The wonderful clarinetist Barney Bigard (think Duke, Louis, Joe Oliver, and Django for prominent associations) appeared often at the Nice Jazz Festival, happily, in many different contexts. He is in splendid form, as are Eddie Hubble and Johnny Guarnieri; in fact, the whole band rocks on an extended PERDIDO, a down-home CREOLE LOVE CALL, and a feature for Major Holley, MACK THE KNIFE.
Barney Bigard, Herb Hall, Bob Wilber, clarinet; Eddie Hubble, trombone; Pee Wee Erwin, trumpet; Johnny Guarnieri, piano; Major Holley, string bass; Tommy Benford, drums. Introduced by Dick Sudhalter. PERDIDO (nearly thirteen minutes) / CREOLE LOVE CALL (Bigard, Hall, WIlber, Sammy Price, Holley, Benford) / MACK THE KNIFE (featuring Major Holley) (“La grande parade du jazz,” performed July 26, 1975; broadcast August 5, 1976).
P.S. I’ve posted a good deal of Barney’s work at Nice and always found it rewarding. Oddly, some of my armchair critics are very severe about “poor Barney, past his prime,” which I find ungenerous in reference to someone born in 1906 playing in the hot July sun outdoors. No, he played differently in 1927, but how many of us run as quickly as we did at 14? Respect the Elders.
This music is especially poignant — joyous and sad in equal measure — because we lost Dave Frishberg yesterday, November 17, at 88. His last years were not easy, but he had given us so much — memorable compositions both sardonic and tender, sung in his distinctively whimsical voice. But while the obituaries remember him for I’M HIP and MY ATTORNEY BERNIE, I remember him as a peerless jazz improviser, a wonderful soloist and inspiring ensemble player. Jimmie Rowles was his model (a summit he would be the first to tell you he’d never reached) but he clearly loved Ellington and Basie and their delightful waywardnesses. I encountered him in person twice, and our one brief conversation showed him to be very modest to the point of shyness, a very endearing personality written in lower-case cursive. There won’t be another like him, and it will take a long time before we stop missing him.
I didn’t get to The Half Note until some six years after this recording, so I missed a great deal, but I remember it as a welcoming place. The friendly Canterino family, the Italian food, the splendid music. Here’s a brief sample — a radio broadcast, no less, with the master of ceremonies Alan Grant, featuring Zoot and Al, tenor saxophones; Dave Frishberg, piano; Major Holley, string bass; Mousey Alexander, drums; Jimmy Rushing, vocal.
It’s a slightly dim copy, but the music bursts right through the tape hiss: HALEY’S COMET / EXPENSE ACCOUNT / [Art Farmer announced] I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME (vocal JR):
Cities never stay the same, so in the sorrowful name of SIC TRANSIT GLORIA MUNDI, when I’ve walked to The Ear Inn at 326 Spring Street, I pass by the corner where The Half Note once flourished: it’s a deli now. But they can’t take our memories away from us.
And a postscript: my friend Mal Sharpe, also no longer tangibly with us, told me he wanted to have a bumper sticker that read HONK IF YOU MISS JIMMY RUSHING. I loved the idea, but told him I would be wary, because I’d never know the clear intent of someone honking at me. But we miss them all so deeply.
If you already know Percy France, don’t spend another moment reading what I’ve written. Go immediately to www.percyfrance.info — where you can hear him play, read about him (tributes by people who loved him), and learn more.
But if he’s only a name to you . . .
Perhaps because it is often mistaken for simple entertainment, jazz is oddly distinguished from other art forms by a powerful Star System. There is too much of “the greatest of all time,” which negates the broader accomplishments of many beautiful artists. But those who listen deeply know that alongside — not behind — Louis, there are Ray Nance and Bill Coleman; alongside Art Tatum there are Ellis Larkins and Jimmie Rowles, and so on, creative men and women ignored in the speeding-train chronicles of Important Artists.
With that in mind, and the joy of discovering someone “new,” here is tenor saxophonist Percy France. He may be little-known or even unknown to many. I did hear him on the radio (broadcasts by WKCR-FM, Columbia University’s station, from the West End Cafe in New York, presided over by Phil Schaap), but I never saw him in person.
But before you assume that Percy’s semi-obscurity is the result of a diluted talent, let me point out that this summer when Sonny Rollins was asked about him, his response was as enthusiastic as it could be. The excerpt that caught my eye is simple: I never could beat him. We were good friends, and I think of him as my brother.
Let that sink in.
And since you might be saying, “All right . . . praised by Sonny. What did he sound like?” here are three samples, thanks to Daniel Gould, about whom I will have more to say.
