Tag Archives: Les Paul

SOLAR POWER: RAY SKJELBRED, MARC CAPARONE, JIM BUCHMANN, HAL SMITH, KATIE CAVERA, BEAU SAMPLE (San Diego Jazz Fest, Nov. 30, 2014)

Sunrise

Beauty is all around us.

In this case, six creative musicians took the stand at the 2014 San Diego Jazz Fest to show us what Swing is, what Hot Music is.  Note my choice of tense: wholly the present.  And thanks to the magic of video, the future as well.

Before Benny Goodman and Les Paul got to this song, it was a 1919 waltz.  But I think of it as a Chicagoan hot classic, which is the way Ray Skjelbred, piano; Marc Caparone, cornet; Jim Buchmann, clarinet / saxello; Hal Smith, drums; Beau Sample, string bass; Katie Cavera, guitar, approach it here.  And please don’t turn away to look at Facebook before it’s all over — you’ll miss a two-chorus Rhythm Seminar conducted by Professors Hal Smith and Beau Sample: a graduate degree in Hot.

There are more performances to come from this wonderful sextet, but let me remind you of those I’ve already posted here, and here, and here, and even here.

Aren’t we lucky?  These wonderful manifestations of joy and solar power aren’t restricted to San Diego, but I will say that the 2015 San Diego Jazz Fest is going to happen this Thanksgiving weekend, November 25-29, 2015.

Find out more here and here.  I know that Ray, Marc, Katie, Dawn Lambeth, Clint Baker, the Yerba Buena Stompers, Carl Sonny Leyland, Nicki Parrott, Rossano Sportiello, Stephanie Trick, Paolo Alderighi, Miss Ida Blue, Molly Ryan, Dan Levinson, Jonathan Stout, Bob Schulz, Chloe Feoranzo, and many others will be making music there.  I’ll be there.  You should consider it!

May your happiness increase!

BEAUTY DROPS BY: WESLA WHITFIELD and MIKE GREENSILL with HOWARD ALDEN, HARRY ALLEN, and KERRY LEWIS (Sept. 21, 2013)

When Wesla Whitfield and her husband, pianist Mike Greensill, take the stage, lovely subtle music always results.  It happened last September 2013 at “Jazz at Chautauqua” (now known as the Allegheny Jazz Party) — with empathic assistance from Howard Alden, guitar; Harry Allen, tenor saxophone; Kerry Lewis, string bass.  Welcome them and the beauty that they bring.
Mike begins by himself, with IT’S YOU OR NO ONE  
Wesla joins in for A SAILBOAT IN THE MOONLIGHT
Kern’s sly, chipper NOBODY ELSE BUT ME 
Neither Les Paul nor Mary Ford, but the question remains: HOW HIGH THE MOON?
Thanks to Blossom Dearie, LOVE IS A NECESSARY EVIL
The very tender ONCE IN A WHILE
And a sinuous I GOT RHYTHM

May your happiness increase! 

GEORGE BARNES, AT HOME WITH FRIENDS: MASTER IMPROVISER, 1941

Ask any jazz scholar to name another early innovator in jazz electric guitar in addition to Charlie Christian.  A few scholarly types will remember Eddie Durham, Leonard Ware, Floyd Smith, Les Paul. Someone will think of Allan Reuss’s PICKIN’ FOR PATSY.

But few will think of George Barnes.

That’s a pity, because Barnes was exploring the instrument’s possibilities in the late Thirties.

BARNES 1941

Proof of just how inventive he was — at 19! — has recently been offered by the George Barnes Legacy Foundation: a series of delightful home recordings of Barnes and friends in mid-1941.

On these tracks, Barnes improvises masterfully not only on electric guitar but also piano, and he’s aided by Bill Huntington and Bill Iverson, rhythm guitar; Ralph Hancock, cello; Jerry Marlowe, piano; Bill Moore, string bass; Benny Gill, violin; Adrienne Barnes, vocal.

Here’s the story behind the music (from the notes):

In the spring of 1941, 19-year-old guitarist George Barnes had already been a national radio star for almost two years, and enjoyed jamming with his colleagues after they’d wrapped their respective NBC shows. In March, June, and September of 1941, George’s friends — including violinist Benny Gill, rhythm guitarist Bill Huntington, and bassist Bill Moore — dropped by his Chicago apartment in The Chelsea Hotel and played into the wee hours. These 15 tracks were recorded directly to acetate discs by recordist Joe Campbell, who had been a Barnes fan since the first time he heard 17-year-old George play at Gus Williams’ Nameless Cafe on Chicago’s West Side.

The fifteen selections are BARNES’ BLUES / BARNES’ BOOGIE WOOGIE / BODY AND SOUL / JA-DA / MEMORIES OF YOU / NIGHTFALL (four versions) / SUNNY SIDE OF THE STREET / SHE’S FUNNY THAT WAY (two versions) / SOMETHING TO REMEMBER YOU BY / SWEET LORRAINE / TEXAS BLUES.

