Tag Archives: Louis Armstrong

YOU WON’T BELIEVE YOUR EARS: “DIXIELAND VS. BE-BOP,” MAY 23, 1948, WASHINGTON, D.C.

Consider this.

Jack Teagarden, Earl Hines, Willis Conover, late Forties: photograph by Norm Robbins. Photograph courtesy University of North Texas Music Library, Willis Conover Collection.

and this:

Once upon a time, what we like to call “jazz” was divided into warring factions.  Divided, that is, by journalists.  Musicians didn’t care for the names or care about them; they liked to play and sing with people whose artistry made them feel good.  And gigs were gigs, which is still true.  So if you were, let us say, Buck Clayton, and you could work with Buddy Tate playing swing standards and blues, or rhythm and blues, that was fine, but playing MUSKRAT RAMBLE with Tony Parenti was just as good, as was playing NOW’S THE TIME with Charlie Parker.

But this was not exciting journalism.  So dear friends Jimmy McPartland and Dizzy Gillespie were asked to pose for a photograph as if they were enemies, and people like Hughes Panassie, Leonard Feather, Rudi Blesh, and Barry Ulanov fought the specious fight in print.  Even some musicians caught the fever and feuded in public, but perhaps that was jealousy about attention and money rather than musical taste.

One positive effect was that musical “battles” drew crowds, which musicians and promoters both liked.

Since every moment of Charlie Parker’s life seems to have been documented (the same for Bix Beiderbecke, by the way) we know that he played a concert in Washington, D.C.’s Washington [or Music?] Hall on May 23, 1948; that the masters of ceremonies were Willis Conover and Jackson Lowe, and that the collective personnel was Buddy Rich, Charlie Parker, Wild Bill Davison, Joe Sullivan, Sir Charles Thompson, George Wettling, Tony Parenti, Earl Swope, Benny Morton, Charlie Walp, Sid Weiss, Ben Lary, Mert Oliver, Sam Krupit, Joe Theimer, Arthur Phipps.  We know that the concert began at 2:30 PM, and — best of all — that private acetate recordings exist.  A portion of the concert, heavily weighted towards “modernism,” appeared on the CD above, on Uptown Records, and copies of that disc are still available on eBay and elsewhere.

Details from Peter Losin’s lovely detailed Charlie Parker site  here and here.

But for those of us who hadn’t bought the Uptown disc, there it might remain.  However, through the kindness and diligence of Maristella Feustle of the University of North Texas Digital Library, excavating recordings in the Willis Conover collection, we now have twenty-seven minutes of music — some of it unheard except by those who were at the concert.  There’s the closing C JAM BLUES / a partial RIVERBOAT SHUFFLE, talk, and a partial SQUEEZE ME / S’WONDERFUL / TINY’S BLUES / TINY’S BLUES (continued).  Yes, we have no Charlie Parker here . . . but a great deal of lively fine music.  (Do I hear Eddie Condon’s voice in this or do I dream?).

Here’s  the link to hear the music.

But wait!  There’s more.  My dear friend Sonny McGown sent me a photograph I’d never seen before, from a similar concert of the same vintage, at the National Press Club, with this description: “Your email this morning reminded me of a photo that belonged to my father. He is in the picture with his head visible just above the bell of the trombonist on the far left. Some of the musicians’ identities are obvious such as Jimmy Archey, Wild Bill Davison, Ben Webster, and George Wettling. The rest are unknown to me. I wonder if the trumpet at the microphone is Frankie Newton? The clarinetist looks a bit like Albert Nicholas. It is quite possible that some of the fellows are locals.”  [Note: in an earlier version of this post, I had assumed that the photograph and the concert tape were connected: they aren’t.  Enthusiasm over accuracy.]

My eyes and ears were ringing while I stared at this gathering.  I couldn’t identify the others in the photograph, but did not think the tall trumpeter in the middle was Newton.  (And Sonny’s father, Mac, was a spectator, not a player.)  Sonny then found two more photographs from the concert that we hear the music — their source being Maggie Condon, which would place Eddie there, logically, as well.