Here’s Percy, fluid, melodic, cheerfully making the over-familiar come alive:
and a different kind of groove, quietly lyrical:
France plays Fats, light-hearted and witty:
I admire honest deep research unashamedly, since often what’s passed off as information is made of cardboard. So I present to you Daniel Gould’s wonderful Percy France site — solid and ever-growing — his energetic tribute to a musician who should be cherished as more than a name in a discography: www.percyfrance.info will take you there.
Daniel has done and continues to do the great hard work of the reverent researcher: he proceeds without ideological distortion, for his sole purpose is to ensure that Percy and his music (as if one could separate the two) are not going to be forgotten. And, also quietly and without fanfare, he wants us to honor Percy as an individualist, someone “with his own voice,” not simply another “tough tenor” following well-worn paths.
To the site. What will you find there? First a biography (audio as well as print) documenting his too-brief life (1928-1992) his musical development, his associations with Sonny Rollins, Bill Doggett, Jimmy Smith, Freddie Roach, Sir Charles Thompson. Charlie Parker and Count Basie make cameo appearances as well. Then, even more beautiful, remembrances by Doggett, Bill Easley, Allen Lowe, Mike LeDonne, Sascha Feinstein, Michael Hashim, Sammy Price, Randy Sandke, Chris Flory, Scott Hamilton and others — all testifying to Percy’s qualities as musician and gentleman.
Then the treasure-box opens, revealing hours of unknown enlightenment and pleasure: a session by session listing, complete with newspaper clippings, photographs, record labels — first, Percy’s King and Blue Note record dates of 1949-1962.
The sessions continue — 1977-81, live dates featuring Percy alongside Doc Cheatham, Sammy Price, Chris Flory, Loren Schoenberg, Randy Sandke, Allen Lowe, Dick Katz, and others . . . and here Daniel has provided selections from these wonderful and wonderfully rare performances.
Finally, and most expansively, the period 1982-1990, is documented through the Leonard Gaskin Papers held at the Smithsonian — and it contains seventy-five percent of Percy’s recorded work . . . with Gaskin, Cliff Smalls, Oliver Jackson, Budd Johnson, Buddy Tate, Lance Hayward, Bill Pemberton, Major Holley, Bob Neloms, Bill Berry, Wild Bill Davis, Big John Patton, Doug Lawrence, and others. And there’s MUSIC . . . my goodness, how much music there is. I abandoned my chores for the better part of the day to listen, and I still have more to hear.
A few more words about Daniel Gould and his site. He is a clear fluent writer; his site is a pleasure to visit, and the treasures overflow. And he has a purpose: that Percy France, one of the lovely creators now no longer on the planet, shall be remembered with the attention and affection he deserves. I delight in Percy and in Daniel’s efforts.
The singer, composer, artist Nancy Harrow is not only a rewarding musician but, from what I can see, someone doing a fine job of navigating this complicated human-being business with art, energy, grace. She has opened her hand again to reveal a gift for us: a new CD, PARTNERS.
Hereyou can read details of the CD (the song list, the personnel) and admire the spunky cover photograph. Go to the top of the page and hear Nancy’s recording of IT’S A WONDERFUL WORLD — previously unissued and unheard, from 1964, Nancy with Kenny Burrell, Major Holley, and Denzil Best.
Incidentally, you can skip what follows and go directly here to hear samples, purchase the disc, download the music.
It is the privilege of the mature artist who has created a body of work to look back and assemble a selection from that art into a new mosaic, the familiar creations making new patterns. Yeats, for one example, after he had written poems that would fill a new volume, spent as much time arranging them — new, old, revised — into partnerships and neighborhoods that said as much as the poems themselves did.
PARTNERS has some of the same essence, very different from “Greatest Hits,” “Golden Favorites,” or “Million Sellers,” because Nancy (rather than Decca or Columbia) has been in charge, and her sensibility — not, I state, her ego — is evident when one regards the CD as an artistic whole. The cover lists a jazz nobility. PARTNERS is a series of small-group performances: mostly duets, trios, and quartets — an octet in only one instance — that Nancy and friends, no, partners, recorded between 1962 and 2016. The performances aren’t arranged chronologically, but they offer a limber, mobile, portrait of the artist, for us to marvel at.