And for those who shy away from “old private recordings,” these sound good for their age.  The originals have been well-mastered, and they were originally 12″ acetates, which afforded longer playing time. Barnes’ colleagues, although their names are not well-known today, are rewarding players who hold our attention throughout. Violinist Gill plays beautifully on BODY AND SOUL, MEMORIES OF YOU, SUNNY SIDE, SOMETHING TO REMEMBER YOU BY — in an Eddie South mood; Adrienne Barnes (George’s first wife) reminds me beautifully of Ella Logan and Maxine Sullivan, and the supporting players are first-rate.

In addition, the collection offers two rare October 1941 electric guitar duets by Barnes and Ernie Varner, G MINOR SPIN and SWOON OF A GOON, as well as a brief audio reminiscence by recordist Campbell.

A video and audio taste:

And here, a little reiteration is necessary.  Barnes was 19.

What does it all sound like?  Since George’s first instrument was the piano, it’s fitting that the set begins with a violent but precise boogie-woogie that sounds as if Albert Ammons had been studying the Romantic tradition (Rachmaninoff, not love ballads); the guitar blues that follows is delightful, a subtle mixture of harmonically deep chordal playing and sharp single-line inventions, a JA-DA that alternates between musing interludes and straight-ahead swing. MEMORIES OF YOU has touches of Louis and of what we would come to call “American roots music,” and is the work of a compelling melodist, someone with his own sound on guitar, someone more than able to make electricity work for him.

When he is backing Adrienne Barnes on NIGHTFALL (the first version), his accompaniment is a beautiful orchestral tapestry, moving the melody along while creating a rich hamonic background. The three versions that follow — solo, duo, and trio — are also lessons in what can be done, so evocatively, with lyrical material.

The solo piano SHE’S FUNNY THAT WAY is also a pleasure, combining an endearing simplicity with harmonic experimentation (think of, say, Nat Jaffe two and three years later) and an audible sense of humor: had Barnes chosen piano as his instrument, he would be known in jazz histories.  SOMETHING TO REMEMBER YOU BY, which begins with extravagantly rhapsodic piano, shifts into fourth gear when Barnes begins his guitar solo. SWEET LORRAINE has a melody statement worthy of Eldridge in its contained force; the closing TEXAS BLUES is rocking from the start, merging Western swing and the hot jazz of the time.

The Barnes-Varner duets that close the set are intricate, twining duets — compositionally rich, the sort of playing Barnes and Carl Kress, Barnes and Bucky Pizzarelli did later on.

It might be hard for some to hear how radical Barnes was in 1941, but that’s tribute to his mastery, for all of his style has been subliminally integrated into the mainstream of jazz guitar playing: the pistol-shot single notes, the audacious harmonies, the singular way of constructing a solo — in these solo guitar performances, he has the mastery of Django or Lang, weaving even the most simple material (JA-DA) into a concerto with shifts of mood and tempo.

This set — which I hope is the first of many — has been produced by George’s daughter, Alexandra Barnes Leh, who hopes to make more people aware of her father’s swinging, innovative playing.  For more information on how to order this set — available only as a digital download — click here.  There, you can learn more about what the Legacy Project — how you can purchase instructional materials (audio and print) created by Barnes for beginners and for advanced students — and more.

May your happiness increase!

OSCAR PETTIFORD, FOUND

OP front

Bassist, cellist, and composer Oscar Pettiford is in the odd position of being both legendary and forgotten (as Whitney Balliett wrote of Pee Wee Russell). If you ask any aficionado of jazz string bass playing to name a dozen favorites — living and dead — it’s likely that the names will come easily.  But Pettiford’s is often not among them.

Yes, he died young, but not before performing and recording every famous musician (with some notable exceptions) in a short career.  An incomplete list would include Duke Ellington, Louis Armstrong, Charlie Parker, Bud Powell, Miles Davis, Billie Holiday, Thelonious Monk, Dizzy Gillespie, Art Tatum, Django Reinhardt, Les Paul, Charlie Christian, Gil Evans, Sonny Rollins, Art Blakey, Woody Herman, Coleman Hawkins, Ray Charles, Stan Getz, Lucky Thompson, Charles Mingus, Zoot Sims, John Coltrane, Sonny Stitt, Julius Watkins, Ben Webster, Sammy Price, Ruby Braff, Mel Powell, Ellis Larkins, Max Roach, Shelly Manne, Billie Holiday, Red Norvo, Clifford Brown, Buddy De Franco, Phineas Newborn, Kai Winding, Roy Eldridge, Ray Brown, Lionel Hampton, Don  Byas, Clyde Hart, Earl Hines, Budd Johnson, Joe Thomas, Pee Wee Russell, Jimmy Giuffre, Martial Solal, Attlia Zoller, Lee Konitz, Warne Marsh, Billy Eckstine, Cozy Cole, Shadow Wilson, Charlie Shavers, Johnny Hodges, Rex Stewart, Cootie Williams, Ed Hall, Lawrence Brown, Sonny Greer, Maxine Sullivan, Dick Hyman, Eddie Bert, Joe Derise, Ike Quebec, Jonah Jones, Buck Clayton, Helen Humes, Benny Harris, Boyd Raeburn, Serge Chaloff, Howard McGhee, Sir Charles Thompson, Wynonie Harris, Vic Dickenson, Red Rodney, Tal Farlow, Denzil Best, Jo Jones, Leo Parker, Al Haig, Al Hibbler, Nat Pierce, Bill Harris, Howard McGhee, J.J. Johnson, Art Taylor, Wynton Kelly, Lockjaw Davis, Jackie McLean, Kenny Clarke, Dave McKenna, Milt Jackson, John Lewis, Chris Connor, Hank Jones, Earl Coleman, Thad Jones, Tommy Flanagan, Donald Byrd, Billy Taylor, Chuck Wayne, Roy Haynes, Art Farmer, Gigi Gryce, Al Cohn, Frank Wess, Jimmy Cleveland, Barry Galbraith, Joe Morello, Joe Wilder, Harry Lookofsky, Jimmy Jones, Urbie Green, Ernie Royal, Herbie Mann, George Barnes, Clark Terry, Dave Schildkraut, Helen Merrill, Jimmy Raney, Horace Silver, Doug Mettome, Quincy Jones, Duke Jordan, Hank Mobley, Kenny Dorham, Cecil Payne, Toots Thielmans, Red Garland.

