Tag Archives: Lee Wiley

TAKE IT FROM THEM: NEVILLE DICKIE and DANNY COOTS PLAY FATS WALLER (Scott Joplin International Ragtime Festival; Sedalia, Missouri; May 31, 2018)

One of the great pleasures of the 2018 Scott Joplin International Ragtime Festival was their Fats Waller tribute concert — guess who was second row center with camera and tripod as his date?  I will share videos of the Holland-Coots Quintet playing and singing superbly, but first, something rich and rare, the opportunity to hear Neville Dickie in person.  I’ve heard him on recordings for years, but how he plays!  Steady, swinging, inventive, and without cliche.

Some pianists who want to be Wallerizing go from one learned four-bar motif to the next, but not Neville, who has so wonderfully internalized all kinds of piano playing that they long ago became him, as natural as speech.  Eloquent, witty speech, I might add.

Some might think, “What’s a drummer doing up there with that pianist?” but when the drummer is Danny Coots, it’s impudent to ask that question, because Danny adds so much and listens so deeply.  And there is a long tradition of Piano and Traps.  I thought immediately of James P. Johnson and Eddie Dougherty, of Frank Melrose and Tommy Taylor, of Donald Lambert and Howard Kadison, of Willie “the Lion” Smith and Jo Jones, of Sammy Price and Sidney Catlett, of Pete Johnson, Albert Ammons, and Jimmy Hoskins . . . and I am sure that there are other teams I have left out here.

Danny’s tap-dancer’s breaks may catch your ear (how expert!) but his steady color-filled but subtle support is what I admire even more.  He’s always paying attention, which is no small thing no matter what instrument you play.  In life.

Here are the four selections this inspired duo performed at the concert: only one of them a familiar Waller composition, which is also very refreshing.  Need I point out how rewarding these compact performances are — they are all almost the length of a 12″ 78 but they never feel squeezed or rushed.  Medium tempos, too.

A NEW KIND OF A MAN WITH A NEW KIND OF LOVE comes, as Neville says, from a piano roll — but this rendition has none of the familiar rhythmic stiffness that some reverent pianists now think necessary:

TAKE IT FROM ME (I’M TAKIN’ TO YOU) has slightly formulaic lyrics by Stanley Adams, but it’s a very cheerful melody.  I knew it first from the 1931 Leo Reisman version with Lee Wiley and Bubber Miley, which is a wondrous combination.  But Neville and Danny have the same jovial spirit.  And they play the verse!  Catch how they move the rhythms around from a very subtle rolling bass to a light-hearted 4/4 with Danny accenting in 2 now and again:

Then, the one recognized classic, thanks to Louis and a thousand others, I’VE GOT A FEELING I’M FALLING.  Neville, who certainly knows how to talk to audiences, is a very amusing raconteur in addition to everything else.  And the feeling I get when he and Danny go from the rather oratorical reading of the verse into tempo!

Finally (alas!) there’s CONCENTRATIN’ (ON YOU) which I know from recordings by the peerless Mildred Bailey and Connie (not yet Connee) Boswell: I can hear their versions in my mind’s ear.  But Neville and Danny have joined those aural memories for me:

What a pair!  Mr. Waller approves.  As do I.  As did the audience.

May your happiness increase!

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WARM SOUNDS IN MOTION: JON DE LUCIA OCTET in RECITAL: JON DE LUCIA, ANDREW HADRO, DAN BLOCK, RICKY ALEXANDER, JAY RATTMAN, STEFAN VASNIER, AIDAN O’DONNELL, STEVE LITTLE (City College, May 3, 2018)

I abandoned my adult responsibilities last Thursday to hear the Jon De Lucia Octet at City College, and I am so glad: this performance was an oasis.

Jon’s group, in existence for slightly more than two years, is a flexible, swinging chamber group devoted to the music-for-saxophones of Gerry Mulligan, Lee Konitz, Jimmy Giuffre, Ted Brown, Bill Smith, Alec Wilder, the Dave Brubeck Octet, and Jon’s own arrangements and compositions.  I’ve been following Jon and the Octet around New York since their inception, and have always felt rewarded.  Here is a sample from March 2017.

Perhaps it no longer applies, but it used to be fashionable to characterize such music as “cerebral,” to some, a euphemism for chilly aural architecture, jazz drained of untidy emotions, art from the neck up.  Not true for the Octet, which is a warm, mobile band, always with a generous offering of improvised solos.  You’ll hear and see for yourself.

If you have an established prejudice against what is perceived by some as “cool,” please take a visit to PRESERVATION, DREAMILEE, DISC JOCKEY JUMP . . . . and then re-assess.