Even the most dedicated collector of Nancy’s recorded music will be wide-eyed at six previously unheard (and unknown performances). Five — IN A MELLOTONE, BUT BEAUTIFUL, YOU’RE MY THRILL, I GOT IT BAD, and IT’S A WONDERFUL WORLD — are demonstration performances (“demos”) recorded in 1964, pairing Nancy with Kenny Burrell, Major Holley, and Denzil Best. These brief recordings are sweet intense surprises. When I first received a copy of PARTNERS, I found myself replaying these performances over and over, thinking, “Ah! That’s what Nancy was up to!”
The sixth gift is a 1991 duet on NOT WHILE I’M AROUND, sung by Nancy and her son Anton, also a wondrous expressive vocalist. I find tears in my eyes on each rehearing. In other moods, Vernel Bagneris, Grady Tate, and an irrepressible Clark Terry share the spotlight.
I “knew” the seventeen other songs on this disc: in my alphabetical arrangement of CDs, Nancy is (I hope comfortably) between Mary Cleere Haran and Coleman Hawkins . . . and I have her issued CDs, a generous offering. But I hadn’t truly heard the performances, I think, until I’d heard them in the shapes that PARTNERS makes possible.
Nancy has remarkable emotional energy and a focused directness, so that her singing — even though I know it’s not the case — seems a completely personal statement aimed at the single listener, like a conversation one has when there are only two or three people in the room. And the emotions! Tenderness, joviality, teasing, astonishment, protective love, joyous exuberance . . . and even irritation as well as rue and hopefulness. Nancy doesn’t shout or carry on, but her range is broad, every expression genuine. Her quiet honesty is so rare and so embracing.
I shared PARTNERS with the fine singer Petra van Nuis, who wrote,”There is that central element which makes Nancy so special and unique. That element is feeling.”
I’d written thisand this about Nancy’s art for JAZZ LIVES — but still I was thrilled that she asked me to contribute a few lines to the new CD:
For those who feel, a universe vibrating with love speaks through melody, harmony, and rhythm. Singing lets a very few, the rarest creators, send deep messages about what it is like to be alive, whether we are perplexed by circumstances, downcast, or rejoicing. In calmer times, everyone would have recognized Nancy Harrow as a priestess of heart-tales, helping us hear, helping us feel. She still seems a magical practitioner of rare arts, although she is a modern divinity who sends emails. I can testify to her tangible self, teacup in hand, grinning broadly, ready to break into laughter. I have seen her eat a cookie. Very reassuring.
I had originally thought to write a few lines about the performances that touched me at my very center. But they all do. What I hear and feel in this recording is a deep, complete, and varied personality shining her light at me, one track after the other. I hear energy, warmth, passions. Distinct and the same all at once. Her voice makes lovely shapes, now tough, now tender, now impish.
It would be impudent of me to squeeze her art into text any more than I have already. Listeners will write their own admiring, perhaps astonished, essays as they move from song to song.
Bless Nancy Harrow. Some of us lived long stretches of time without clearly knowing she was there, but she enriches our lives now and will continue to do so.
PARTNERS is yet another great gift, from and by a great artist.
“The Judge.” Universally beloved. Here, with Herb Ellis, guitar; Larry Novak, piano; Butch Miles, drums:
I have The Judge in my mind as a sweetly heroic presence because he is on so many of the recordings that have shaped my consciousness. I also have two photographic portraits of him (which he autographed for me in 1981) in my apartment, next to the door. When I come in or go out, he is there to welcome me home or to wish me safe passage on the day’s journey.
He’s also powerfully in my thoughts because I went to the house in which he and Mona Hinton lived for decades — 173-05 113rd Avenue, Jamaica, New York — last Saturday (June 13) for an estate sale. More about that later.
First, a reminiscence of Milt from a friend, Stu Zimny, whom I’ve known since high school, 1969. We were comrades in eccentricity, united in our shared secret love of Milt, of Jo Jones, of Ed Beach, S.J. Perelman — playing records at each others’ houses, going to concerts and clubs. Swing spies. Jazz acolytes.
Danny Barker, Stu Zimny, Milt Hinton 1995
It was in the late-70’s sometime when I first met Milt Hinton.
It was a strange time in the music’s history. Although rock music had firmly enveloped the attention of most of my generation, my own musical trajectory was towards the the jazz of the 1930’s. I had heard the incandescence of Louis Armstrong and his many disciples and was converted quickly. There was a power to this music unique in my experience. It is more common now in the internet age but we, myself and the author of this sacred blog in particular, formed a distinct minority, a sort of rear-guard action devoted to preserving this music. Yet at that time there were still significant numbers of players of that “swing generation” alive and at least semi-active and one could see them play intermittently in certain mostly short-lived clubs in Manhattan and the occasional concert. Although the general sentiment was that we had arrived a few decades too late.