This suggests that Oscar’s peers respected him and called him for gigs and recordings.  It’s not as if he was obscure: his career was longer than, say, Blanton’s or Steve Brown’s.  But, oddly for jazz, which loves to mythologize the musicians who die young and abruptly (and Pettiford died as the result of a 1960 automobile accident) he hasn’t received the benefit of the weird reverence fans and writers have for the young dead.

Of course, it could be that bass players don’t get the respect they and their instruments deserve, but it is and was hard to ignore Pettiford on a session. He offered a rhythmic foundation that was powerful rather than obtrusive, but when he soloed, his lines have the solid eloquence that any horn player would aspire to — while seeming light rather than ponderous.  And as the list of players above suggests, his musical range was exceedingly broad: he wasn’t captured on record in free jazz or ragtime, but he elevated every other variety of jazz and jazz vocal performance he was part of.  Had he lived longer, he might have enjoyed the visibility of a Milt Hinton or a Ray Brown, but we have only brief moments of him on film (the 1945 THE CRIMSON CANARY) and a few seconds of his speaking voice.

Surely he should be better known.

Enough words and keystrokes for the moment: listen to his 1960 feature on WILLOW WEEP FOR ME:

and here he is, playing his own BLUES IN THE CLOSET — from a little-known 1953 television broadcast — on cello (which he took to for a time after breaking an arm in a baseball game):

And his stirring solo on STARDUST:

Now, two pieces of good news that might go some distance in making Oscar’s name and music known to a larger audience.  One is that there is a YouTube channel, PettifordJazz, with sixty videos of Pettiford solos, ensembles, and compositions.  That means that no one has to start collecting Oscar’s music — it is being made available to all for free.

Oscar (or “O.P.”, as his colleagues called him) also spent the last two years of his life in Europe (mostly in Scandinavia and Germany), and recorded often there.  Sessions with guitarist Attila Zoller have been issued and reissued on a variety of labels (in the vinyl era, they appeared on Black Lion) and a famous 1960 concert in Essen with Bud Powell, Kenny Clarke, and Coleman Hawkins was available forty years ago.  Recordings made in 1958-59 for the German radio network have now been issued for the first time on compact disc, in beautiful sound, as OSCAR PETTIFORD: LOST TAPES — GERMANY 1958 / 1959, on SWR Music.

American expatriates Lucky Thompson (on soprano sax for a gorgeous, melancholy SOPHISTICATED LADY) and Kenny Clarke (drums on the final five performances of the disc) are the “stars,” but Zoller stands out as a beautifully measured guitarist.

OP cover rear

And although some US critics of the time might have been condescending to European players, this disc shows their equal mastery. Trumpeter Dusko Goykovich duets with Oscar on the opening BUT NOT FOR ME.  Other notable players here are clarinetist Rolf Kuhn; light-toned tenorist Hans Koller; baritone saxophonists Helmut Brandt, Helmut Reinhardt, Johnny Feigl; altoist Rudi Feigl; guitarist Hans Hammerschmid; drummers Jimmy Pratt and Hartwig Bartz.  The songs are a mix of standards and originals: BUT NOT FOR ME / SOPHISTICATED LADY / A SMOOTH ONE / O.P. (Hans Koller) / MINOR PLUS A MAJOR (Kuhn) / POOR BUTTERFLY / ANUSIA (Hans Koller) / MY LITTLE CELLO (Pettiford) / THE NEARNESS OF YOU / YESTERDAYS / ALL THE THINGS YOU ARE / BLUES IN THE CLOSET (Pettiford) / BIG HASSLE (Hammerschmidt) / ATLANTIC (Helmut Brandt) / ALL THE THINGS YOU ARE / BLUES IN THE CLOSET — the last two are live performances.