Tony Parenti, George Wettling, Wild Bill Davison, either Sid Weiss or Jack Lesberg, Bennie (the spelling he preferred) Morton:

Joe Sullivan, happy as a human can be:

This photograph popped up online, labeled “Washington Press Club,” but I wonder if it is from the same occasion.  Even if it isn’t, it’s always a pleasure to portray these sometimes-ignored majesties:

Now, might I suggest two things.  One, that JAZZ LIVES readers go back and listen to this almost half-hour of joys here — giving thanks to the University of North Texas Digital Library at the same time —  for instance, the five-hour interview Louis gave to Conover on July 13, 1956, which starts here, and ten years later, something astonishing, Louis playing COLUMBIA, THE GEM OF THE OCEAN and singing “This is the Voice of America,” the former of which I would like as a ringtone: here.

Still hungry for sounds?  A January 31, 1956, interview with Eddie Condon here; a brief 1946 interview with Duke Ellington where he seems to say nothing about the death of Tricky Sam Nanton — the music section begins with Ellington’s BLUE ABANDON, which contains a stunning solo by Oscar Pettiford, which is then followed by lovely records by Sinatra, Glenn Miller, and Kenton: here.

There are many more gems in the University of North Texas Music Library, which seems better than any ancient debate about the merits of different kinds of jazz.  There is music to listen to and photographs to stare at . . . and gratitude to express, nor only to the musicians and Mr. Conover, but to Ms. Feustle and Mr. McGown.  Those who keep the archives tidy and share their gifts are our lasting friends.

May your happiness increase!

Advertisements

HAPPY BIRTHDAY TO LARRY McKENNA! (Part Two): LARRY McKENNA, SAM TAYLOR, STEVE ASH, NEAL MINER, FUKUSHI TAINAKA at SMALLS (June 23, 2019)

Larry McKenna got to the gig early, as did I and many others who knew what gorgeous music we were about to hear, created right in front of us.  He and Sam Taylor, both on tenor saxophone; Steve Ash, piano; Neal Miner, string bass; Fukushi Tainaka, drums, made castles of sound for us — two sets’ worth.  And for those who live by clocks and calendars, Larry turned 82 on July 21, 2019.  He’s not “spry”: he is in full flower right now.  Consider the blossoming evidence of the first set at Smalls here.

Before the gig. Photograph by Melissa Gilstrap.

(Incidentally, Larry and Danny Tobias have a little concert date on Sunday, September 21, at the 1867 Sanctuary in Ewing, New Jersey — details here.)

Now, for the second set at Smalls — beautiful playing by everyone!

SOMETHING’S GOTTA GIVE (as they used to say, “from the movie of the same name):

The lovely THERE’S NO YOU (hear a delighted woman in the audience say, “Oh, yeah!” once the melody registers):

The durable swing standard ROSETTA, which gives Sam a very touching opportunity to tell about his early and sustained connection with Larry:

MORE THAN YOU KNOW, a feature for Sam:

And to close, another song associated with Earl Hines [and Louis Armstrong and Lester Young!] its title a sweet reminder of the bonds we forge, YOU CAN DEPEND ON ME:

The sounds of this evening were completely gratifying, but what got to me — and you can see it in the videos — were the smiles on the musicians’ faces (echoed on the faces of people near me), expressions of  gratitude, joy, and pride — what an honor it was to be there and, to hear the artistry, to feel the delight.  How rare, how wonderful.

May your happiness increase!

“FESTINA LENTE”: RAY SKJELBRED, CLINT BAKER, RILEY BAKER at BIRD and BECKETT (July 11, 2019)

σπεῦδε βραδέως.  “Make haste slowly.” 

Yes, this post begins with classical Greek and a photograph of Louis Armstrong singing to a horse — all relevant to the performances below, recorded just ten days ago at the remarkable cultural shrine of San Francisco, Bird and Beckett Books and Records (653 Chenery Street).  Thanks, as always, to the faithful Rae Ann Berry for documenting this facet of Ray Skjelbred’s California tour.