I had heard that Milt was teaching a jazz seminar at Hunter College, I had taken up study of the double-bass shortly before, had lucked upon and acquired an excellent “axe,” and Milt was a legendary figure to bassists in particular.
In a fortuitous stroke of luck I encountered Milt on the subway on the ride to Hunter. (Milt was a frequent rider of the NYC subway system since he did not drive a car. The story goes that he had been driving a vehicle in Chicago decades before, as a gofer of some sort for the Al Capone organization, and a bad accident occurred which had traumatized him for life against driving a motorized vehicle.) I drove him to a fair number of gigs during the next few years for the mere opportunity to hang out and absorb what I might. Capone’s loss was my gain.
On the “A” train I gathered up my courage and struck up a conversation with him, the ultimate outcome of which was that if I wanted some tutoring I could drop by his home in Queens. He did not need to make the offer twice. Especially since his attendance at Hunter was spotty due to his being on the road quite a bit.
Milt never really offered me “lessons” as such. Although he did hand me a manuscript of scale patterns and suggested I work on them “for the next thirty years” and gave me a whole lot of physical advice about dealing with the bass. I would bring him bass music, usually some classical etude or duet, and we would play through it together. He was always up for the challenge. The mere fact that he would be willing to play with me and treat me like a colleague was a huge confidence boost.
Of course it was not only me who benefited from his largesse. Many bassists (and other instrumentalists) would drop by, most often just to hang out with an elder, “The Dean of Jazz Bassists.” Milt and Mona were extremely gracious and generous in opening their home to musicians. And feeding us, and making us feel like family, and part of a lineage that required support and protection.
Throughout the next decade or so I would drop by, often in a vain attempt to help him organize the pile of the concert tapes and recordings collecting in his basement.
In 1989 I departed the east for directions west. When I came back for visits if Milt was in town he was always open for a rendezvous “between sets.”
I recall seeing him at the 1995 Monterey Jazz Festival and in San Diego at some sort of convocation. On the latter occasion, with minimal rehearsal, he was offered some pretty complex charts and played through them with ease. This was not an old guy resting on past accomplishments, he was fully alive to the music, to all music.
Sometimes players like Clark Terry and Major Holley would drop by. The basement couch was famous for having been used for sleep by Ben Webster during a period when he lived with the Hintons or at least paid an extended visit: I never knew which. Sometimes it is better not to ask too many questions.
The last time I saw Milt was around 1997 after I had returned east and lived in the Boston area. By that time he had stopped playing for physical reasons. I heard of his passing via an NPR broadcast in 2000 at age 90.
Milt has been a major influence in my life, musically and moreover in modeling what it means to be an elder and the tribal obligation and joy of passing on knowledge and skills and musical tradition.
He was cross-cultural in the warmest and most charming and sincere ways; he insisted on wearing a yarmulka when attending the Jewish wedding of a mutual friend of ours.
Despite the hardships he had experienced growing up in the south, the depredations of growing up as a Black person in that era, he never harbored personal resentment about any of it that I could tell towards any individual. He had an immense sense of dignity and a conscious sense of his own worth and that of his colleagues as men and artists; race was a secondary consideration. He would say that “music has no color”. This was also what motivated his legendary photographic documentation. History was important, preserving it is important, this music is important. And if one was sincere in wanting to learn, he was available.
I am a better person for having known Milt Hinton, tribal chief, The Judge!
We cannot live through the dead, but we can invite them to live through us.
I love him always and forever.
It would be an impudence to follow that with my own tales of Milt.
I will say only that the phrase I’ve taken as my title was spoken by Ruby Braff from the stage of The New School in New York City, at a “Jazz Ramble” concert produced by Hank O’Neal on April 8, 1973 — featuring Ruby, Sam Margolis, Benny Aronov, and Milt. Ruby spoke the truth. Thanks to Tom Hustad, whose BORN TO PLAY — the Ruby Braff discography — for helping me be exact in my recollection.
Fast forward to June 13, 2015.
I had been seriously ambivalent about going to this estate sale. As I told more than one friend, I didn’t know whether I would be frozen at the door, or, once in, would burst into tears. Happily, neither took place. My spiritual guide and comic comrade on line (as opposed to “online”) was Scott Robinson, and we made the time spent waiting in the sun telling tales of Milt. (Later, I met Phil Stern, and we, too, talked of music, joy, and sorrow, of empires rising and falling.)