And just because it’s accessible and stirring, here is that film clip — from an otherwise undistinguished 1945 murder mystery, THE CRIMSON CANARY, which features Hawk, Pettiford, Howard McGhee, trumpet; Sir Charles Thompson, piano; Denzil Best, on a fast SWEET GEORGIA BROWN line by Hawkins called HOLLYWOOD STAMPEDE:

Ultimately, I think if you’d asked Coleman Hawkins, Duke Ellington, or any number of jazz luminaries, “What about this O.P. fellow?  Should I listen to him?” the answer would have been a very strong affirmative.  So let us do just that. These tapes were lost, but have been found: spread the word about Oscar.  Remind those who have forgotten; introduce those who never knew.  “Learn it to the younguns!” as the youthful protagonist of Ellison’s INVISIBLE MAN hears at the start of that novel.

May your happiness increase!

BY THEIR OWN HAND(S)!

I visit eBay intermittently, to see what marvels are there.  Some of the artifacts simply make me wonder.  A fairly constant stream of obvious forgeries of Louis’ very distinctive signature.  Autographed pictures of voluptuous women tenor saxophonists.

Even more autographs from Dave Brubeck and Les Paul — I wonder how much time, in their final years, these aging giants spent signing every and anything pushed in front of them.

But here are some extraordinary sightings.

A first edition of Eddie Condon’s WE CALLED IT MUSIC (1947) inscribed to Kid Ory:

EDDIE CONDON to KID ORY

The inscription reads: “Dear Ory, This copy is somewhat battered from being dragged about the country in a flannel banjo case, kicked under tables of basement dinners, and spotted with licorice gin and cigarette burns. (You know how rowdy the crowds in Zibart’s are, especially when it comes to their last copy). See you at Eddie’s. Your’n, Satcho”.

BOJANGLES 1929A truly glorious autographed photo of Bill Robinson, 1929.

Here are a few people I celebrate, but whose autographs I rarely see.

OMER SIMEON 1958

The wondrous clarinetist Omer Simeon.

CHARLIE TEAGARDEN

The underrated trumpeter Charlie Teagarden, Jack’s younger brother.

FRANK CARLSON

Woody Herman’s Decca-period drummer, Frank Carlson, promising to return.

HERB COWENS

Drummer Herbert “Kat” Cowans and his little band — hot felines, no doubt.  Does anyone recognize the Kittens, one by one?

JACK TEAGARDEN

The 1962 recording, MIS’RY AND THE BLUES, signed by Jack Teagarden, Don Goldie, and Stan Puls.

Here’s Mister Tea in 1950-1, surrounded by giants: Louis, Earl Hines, Barney Bigard, Arvell Shaw, Cozy Cole.  Usually only Louis signed in green ink; did he pass his fountain pen around for everyone to use?

LOUIS ALL-STARS 1951

And here’s another real Louis signature (as a public service, so that you can recognize the banal forgeries when they appear):

LOUIS

Finally, a treasure:FATS RECEIPT

I saved the best for last.

One hundred dollars was a great deal of money in 1936.  But Fats had it backwards.  We owe him, and still do.

May your happiness increase!

ON ALL FOURS IN BERKELEY, CALIFORNIA (July 6, 2012)

My pose wasn’t illicit, erotic, illegal, canine, or a return to some pre-evolutionary state.  And it was indoors, should you wonder.  I was down on the floor inside the Berkeley, California branch of Amoeba Music looking through their jazz long-playing records.

Even though I don’t suffer from a paucity of music to listen to, a highlight of our trips west has been my visits to the Down Home Music Store in El Cerrito (where a week ago I walked away with three records: a compendium of the Barney Bigard-Joe Thomas-Art Tatum sides recorded for Black and White 1944-45; the Xanadu session of Roy Eldridge at Jerry Newman’s, 1940; the French CBS volume of Louis with Lillie Delk Christian and Chippie Hill).  Nineteen dollars.

Not bad, you might say, but it was just a warmup for today’s treasure hunt.

The records listed below ranged from one dollar to five, so the total was slightly over thirty-eight dollars.  Some of them I once had; some I knew of and coveted; others were total surprises.  Most of them I found while standing, but the dollar ones required that I become a small human coffee table.  I was in my element, and no one stepped on me.  (Thirty years ago, New York City had stores like this, but — except for one gem on Bleecker Street — they seem to have vanished.)

In random order:

MAX KAMINSKY: AMBASSADOR OF JAZZ (Westminster, 2.99), which has no listed personnel, but sounds like an octet — I hear Bill Stegmeyer, Cutty Cutshall, and Dick Cary — and has a wide range of material, beginning with HENDERSON STOMP and THE PREACHER.

TURK MURPHY: NEW ORLEANS SHUFFLE (Columbia, 1.99), which features my friend Birchall Smith and my hero Don Ewell as well as Bob Helm.

an anthology on the Jazum label (3.99), which features two extraordinary West Coast jams — circa 1945 — which bring together Vic Dickenson, Sidney Catlett, Willie Smith, Les Paul, Eddie Heywood, and possibly Oscar Pettiford.  A present for a jazz friend.

KNOCKY PARKER: OLD RAGS (Audiophile, 2.99) which I bought in honor of one of my New York friends who had Professor Parker in college but has never heard him play the piano.