As bands play familiar repertoire over the decades, tempos speed up.  Perhaps it’s to stimulate the audience; perhaps it’s a yearning to show off virtuosity . . . there are certainly other reasons, conscious as well as unexamined, that are part of this phenomenon.  But Medium Tempo remains a lush meadow for musicians to stroll in, and it’s always pleasing to me when they count off a familiar song at a groovy slower-than-expected tempo.  I present two particularly gratifying examples, created by Ray Skjelbred, piano; Clint Baker, trumpet; Riley Baker, drums.  Here, JEEPERS CREEPERS is taken at the Vic Dickenson Showcase tempo, or near to it, reminding us that it’s a love song, even if sung to a horse:

and a nice slow drag for AFTER YOU’VE GONE, in keeping with the lyrics:

I don’t know how many people have seen the film clip below from the 1938 Bing Crosby film GOING PLACES, where Louis Armstrong introduced the Harry Warren – Johnny Mercer song JEEPERS CREEPERS.  (There is a brief interruption in the video: the music will resume.)

For the full story of Louis, the horse (a mean one), and the movie, you’ll have to wait for Ricky Riccardi’s splendid book on Louis’s “middle years,” 1929-47, HEART FULL OF RHYTHM.  For now, who knows the uncredited rhythm section on this clip?. I imagine it to be Joe Sullivan and Bobby Sherwood, but that may be a fantasy, one I happily indulge myself in.

And what Eric Whittington makes happen at Bird and Beckett Books is no fantasy: he deserves our heartfelt thanks, whether in classical Greek or the San Francisco demotic of 2019.

May your happiness increase!

GEORGE WETTLING’S MANY SELVES

Some artists are too big to fit into one designated category or title: drummer George Wettling is one of them, even though his name is left out of many histories of the music, and when he is mentioned, it is as a “Dixieland” musician or one of “Eddie Condon’s barefoot mob,” both designations either condescending or arcane at this remove.  He was one of those players whose energies went to the band, so I think he was often taken for granted — but replace Wettling in any situation with a lesser drummer, and the change is immediately not only heard but felt.  I proudly say that I was listening to Wettling on records in my childhood, and continue to do so with pleasure. Consider this one.  I know it’s difficult to put Jack Teagarden, Coleman Hawkins, and Joe Thomas to one side, but listen to Wettling’s drumming: intuitive, thoughtful, joyous, propulsive without being narcissistic:

Here is a post I created ten years ago, with more evidence of Wettling’s flexible, uplifting playing.  And here‘s another — with more video and audio. Wettling was quite the painter — a student and disciple of Stuart Davis — as explained  here, beautifully, by Hank O’Neal, in 2017.

But the occasion for this post is something new and wonderful — a living lesson in what Wettling DID, offered to us by the wonderful musician (and dear friend) Kevin Dorn, whose bright light is always visible in the night sky:

I had the immense good fortune of hearing Kevin swing out last night with a stellar band led by Evan Arntzen at Dizzy’s Club Coca-Cola (Evan, Kevin, Jon-Erik Kellso, Mara Kaye, Harvey Tibbs, Rossano Sportiello, Adam Brisbin, Tal Ronen) and in the best Wettling tradition, he sounded like himself without having to try hard to do so.

May your happiness increase!

WHEN BEING “MAD” IS PLEASURE (1924, 1938, and 2017)

Our subjects today are the overlap of “madness” and “pleasure.”  Please be prepared to take notes.

“But first, this,” as they used to say on public radio.

PLEASURE MAD, a Sidney Bechet composition, was recorded in 1924 but the vocal versions weren’t issued, except for this one.  Did the record company find it too direct to be acceptable?  Here’s Ethel Waters’ version, clear as a bell:

Perhaps the song continued to be performed with those lyrics, but I don’t have any evidence.  However, it resurfaced in 1938 as VIPER MAD, new lyrics, as sung — memorably — by O’Neil Spencer:

There might be other ways to pose the rhetorical question, but at what moment in those fourteen years did sexual pleasure become a less interesting subject in popular song than smoking reefers?

While you consider that intriguing philosophical question, I have a new double-CD set (36 tracks!  12 pounds!) to share with you.  A little personal history: I attended the Whitley Bay Classic Jazz Party, then renamed Mike Durham’s International Classic Jazz Party, from 2009 to 2016, and had a fine time: the best American, European, Australian, and occasionally South American musicians turned loose for a long weekend of hot and sweet jazz, its spiritual center the late Twenties and early Thirties.

