnson — but the records that many of us treasure are a series made for jukeboxes between 1933 and 1937.

Their premise was simple: get a small band of expert swing musicians (none of them famous enough to command salaries above scale), pass out current pop tunes, make sure the melody and lyrics were clear and distinct in an opening chorus, and let the fellows swing out.

Red’s cohorts on these recordings were (among others) trombonists Bennie Morton, Dicky Wells, and J.C. Higginbotham; reedmen Coleman Hawkins, Cecil Scott, Chu Berry, Hilton Jefferson, Russell Procope, Tab Smith, Buster Bailey, rhythm players Don Kirkpatrick, Horace Henderson, John Kirby, Bernard Addison, Lawrence Lucie, Walter Johnson, and others.  Many years ago these records were available in complete chronological order on vinyl and CD, but those issues are hard to find.  They rank with the best Fats Waller, Billie Holiday, and Mildred Bailey recordings.

But this is not simply a celebration of the hallowed dead.  Rather, like so many musical occasions that delight me, the music presented below merges the past and the present at once.  And if ever a musician could straddle 1933 and 2012 without ripping his suit trousers, it would be our man Jon-Erik Kellso.  He is wise enough to play himself rather than copying Red, but he loves the small band recordings Red and Coleman Hawkins created.  He and a congenial small band — Alex Hoffman, tenor saxophone; Bob Havens, trombone; John Sheridan, piano; Kerry Lewis, string bass; Pete Siers, drums — swung out in tribute to Red, Hawk, and the good music you could hear on a jukebox or at home in 1933-4 . . . at Jazz at Chautauqua 2012.

I’M RHYTHM CRAZY NOW comes from the (Horace) Henderson book, and it lives up to its title in an understated way:

THE DAY YOU CAME ALONG was a voluptuous hit for Bing Crosby at his most romantic — and it became a great showcase for Coleman Hawkins (yet another example of Crosby’s magnificent influence across “schools” and “styles”):

YOU’RE GONNA LOSE YOUR GAL, for better or worse, is purely instrumental here, so we miss out on the profound lines, “acting like a two-time lover / sneaking kisses under cover / you’ll wake up and you’ll discover”:

Fats Waller’s rhetorical urging us to joy, AIN’T CHA GLAD?:

From the very first session Red and Hawk attempted — with tuba and banjo at the orders of the recording executives — SISTER KATE:

I’VE GOT MY FINGERS CROSSED, a hot tune, might not have been recorded by Red — but Fats and Louis created memorable recordings of it (in Fats’ case, a film appearance) so it’s welcome here:

May your happiness increase.

HOTTER THAN THAT: HENRY “RED” ALLEN AND FRIENDS, 1932-33

Thanks to the indefatigable jazz scholar Franz Hoffmann, here are four hot records featuring Henry “Red” Allen and Pee Wee Russell, Fats Waller, Tommy Dorsey, Eddie Condon, Zutty Singleton, among others.  The band name was the RHYTHMAKERS and Philip Larkin was not alone in thinking this series of hot records the apex of Western civilization.  You can see a variety of 78 record labels and photographs and read the personnel in Franz’s videos, but the real substance is the joyous music, unbridled but expert. 

OH, PETER:

YES SUH!:

SOMEONE STOLE GABRIEL’S HORN:

And an amazing 1933 jam-session-on-record on SWEET SUE, under the nominal leadership of UK composer / string bassist Spike Hughes — the participants are Allen, Dicky Wells, Coleman Hawkins, Chu Berry, Benny Carter, Wayman Carver (flute), Nicholas Rodriguez, Lawrence Lucie, and Sidney Catlett —

May your happiness increase.

THE REAL THING: MORE FROM BENT PERSSON and the HARLEM JAZZ CAMELS (Feb. 7, 2012)

Through the generosity of the musicians and of “jazze1947,” here are five more marvelous performances by the Harlem Jazz Camels (a group of swinging friends since 1978)  — caught live on February 7, 2012, at the Aneby, Sweden, concert hall.

I have posted SISTER KATE from this group — and I must apologize for a slight inaccuracy: the group was led by pianist / arranger Ulf Lindberg, but I hope that he will forgive my hero-worship of Bent.  And if readers want to take up a collection to send me to Sweden so that I might apologize to Ulf in person for the slight, I would not object too vigorously.

Besides Ulf and Bent, the Camels are Goran Eriksson, alto, clarinet; Claes Brodda, clarinet, baritone, tenor sax; Stephan Lindsein, trombone; Lasse Lindback, string bass; Sigge Delert, drums; Goran Stachewsky, guitar and banjo.

Let’s start with the 1933 ONCE UPON A TIME, composed by Benny Carter — the glorious trumpeter admired by none other than Louis — for a record date with Chu Berry, Floyd O’Brien, Max Kaminsky, Teddy Wilson, Ernest “Bass” Hill, Lawrence Lucie, and Sidney Catlett — rendered nobly by the Camels:

Some early Ellingtonia — SATURDAY NIGHT FUNCTION:

James P. Johnson’s rollicking and inspirational AIN’T CHA GOT MUSIC (patterned after a Henry “Red” Allen recording):

I believe that the next song is I’M RHYTHM CRAZY NOW (a Horace Henderson arrangement scored for a slightly smaller band — originally featuring Red, Hawkins, and Dicky Wells) — to great effect:

And the delights conclude (for this post) with an evocation of PARDON ME, PRETTY BABY — as recorded by Hawkins, Carter, George Chisholm, Django Reinhardt and other swinging souls in 1937:

Gorgeous hot music.  I’d fly four thousand miles for these Camels!

“I’M READY, I’M READY!” or “THE TRUMPET KING OF SWING”

I can identify some of the signatures, but not all.  Where are they playing?

Thanks to Mister Glaser, Luis Russell, Sonny Woods, Midge Williams, Lawrence Lucie, Decca Records, and of course to The Trumpet King of Swing himself!