Three volumes in the French RCA series of 1973-74 recordings produced by Albert McCarthy (in Hank O’Neal’s studio) — under the SWING TODAY banner, with recordings by Vic Dickenson, Herman Autrey, Buddy Tate, Earle Warren, Zoot Sims, Jane Harvey, Bucky Pizzarelli, Budd Johnson, Red Richards, Taft Jordan, Bill Dillard, Eddie Barefield, Eddie Durham, Jackie Williams, Major Holley, Eddie Locke, Doc Cheatham, John Bunch, Tommy Potter, Chuck Folds.

BUDDY TATE AND HIS CELEBRITY CLUB ORCHESTRA VOL. 2 (Black and Blue, 2. 99), 1968 recordings featuring Dicky Wells, Dud Bascomb, and Johnny Williams.

THE LEGENDARY EVA TAYLOR WITH MAGGIE’S BLUE FIVE (Kenneth, 1.99), a recording I have been wanting for years — with Bent Persson and Tomas Ornberg.

SWEET AND HOT (Ambiance, 1.99), a half-speed disc — it plays at 45 — recorded in 1977 and featuring Vince Cattolica and Ernie Figueroa in an octet.

THE GOLDEN STATE JAZZ BAND: ALIVE AND AT BAY (Stomp Off, 1.99) late-Seventies sessions featuring Ev Farey, Bob Mielke, Bill Napier, Carl Lunsford, Mike Duffy, and Hal Smith.

RALPH SUTTON: BACKROOM PIANO (Verve, 1.00): well-played but any Sutton collection that begins with CHRISTOPHER COLUMBUS is something to have.  I remember Ed Beach played tracks from this record on his Sutton shows.

LIVE AND IN CHOLER: THE WORLD FAMOUS DESOLATION JAZZ ENSEMBLE AND MESS KIT REPAIR BATTALION, VOL. 2 (Clambake, 1.00): I nearly passed this one by because of the “humorous” title . . . but when I saw it has Dave Caparone on trombone, I was not about to be deterred by some goofy liner notes.

BREAD, BUTTER & JAM IN HI-FI (RCA, 1.00), a compilation of tracks that didn’t fit on the original issues — but what tracks!  Lee Wiley, Henry “Red” Allen, Bud Freeman, Ruby Braff, Jack Teagarden, Billy Butterfield, Pee Wee Russell, Coleman Hawkins, 1956-58.

Worth getting into such an undignified position, I’d say.  Now I will indulge myself by listening to Miss Eva with Bent and Tomas!

May your happiness increase. 

JANE HARVEY SINGS: A RARE CLUB DATE (June 20, 2012)

Yes, that Jane Harvey!

JANE HARVEY RETURNS TO CATALINA JAZZ CLUB

Jazz and cabaret singer Jane Harvey, who first won fame with the bands of Benny Goodman, Les Brown, and Desi Arnaz in the 1940’s and went on to continued success on records, TV and nightclubs throughout the country, makes a rare Hollywood appearance at the Catalina Jazz Club on Wednesday, June 20, at 8 PM. accompanied by the Nick Fryman Trio with Kirk Smith on bass and Jack La Compte on drums.

She will be performing a new show featuring from her five critically-acclaimed new CD releases, featuring recordings that she’s made over past seven decades with Goodman, Duke Ellington, Billy Strayhorn, Les Paul, Ellis Larkins, Zoot Sims, Doc Cheatham, Bucky Pizzarrelli, and many others.

Harvey, who was discovered by the legendary John Hammond in 1944, made many classic recordings with Benny Goodman for Columbia Records, among them “Gotta Be This or That,“ “He‘s Funny That Way,” “You Brought a New Kind of Love to Me” and “Close as Pages in a Book,“ later winning new acclaim at New York’s Blue Angel and recording with the Desi Arnaz Orchestra for RCA Victor.

She headlined such legendary clubs as Ciro’s in Hollywood and the Copacabana in New York City, made many radio and TV appearances with Bob Hope and appeared on Broadway with Pearl Bailey in the Harold Rome musical “Bless You All.”

Her critically-acclaimed solo albums through the years have appeared on the Dot, Audio Fidelity, RCA and Atlantic labels.   Little Jazz Bird Records recently issued a five-CD set of the singer’s rare archival material that amazingly spans 1944 to 1996, with the titles “Lady Jazz,” “I’ll Never Go There Anymore,” “The Jazz Side of Sondheim,” “Travelin’ Light” and “The Undiscovered Jane Harvey,” featuring never-issued tracks with Ellington and Les Paul.

Reviewing a recent performance at Feinstein’s, critic Rex Reed wrote: “She knocked their socks off and is living proof that real talent never fades. It would be hard to imagine a more natural or heartfelt interpreter of this material. Jane Harvey is a true treasure brought back to life just when we need her most.”

The Catalina Jazz Club is located at 6725 Sunset Blvd. in Hollywood and the phone is 323-466-2210. Find the club online here.   Visit Jane’s website here; for bookings, call Alan Eichler, 818-507-8918.

May your happiness increase.

GEORGIA ON OUR MINDS: THE ATLANTA JAZZ PARTY 2012 IS COMING!