Here are three samples, videoed by me, songs and personnels named:

and

and

I ended with GOT BUTTER ON IT so that JAZZ LIVES readers can — as they say — get a flavor of the experience.  The Party continues to do its special magic splendidly, a magic that videos only partially convey.  This year it’s November 1-3, and details can be found here.  And if you search JAZZ LIVES for “Whitley Bay” or “Durham,” you will find a deluge of posts and videos.

But this post isn’t exactly about the Party as such, nor is it about my videos.  Its subject — now, pay attention — is a 2-CD set of live performances from the 2018 Party, which is just thrilling.  It’s called PLEASURE MAD: ‘LIVE RECORDINGS FROM MIKE DURHAM’S INTERNATIONAL CLASSIC JAZZ PARTY 2017 (WVR RECORDS WVR1007).  As I wrote above, 36 live performances in beautiful sound.

And the sound is worth noting, with delight.  At the Party, some fans record the music from the audience with everything from ancient cassette recorders to digital ones; when I was there, I videoed as much as I could.  But this CD issue has the benefit of superb sound, because of the young Norwegian trumpeter and recording engineer Torstein Kubban, who has recorded every session for the past six years.  Torstein is a phenomenal player, so I may be permitted this digression:

He’s got it, for sure.  And his recordings are wonderful.

Here are the songs performed — referencing Duke Ellington, Ben Pollack, Bennie Moten, the Halfway House Orchestra, Alex Hill, Rube Bloom, Jabbo Smith, Louis Armstrong,Eddie Condon, Willie “the Lion” Smith, Clarence Williams, Luis Russell, King Oliver, James P. Johnson, and more:

And the musicians: Mike Davis, Andy Schumm, Duke Heitger, Jamie Brownfield, Malo Mazurie, Kristoffer Kompen, Jim Fryer, Graham Hughes, Ewan Bleach, Michael McQuaid, Richard Exall, Claus Jacobi, Matthias Seuffert, Lars Frank, Jean-Francois Bonnel, Emma Fisk, David Boeddinghaus, Martin Litton, Keith Nichols, Morten Gunnar Larsen, Martin Wheatley, Spats Langham, Peter Beyerer, Henry Lemaire, Jacob Ullberger, Phil Rutherford, Elise Sut, Malcolm Sked, Josh Duffee, Richard Pite, Nick Ward, Nick Ball, Joan Viskant, Nicolle Rochelle.  If I’ve left anyone out, let me know and I will impale myself on a cactus needle as penance, and video the event.

I think it’s taken me so long to write this post because every time I wanted to take the CDs into the house to write about them, I would start them up on the car player and there they would stay.  A few highlights, deeply subjective: Martin Litton’s sensitive and tender solo LAURA; the riotous hot polyphony of CHATTANOOGA STOMP (which I recently played six times in the car, non-stop); the exuberant GIVE ME YOUR TELEPHONE NUMBER; Spats Langham’s NEW ORLEANS SHUFFLE; a completely headlong RAILROAD MAN; a version of THE CHARLESTON that starts with Louis’ WEST END BLUES cadenza; SHIM-ME-SHA-WABBLE that rocks tremendously; I FOUND A NEW BABY that sounds as if Hines (in the guise of Boeddinghaus) visited a Condon jam session in 1933; SOBBIN’ BLUES with layers and textures as rich as great architecture.  You will find your own favorites; those are mine of the moment.

My advice?  If you can, get thee to the Party, where seats are going fast.  Once there, buy several copies of this set — for yourself, national holidays, the birthdays of hip relatives — and enjoy for decades.  If you can’t get to the UK, you can still purchase the set, which I urge you to do.

The CD is obtainable from website: https://whitleybayjazzfest.com
email:wbjazzfest@btinternet.comFor more information, contact patti_durham1@btinternet.com.

And when the authorities knock on your door to ask about the ecstatic sounds coming from within, you can simply show them this CD and say, “Well, Officers, I’m PLEASURE MAD!  Would you like to come in?” And all will be well.

May your happiness increase!

AUDREY ARBUCKLE, “BUCKLES,” A DEVOTED JAZZ FAN (1954-56)

Since jazz fans seem — note I say seem — to be overwhelmingly male, it’s lovely to find this collection of jazz autographs collected by the young jazz fan Audrey Arbuckle, between 1954-56 in Chicago.  My guess is that “Buckles,” born July 19, 1931, is no longer collecting autographs and may no longer be with us, but I can’t prove it.