At this too-brief concert, the players were Jon, alto saxophone and clarinet; Stefan Vasnier, piano; Aidan O’Donnell, string bass; Steve Little, drums; Jay Rattman, tenor saxophone; Dan Block, alto saxophone and clarinet; Ricky Alexander, tenor saxophone; Andrew Hadro, baritone saxophone.

Gerry Mulligan’s DISC JOCKEY JUMP, originally composed by young Mr. Mulligan for the Gene Krupa ensemble, then arranged for saxophones a decade later by Bill Holman:

Jerome Kern’s PICK YOURSELF UP (I think of Fred Astaire pretending to be clumsy) arranged by Jon:

The Gershwins’ TREAT ME ROUGH, from GIRL CRAZY, arranged by Dick Hyman for a Trigger Alpert record date:

PRESERVATION, by Ted Brown, a sinuous improvisation on Lester Young’s TICKLE-TOE, arranged by Jon:

The gorgeous PRELUDE, by Dave Van Kriedt, originally for the Dave Brubeck Octet:

DREAMILEE, Lee Konitz’s solo / variations on I’LL SEE YOU IN MY DREAMS, arranged by Jon:

PRELUDE TO PART FIRST, a Baroque jazz fantasy by Jon, which I associate with his new  Bach Shapes book:

Cole Porter’s very pretty LOOKING AT YOU (I think of Lee Wiley’s 1940 recording with Bushkin and Berigan) arranged by Jon.  Dance music for very hip couples:

and a memory of a vanished New York City subway-system entrance machinery, TURNSTILE, again composed by Mulligan and arranged by Holman:

Jon’s Octet — with the splendid Ted Brown — will be releasing their debut recording, a live performance from their first recital — on Neal Miner’s noble Gut String Records — this summer.  Expect to hear more about it here.

May your happiness increase!

CLASSICS MADE NEW: DAWN LAMBETH, KRIS TOKARSKI, JONATHAN DOYLE, LARRY SCALA, MARC CAPARONE, NOBU OZAKI, HAL SMITH (San Diego Jazz Fest, November 26, 2017)

Dawn Lambeth, Kris Tokarski, Larry Scala, Nobu Ozaki, Hal Smith, Jonathan Doyle, Marc Caparone at the San Diego Jazz Fest

What Phil Schaap calls “the swing-song tradition” — a nimble swinging singer accompanied by an equally swinging group — is epitomized for most people by the 1933-42 recordings Billie Holiday made with Teddy Wilson, Lester Young, and other luminaries.  However, it was going on before Billie entered the studio (Connie Boswell, Lee Wiley, Mildred Bailey) and it continues to this day (Rebecca Kilgore, Daryl Sherman, Barbara Rosene, Petra van Nuis, and others).  Dawn Lambeth shines in this setting, and the three performances captured here at the San Diego Jazz Fest both reflect the great tradition and show what joy and art these musicians bring to it.  (I was reminded often, as well, of the late-life recordings Maxine Sullivan made in Sweden, which are very dear to me.)

I know that the tradition wasn’t exclusively female — think of Henry “Red” Allen among others — but I am holding back from making a list of all the swingers.  You’ll understand.

If you more evidence of Dawn’s magic — and the band’s — before proceeding, I invite you to visit here and here.  She sounds wonderful, and there’s fine riffin’ that evening.

Here are three beauties from that same set.  First, Irving Berlin’s ALL BY MYSELF (which is really quite a lament — but not when swung this way):

Then, the tender ONE HOUR — someone is sure to write in and say that it is really called IF I COULD BE WITH YOU ONE HOUR TONIGHT.  Yes, Sir (there are no Female Corrections Officers in jazz-blog-land!) — by James P. Johnson and Henry Creamer:

And finally, Mr. Berlin’s I’M PUTTING ALL MY EGGS IN ONE BASKET, with thanks to Fred Astaire, as always:

To quote Chubby Jackson, but without a touch of irony, “Wasn’t that swell?”  I certainly think so.

May your happiness increase!

GLIMPSES OF MISS WILEY and COLLEAGUES (1934-1953)

A small pleasure. seen on eBay.

Here’s what it sounds like:

The facts are: Lee Wiley, vocal; Sterling Bose, Tommy Dorsey, Sid Stoneburn, others; Ernie White, Larry Gomar,  Justin Ring or Victor Young, directing. New York, August 13, 1934 38298-B.

And nearly twenty years later:

Lee’s voice had changed, predictably, as had the band, but I like the new, tougher approach just as much.