Forgive me for pulling at your coat or plucking at your sleeve, but a gentle reminder is in order.  If you haven’t bought your tickets for the 2012 Atlanta Jazz Party, the twenty-third, which takes place April 20-22, 2012, what in the name of W.C. Handy might you be waiting for?

I don’t want to be excessively grim, but my Latin friends CARPE DIEM and TEMPUS FUGIT make their presence known as I write this.  And at my back I always hear Time’s swinging chariot drawing near . . . which is to say (more plainly) that parties and festivals don’t always return year after year, nor do the participants.  There!  Now that the ominous murmurings are over, we can return to our regularly scheduled program of lifting the spirit.

Many jazz parties (I say this quietly) tend to rely on the same circle of artists — not necessarily a terrible thing: why choose novelty for its own sake?  But the AJP has some special added attractions.  One of them is singer / pianist Freddy Cole.  Some know Freddy only as Nat’s younger brother — this is accurate but quite limiting.  Freddy is a fine sinuous singer and swinging pianist — both facets evident in this romantic 2008 reading of FLY ME TO THE MOON.  The applause at the end is well-deserved, and since some parties and festivals specialize in Fast and Loud, a swinging crooner is always welcome.  And just in case you were wondering, he isn’t his Brother:

Here’s the eternally vigorous Bucky Pizzarelli — at 85! — in March 2011, with guitarist Ed Laub, paying tribute to Les Paul:

Even at this easy tempo, Bucky’s essential swing is as natural to him as breathing.  Will you be swinging this expertly at 85 . . . ?

Sometimes virtue is rewarded while it’s still around to hear the cheers: at the 2012 AJP, cornetist / bandleader Ed Polcer will be given a richly-deserved Lifetime Achievement Award.  I don’t know if you first heard Ed as a swinging Princetonian, at a long string of Atlanta Jazz Parties, at Eddie Condon’s (which is where I first heard him, in 1975, standing next to Ruby Braff and Vic Dickenson) and other parties and clubs all around the world.  Like Bucky, Ed always swings.  Here he is only a year ago, amidst West Coast friends, playing MOTEN SWING:

And there’s something new and exciting — Joe Gransden and his sixteen-piece big band.  Dance music of the highest order!  Here they are in 2011, sweetly moving through NIGHT AND DAY:

All of this will take place on the weekend of April 20-22, 2012, starting Friday evening and continuing until Sunday afternoon.

But wait!  There’s more!

How about a brass section to impress Gabriel: Jon-Erik Kellso, Duke Heitger, Ed Polcer, Bob Schulz, Joe Gransden, John Allred, Russ Phillips?

Reeds by Allan Vache, Harry Allen; John Cocuzzi, Freddy Cole, Mark Shane, Rossano Sportiello, piano; Ed Metz, Chuck Redd, percussion; Matt Munisteri, Bucky Pizzarelli, guitar; Richard Simon, Frank Tate, bass; John Cocuzzi, Becky Kilgore, Freddy Cole, Francine Reed, Bob Schulz, vocals.

I can already imagine the bands I would like to hear, and one of the nice things about the AJP is that everyone gets a chance to lead sets.  I know who my favorites are and expect to be exhausted by pleasure on Sunday night.

The 23rd AJP will take place at the Westin Atlanta North — clean and friendly — and there will be a cornucopia of hot jazz, tender ballads, and good feeling.  I know from experience.  I guarantee it!

You can purchase tickets here — either online or fill out the form and mail it in.

I believe that the best seats go to those who sign up early . . . so don’t wait for the middle of April to make up your mind.  Here’s a 2011 video with highlights — exuberant ones! — from the AJP:

JANE HARVEY SINGS!

Like many other listeners, I knew Jane Harvey as a wonderful singer with a singular voice (its charm immediately apparent) beginning with her 1945 recordings with Benny Goodman, later ones with Zoot Sims and Dick Wellstood, among others.  Although Jane first recorded as a very young woman in the Swing Era, she is active and vibrant — appearing at Feinstein’s in New York City less than a year ago and continuing to perform.  Here she is, appearing in 1988 with Jane Pauley on the Today Show — singing a medley of Stephen Sondheim classics with delicacy and emotional power:

and on a V-Disc with BG, showing off her beautiful voice and innate swing:

Jane’s recordings have never been that easy to find, so it was a delightful surprise to learn of five new compact discs devoted to her — including much music that no one had heard before.  This bonanza isn’t a box set — not one of those unwieldy and often costly artifacts that we crave and then don’t always listen to.  And it has the even nicer fact of not being posthumous!  The CDs can be purchased individually (at surprisingly low prices at Amazon).

Here’s the first. Originally issued in 1988 by Atlantic, this disc originally featured Jane in an intimate setting with Mike Renzi, Jay Leonhart, and Grady Tate.  In an attempt to reach a wider audience, Atlantic added a large string orchestra, overdubbed.  The CD issue presents the music as originally recorded, with a new version of SEND IN THE CLOWNS.