Here’s the seller’s description:

Here is a unique and amazing collection of famous jazz musician autographs on matchbooks, tickets and table cards put together during 1954-1956 by a young college student nicknamed “Buckles” who went to jazz clubs like the original Blue Note in Chicago and the Basin Street East.

Eventually Buckles had the autographs she collected laminated between a clear plastic sheet.

On one side, are the autographs of jazz legends Lester Young, Louis Armstrong, Duke Ellington, Dave Brubeck, Coleman Hawkins, Illinois Jacquet, Chet Baker, Carmen McRae, Sonny Stitt, Paul Quinichette (“Vice-Prez” to Lester’s “Prez”), Roy Eldridge, Jeri Southern and Paul Desmond. There is even the team of Kai Winding and J. J. Johnson whose combined autographs together, on the same page, from the same club date, is very hard to find.

On the other side of the laminated sheet is: Count Basie, the tragic, talented jazz singer Beverly Kenney, Bob Bates, drummer Candido, singer Chris Connor and the great Paul Gonslaves who signed his name on part of a Duke Ellington ticket. Gonsalves famously blew 27 insane bars during his sax solo on “Diminuendo and Crescendo in Blue” that sent the crowd at the 1956 Newport Jazz Festival into a frenzy and put Duke Ellington’s band, which had been going through a popularity slump, back in its rightful place. Also a picture of “Buckles” who got the autographs.

The laminated page — which no doubt preserved those sixty-five year old scraps of paper, although oddly — is up for bid at $850 or “best offer,” and here is the link.

And the photographic evidence: some of these signatures (Beverly Kenney!) are incredibly rare — but to think of this young woman who saw and heard so much, it’s astonishing.  The front side of the page, which takes some careful viewing:

and the reverse:

and some close-ups, the first, Dave Brubeck:

then, the two trombone team of Jay and Kai:

Paul Gonsalves, who played tenor saxophone:

then, Coleman Hawkins and Illinois Jacquet:

and Chet Baker:

Louis, Velma, Arvell, and Barrett Deems:

The Maestro:

and what is the prize of the collection (second place goes to Beverly Kenney’s neat handwriting) a Lester Young autograph.  Even though it looks as though it was written on a piece of Scotch tape, such deity-sightings are rare:

and, a little music, lest we forget the point of these exalted scribbles:

Wherever you are now, Buckles, whatever names you took later in life, know that we cherish you and your devotion.  Did you graduate college, have a career, get married and have a family?  The laminated page says to me that these signatures and experiences were precious.  But what happened to you?  I wish I knew.

This just in, thanks to Detective Richard Salvucci, formerly of the Philadelphia police force, and one of this blog’s dearest readers: https://www.findagrave.com/memorial/113718218 — which suggests that Audrey Ellen Arbuckle was born in 1934 and died in 2009, buried in an Erie, Pennsylvania cemetery.  I wish she were here to read this, but I am sure her spirit still swings.

May your happiness increase!

A YOUNGBLOOD SERENADE: GUILLERMO PERATA and FERNANDO MONTARDIT (June 14, 2019)

These Youngbloods give me hope — people who make lovely music and have a long way to go before asking for the senior discount at the movies.  They are Guillermo Perata, cornet, and Fernando Montardit, guitar: here making merry and making art on the Goldkette-associated pop tune, HOOSIER SWEETHEART at an informal duo session of June 14, 2019.

You’ll also notice (when you listen) that they don’t treat this 1927 song as a holy relic of the Roaring Twenties, but, rather, as a piece of music to improvise on, with lyricism, swing, and a deep love for the melody:

This approach (think Louis, Hackett, Braff, Vache, Tobias, Kellso, Gordon and Justin Au, Caparone in the brass line; think Reuss and Grosz on guitar) never gets old.

I understand that Guillermo and Fernando will be visiting New York City and then New Orleans in the first half of August.  I haven’t seen Fernando in a few years, and I look forward to meeting Guillermo.  They are real, and the music they make is both tangible and memorable.

May your happiness increase!