We enter the magical world of sheet music covers.  This song is familiar, with the distinct connection to Victor Young — with whom Lee enjoyed a long relationship.  I reprint the cover for comparison:

Although I can’t offer a recording of Lee singing LOVE ME, how about two versions by Jack Teagarden — the first with ornamentation by Sterling Bose, Jimmy Dorsey, Perry Botkin — again directed by Victor Young?  I knew you wouldn’t object:

This is, again, twenty years later, swinging as well as romantic — from the sextet that Jack led after he’d left Louis Armstrong’s All-Stars.  This 1953 band was a family affair, with brother Charlie on trumpet, sister Norma on piano:

Back to Lee.

This piece of sheet music is new to me, and I haven’t found any recordings of the song to offer you:

This song is known to me because Red Allen recorded it at the time, but no recording of Lee singing it exists.  Still, it’s pleasant to hear her voice in one’s mental recording studio:

and, in case you’ve never seen it, here is the justly famous film — silent but with a soundtrack added later, both thanks to Josh Rushton — of Lee and then-husband Jess Stacy, out and about.

May your happiness increase!

“JOE BUSHKIN QUARTET LIVE AT THE EMBERS 1952: BUCK CLAYTON, MILT HINTON, PAPA JO JONES”

Jazz fans get very wistful when dreaming of scenes that were only captured in words: the twenty chorus solos young Lester would take; Louis on the riverboats; Lips Page singing and playing the blues at the Riviera.  But the recording machine has been the time-traveler’s best friend.  Because of a variety of electrical devices, we have been able to go uptown to hear Frank Newton and Art Tatum; we’ve heard Charlie Christian, Oscar Pettiford, and Jerry Jerome in Minneapolis; we can visit YouTube and hear Lester sing A LITTLE BIT SOUTH OF NORTH CAROLINA.

This new issue, explained boldly by its cover picture, is one of those time-travel marvels.  I was alive in 1952, but no one was taking me to the Embers to hear Joe Bushkin’s quartet with Buck Clayton, trumpet; Milt Hinton, string bass; Jo Jones, drums.  But now — somewhat older, thanks to this beautifully-produced disc on the Dot Time Records label — I can visit that club and hear exalted music any time I want.

This was a celebrated quartet, and for good reason.  Buck and Jo were a fulfilling pair from around 1936 for perhaps forty years; Milt and Jo were also one of the most gratifying teams in the music.  The three of them were at their peak in this period (although one could make a case that they were among the most consistently inventive musicians in Mainstream jazz).

I’ve left the leader for last, because he’s rarely got the attention he deserved — although he certainly appeared with the greatest musicians: Bing, Billie, Louis, Lester, Bunny, Tommy Dorsey, Bobby Hackett, Lee Wiley, Eddie Condon . . . a Bushkin discography is astonishing.  Musicians knew, admired, and valued him. But his glistening style has led some casual listeners to hear him shallowly, the vivid, mobile approach to the piano as a display of technique.  But when one hears Bushkin closely, there is a real lyricism underneath the facility, and an equally deep love for the blues: in the ancient argot, he is a real barrelhouse player, even in a pricey Upper East Side supper club.

And although Joe was not allowed to chat or to sing on this gig (a matter of arcane tax laws in cabarets) his bubbling sense of humor, his ebullience, comes through in every note.  With a different pianist, Buck, Jo, and Milt would have still made great jazz, but the result wouldn’t have been as much fun.  And “fun” wasn’t a matter of goofy quotes or scene-stealing: Joe was a perfectly sensitive accompanist.  (I saw three-quarters of this group: Jo, Milt, Joe, and Ruby Braff — create a ten-minute MOTEN SWING in 1975 — and Fifty-Fourth Street has never been the same.)

Unlike other reissues, this disc sparkles for another reason — explained beautifully in the liner notes by Bushkin’s devoted son-in-law, trumpeter Robert Merrill, here.  That reason is the most gorgeous recorded sound you’ve ever heard at a live gig: there are people in the room, but their presence is not intrusive, and each instrument is heard as beautifully as if this session was in a studio.  To learn more about the label’s Legends series, visit here.  (Dot Time has also issued recordings by Mulligan and Ella — and a magnificent Louis series is coming out.)