This CD finds Jane in front of Ray Ellis’ large string orchestra (which works) for a collection ranging from the familiar (MY SHIP) to old favorites refreshed (THE GLORY OF LOVE) to the little-known title tune, with music by Moose Charlap, Bill’s father:

LADY JAZZ presents Jane amidst jazz players, including Doc Cheatham, Bucky Pizzarelli, John Bunch, Gene Bertoncini, Richard Davis, Bill Goodwin, Don Elliott (a session originally supervised by Albert McCarthy for English RCA), as well as six performances from Jane’s time with Goodman, two songs with Zoot Sims, Kenny Davern, and Dick Wellstood, and a duet of SOME OTHER TIME and THIS TIME THE DREAM’S ON ME with Mike Renzi:

TRAVELIN’ LIGHT has been even more obscure, not for any musical reasons — an album originally recorded for Dot in 1960 which pairs Jane with the Jack Kane Orchestra.  Eight bonus tracks show Jane off in front of orchestras conducted by Billy Strayhorn and others or the Page Cavanaugh trio:

THE UNDISCOVERED JANE HARVEY might have been the title for any of the preceding discs, but it truly fits the final one.  When a disc begins with two performances where Jane is backed by the Duke Ellington orchestra — Strayhorn on piano and Ellington talking in the control booth — listeners are in a magical place.  Other performances on this disc have Jane paired with Les Paul, Ellis Larkins (an eight-minute Arlen-Koehler medley), and larger studio orchestras:  

The five CDs have been lovingly produced — with Jane’s help — by her friend, publicist, and booking manager Alan Eichler.  They feature enthusiastic liner notes by Will Friedwald, Nat Shapiro, Albert McCarthy, Nat Hentoff, and James Gavin.

The time is always right for Jane Harvey.  Her energy, jazz feeling, and empathy are undimmed.  Her voice is a pleasure to listen to; she honors the melodies, and she deeply understands the lyrics: no pretense, no overacting.  The Amazon link to the CDs can be found here

And for any other matters pertaining to Miss Harvey, please contact Alan Eichler at aeichler@earthlink.com.

If you remember Jane only as the lovely voice on the 1945 Goodman red-label Columbia version of HE’S FUNNY THAT WAY . . . or if you’ve seen her in more recent times, you’ll find these new issues full of pleasures.

DON’T FORGET EDDIE LANG, PLEASE!

Our ’20s guitar man

South Philadelphia’s Eddie Lang, the “Father of Jazz Guitar” who died in 1933, lives again at Chris’ Jazz Cafe.
By Dan DeLuca

Inquirer Music Critic

From Django Reinhardt to Jimi Hendrix, the names that commonly appear on argument-starting lists of the greatest and most influential guitarists of the 20th century are familiar.

But there’s one flat-picking virtuoso from South Philadelphia typically left out of the conversation, whose music has receded into obscurity despite a trailblazing career cut short by his tragic death in 1933: Eddie Lang.

That’s an injustice an aggregation of local musicians and Lang enthusiasts are doing their best to redress, starting with a multi-act show that will bring Lang’s music to life at Chris’ Jazz Cafe in Center City on Monday.

It’s the 108th anniversary of the birth of Lang, who died of complications from a tonsillectomy that his friend and collaborator, Bing Crosby, urged him to get. And it’s been declared Eddie Lang Day in Philadelphia in a proclamation from Mayor Nutter that “urges all citizens to be aware of Eddie Lang’s history-making musical legacy as well as the role of Philadelphia in the development of early jazz music.”

And it’s about time, say ardent fans of Lang, frustrated that such a prodigiously talented and innovative figure could be all but forgotten by all but jazz cognoscenti.

“He’s somebody who died at a young age who had a brief, meteoric career,” says Aaron Luis Levinson, the Grammy-winning Philadelphia record producer who helmed Rediscovering Lonnie Johnson, the 2008 release that re-created three of the historic guitar duets between Lang and African American guitarist Johnson that broke the recording industry’s color line in 1928 and 1929.

At Chris’ on Monday, all 12 of the duets – which Lang recorded under the pseudonym Blind Willie Dunn so as to not arouse suspicion of music miscegenation – will be reprised by guitarists Jef Lee Johnson and Jonathan Dichter, who will “play” Lang.

“He’s not someone anybody ever remembers to talk about when they talk about Philadelphia music,” Levinson says. “There’s something really unfair about cultural memory. It’s like anything that happened before Elvis Presley gets treated like it happened in the dinosaur age.”

Lang’s life story may be little known, but it reads like an unwritten screenplay about a dazzlingly talented, thoroughly modern musician. Born Salvatore Massaro in 1902, Lang took his stage name from a favorite basketball player for the club team the Philadelphia Sphas (an acronym for the South Philadelphia Hebrew Association).

The son of an Italian American immigrant instrument maker was among the pioneers of the flat-picking style (which involves playing with a plectrum held by, rather than attached to, the fingers) and is credited with popularizing the guitar over the louder, previously more prevalent banjo, as a key instrument for the jazz bands of the 1920s. So much so that the historical marker across the street from the Saloon restaurant in Lang’s old neighborhood at Seventh and Clymer Streets, put up in 1995, proclaims him “the Father of Jazz Guitar.”

Along with his childhood friend, violinist Joe Venuti, Lang laid the foundation for the improvisational gypsy jazz stylings of Reinhardt and his violin-playing counterpart, Stephane Grappelli.

Crosby biographer Gary Giddins writes that in contrast to Venuti’s merry-prankster personality, Lang was “quiet, thoughtful and responsible, a ruminative Catholic.”

In A Pocketful of Dreams: Bing Crosby, The Early Years, 1903-1940, Giddins writes that after cornetist Bix Beiderbecke, Lang and Venuti were “arguably the most influential white jazz musicians of the 1920s, serving as a sort of template for the famed European jazz ensemble of the 1930s, the Quintette du Hot Club de France.”

Lang and Venuti made their names together playing in Philadelphia and Atlantic City showrooms, and according to Dichter, a music historian as well as a guitar teacher at the Baldwin School in Bryn Mawr, toured in England with the novelty band the Mound City Blue Blowers.

In 1929, they were hired by bandleader Paul Whiteman, and it was there that Lang first began to accompany Crosby, who said of Lang’s playing: “He made you want to ride and go.” Giddins calls Lang Crosby’s “jazz conscience,” and the singer’s “most intimate friend, almost certainly the closest he would ever have.”

Crosby brought Lang for the 1932 film The Big Broadcast. He also negotiated a deal for Lang to have speaking parts in all his movies, which is why he urged him to have an operation to rectify the chronic hoarseness attributed to tonsillitis.

Richard Barnes, a guitarist and photographer who lives in Aston, is the driving force behind Eddie Lang Day in Philadelphia and will perform at Chris’ with his band, the Blackbird Society Orchestra. He’ll also do a number of Lang-Venuti duets with violinist Michael Salsburg. Barnes first got the Lang bug after he saw Leon Redbone perform in West Philadelphia in the early 1990s.

“That was my exposure to 1920s music,” Barnes says. “I got a couple of CDs, and when you listen to Paul Whiteman, Bix Beiderbecke, there was always this one guitar player that I really liked. It was totally different. Not strumming.

“Not blues. He plays in an almost pianolike style. Very interesting chord inversions, always complementing the singer. A real distinct sound. It turns out it was Eddie Lang.”

Barnes put an ad on Craigslist this year, reading “Eddie Lang Day, This October.” One of the interested parties to inquire was Mike Hood, who suggested Chris’ as a venue, and will play on Monday with his band Cornbread Five.

The event will raise money for the Eddie Lang Music Scholarship Program for underprivileged children, and Barnes hopes to turn it into an annual Eddie Lang Festival at Chris’ every October.

Barnes, who says business for his 1920s-style Blackbird Society Orchestra is looking up thanks to interest in HBO’s Atlantic City mob drama Boardwalk Empire, got the idea to approach the Nutter administration from one of his first musical memories.

“When I was 13, my first concert was seeing Elton John at the Spectrum,” he remembers. “And there was a picture of Frank Rizzo in the newspaper with Elton John, when he declared it Elton John Day. I thought it would be so cool if I could get the mayor to do that with Eddie Lang.”

The attention is well-deserved, says Dichter, who plays in a band called Beau Django, and who talked to Les Paul about Lang’s influence before the guitarist’s death at 94 last year. “He said it was just too long ago,” Dichter says. “It’s convenient to forget.”

Barnes says he’s always on a mission to bring Lang’s music to a wider audience. “I’m not trying to form the fan club or anything,” he says. “But I do think that people would appreciate this music and enjoy it. It’s something you don’t hear all the time.”

“He invented single-string guitar playing,” Dichter says of Lang, who is buried in Holy Cross Cemetery in Yeadon. “I would call him the most influential guitarist in terms of melody, and then he had this incredible sense of rhythm that really made you want to dance. He laid the foundation, and then he died.

“Charlie Christian is remembered. Jimi Hendrix is remembered. What about Eddie Lang?”

RARE ITEMS

Judging by the frequency by which their signatures appear on eBay’s “Entertainment Memorabilia,” some famous musicians spent as much time signing autographs as they did playing.  Others may have been less well-known or more reticent, so when their autographs appear it’s a pleasant surprise.  (And some eBay sellers label items “rare” in inverse proportion to their value.)

Eddie Durham wanted to be paid for his services, and rightly so, considering what marvels he accomplished with his arrangements for Basie, Glenn Miller, Lunceford, and many others.  Fifteen dollars for a band arrangement now seems a pittance; was this piece of paper actually from the Thirties or was Eddie simply notating, “Hey, you owe me fifteen dollars”?  Research, please:

William “Cat” Anderson, for all his blazing high register in the Ellington bands, might have been somewhat insecure: would anyone have mistaken him for an anonymous saxophonist or bassist?

This rare program from Benny Goodman’s 1962 trip to the USSR is something I hadn’t seen (a souvenir of that unhappy experience, according to the bandsmen); this one sports autographs by Mel Lewis and Jimmy Knepper, jazz stalwarts:

And the expected full-page portrait of the King himself:

And what I assume is a program of songs and performers:

And more of Benny, here in caricature:

Not the usual thing (Mindi Abair, Sonny Rollins, Les Paul,  or Don Redman signatures) . . .