As I wrote above, Joe ran with the best.  I’ve posted this once before, but everyone sentient in the known world needs to hear and re-hear it:

And here’s Joe being interviewed by the genial Stuart Klein in 1985:

2017 is Joe’s centennial, so there are a variety of celebrations going on, appropriately.  Recordings of the Joe Bushkin Songbook are on the way, and there’s something to leave the house and the computer for, a Highlights in Jazz (a series in its 45th year) concert: the Joe Bushkin Centennial Concert
featuring Wycliffe Gordon, Harry Allen, Eric Comstock, Ted Rosenthal, Spike Wilner, Nicki Parrott, Steve Johns and John Colliani, under the musical direction of Bob Merrill — and a surprise Guest as well.  It will take place at 8 PM, on Thursday, May 4, at the Tribeca Performing Arts Center at Borough of Manhattan Community College, 199 Chambers Street, New York, NY 10007.

One can purchase tickets by calling the box office [212-220-1460] or visiting www.tribecapac.org.  Those who find the Post Office more consoling can mail a check made payable to highlights in Jazz for $50 per ticket (still a bargain, for those who have been to a club recently) to Highlights In Jazz, 7 Peter Cooper Road, Apt. 11E New York NY 10010.  (Please enclose a self-addressed, stamped envelope).

A concert celebrating Joe Bushkin will be fun.  And the CD is a thorough pleasure.

May your happiness increase!

DAN MORGENSTERN REMEMBERS FRIENDS AND HEROES (Part Five: March 3, 2017)

It is a great tribute to Dan Morgenstern that this series of video interviews is captivating.  (If you think I am being immodest in writing this, the light shines on Dan.)

Some of this comes from Dan’s warmth: these are not only the musicians he respects, but also people he likes and feels connected to. (I use the present tense intentionally, because no one in these segments is truly dead when remembered so clearly and fondly.)  Here you can find all the earlier segments, with affectionate and sharply-realized portraits of everyone from Lester Young to Jimmy Rowles, with interludes about race relations in Georgia and soul food in Harlem.

And these interviews offer the rare pleasure of first-hand narratives: rather than reading a book whose pages tell us about what a writer thinks a musician sounds like, we have Dan talking about drinking Ballantine’s with tenor saxophonist Brew Moore.  In the two segments that follow, we also have a Charlie Parker story — where, for once, Bird is not treated with appropriate reverence — and one of Lee Wiley behaving ungraciously.  Soon to be major motion pictures!

and . . . .

Two more interview segments from the March 3 session (we did thirteen in all) will be posted soon, and Dan and I have a date to meet again for more.  Thank you, Dan!

P.S.  In the segment above, I mis-remembered the name of the record producer who arranged for Lee Wiley’s final session: it is Bill Borden, not Dick Borden.

May your happiness increase!

DAN MORGENSTERN REMEMBERS FRIENDS AND HEROES (Part One: March 3, 2017)

On Friday, March 3, 2017, I had the immense honor of visiting Dan Morgenstern at his home on the Upper West Side of New York City.  I brought my video camera.  Dan and I sat in his living room and he graciously talked about the wonderful people he has encountered.  I am writing this simply, without adjectives, because I truly don’t know how to convey the pleasure of being able to ask this delightful man questions about his friends and heroes.  Our heroes, too.

Dan offered telling portraits of Lester Young, Mary Lou Williams, Tony Fruscella, Brew Moore, Lee Wiley, Donald Lambert, Willie “the Lion” Smith, Dick Wilson,Olivia de Havilland, Andy Kirk, Ben Webster, Curly Howard, Bud Powell, Jack Teagarden, Jimmy Rushing, Teddy Wilson, Stan Getz, Joe Thomas, Jimmy Rowles, Buster Bailey, Eddie Condon, Vic Dickenson, and more.

My premise, which Dan had approved of, was that I would ask him about people, “Talent Deserving Wider Recognition” in the DOWN BEAT phrase, who didn’t get the attention they deserve.  I thought it best to speak of musicians who have moved on, because if the conversation was about the living (who are also deserving of recognition!) someone’s feelings might be hurt by being left out.

We spent more than four hours together, and the cliche that the “time just flew” is appropriate.  I recorded twelve segments, and present the first three here. Look for the others soon.  If you’ve never heard or seen Dan in person, you will soon delight in his enthusiasm, wit, sharp recollection of details — the kind of telling details that a novelist would envy — and graciousness.  And he was seriously pleased to be able to tell true first-hand stories to you — this audience of people who know who Hot Lips Page is.

and!

and!

We have another afternoon session planned, with a list of  people we did not talk about the first time.  As I say, I have kept my language restrained for fear of gushing, but we are blessed to have such a generous wise unaffected fellow in our midst.  Of course he has great material to share with us, but he is a magnificent storyteller.  And for those who savor such details: Dan is 87.  Amazing, no?

May your happiness increase!