Here, thanks to Phil, is the promotional video created by the company running the sale:
By the time I was able to enter the house, sometime around 10:00, I discerned that much of the more glossy contents had already been sold. (I would have bought a chair covered in plastic from this shrine without thinking twice.) And I sensed that the house had — apparently — been unoccupied since Mona’s death in 2008. It was not quiet indoors: people shouted and argued. I was in the land of secular commerce rather than dear worship. I do not know how many people going in knew who Milt was; before and after my time indoors, I explained what I could of his majesty to a number of people outside who simply had seen ESTATE SALE and stopped by.
I have a limited tolerance for loud voices in small spaces, so I did not look through the hundreds of records in the basement (in cardboard boxes on and in front of the couch on which Ben Webster had slept). But I bought about ten of Milt’s lps — going back to the early Fifties, mostly records I’d not heard or heard of on which he played. His collection — even when I got there — was broad, with children’s records and comedy as well. And he collected his friends’ records also.
Sitting by themselves on top of a pile of books — two 78s. One, a 1932 Brunswick, Connee Boswell performing HUMMIN’ TO MYSELF and THE NIGHT WHEN LOVE WAS BORN — which touched me and made me think of Milt as a young man rapt in the beauty of Connee’s voice and her wonderful accompaniment of the time (Berigan, the Dorsey Brothers, Dick McDonough, Artie Bernstein, Venuti, Stan King).
The other deserves its own picture. It has been well-played, but that is a triumph rather than a criticism.
Although Milt and Billie Holiday were not regularly recording together, their history on record is a long one — 1936 to 1959 — and I am sure he was proud of the music they made together. I imagine Milt in 1939 bringing home this new release, which he would have been thrilled to possess and hear — perhaps showing his name on the label to his new bride. (Incidentally, the Brunswick people invented a new guitarist — Dave Barber — instead of properly identifying Milt’s dear comrade in the Cab Calloway band, Danny Barker. The other side, WHAT SHALL I SAY? has the same error.)
Such a beloved artifact made all the clangor of commerce worthwhile, although I still think sadly of the rubble of mugs in the kitchen, the piles of posters, aging books and records. Where did they go? I hope that the rarer items had already gone to a place where they would be treasured.
Stu learned lessons about playing the bass from Milt that he couldn’t have learned any other way, and I celebrate his experience. But I think we both learned much — even though we might not have understood it at the time — from these men who were, without proclaiming it, great spiritual parents. We learn from the open-hearted behavior of the greatest teachers.
They treated us with gentleness and respect, an amused kindness, saying by their openness that we were welcome in their world. No one ever said, “Kid, I’m busy now. Go away.”
Our real parents might have taken our devotion for granted, or been very busy trying to make us become what they thought we should be, but many of these Elders were happy to know we existed — without trying to get us to buy anything from them. They accepted our love, and I feel they welcomed it and returned it. In their music and their behavior, they taught by example: the value of beauty, of simplicity; how to say in a few notes something that would take the hearer years to fully grasp. How to make our actions mean something.
We were able to see and hear and speak with the noblest artists on the planet, and it is an honor to celebrate one of them, The Judge, whose quiet modest majesty will never fade.
Drummer Cliff Leeman had a completely personal and identifiable sound, a seriously exuberant approach to the music. You can’t miss him, and it’s not because of volume.
He’s audible from the late Thirties on in the bands of Artie Shaw and Charlie Barnet, then most notably in Eddie Condon’s bands, later with the Lawson-Haggart Jazz Band, Bob Crosby reunions, Bobby Hackett and Vic Dickenson, Kenny Davern and Dick Wellstood, and Soprano Summit. Cliff died in 1986, but his slashing attack and nearly violent exuberance are in my ears as I write this . . . including his trademark, the tiny splash cymbal he used as an auditory exclamation point. He spoke briefly about his approach in thisinterview for MODERN DRUMMER magazine.
In case Cliff is someone new to you, here he is on a 1975 television program with Joe Venuti, Marian McPartland, and Major Holley, elevating CHINA BOY:
In spring 2008, Kevin Dorn and I paid a call on Irene (Renee) Leeman, his widow, then living comfortably in New Jersey. I have very fond memories of that afternoon, hearing stories and laughing. Until recently, I thought that those memories were all I had. But a recent stint of domestic archaeology uncovered the small notebook in which I had written down what Mrs. Leeman told us. Here are some of her comments and asides, shared with you with affection and reverence (and with her permission).
But first: Cliff on film in 1952 with Eddie Condon . . . the epitome of this driving music. Also heard and seen, Edmond Hall, Wild Bill Davison, Cutty Cutshall, Gene Schroeder, Bob Casey:
Some words from Mrs. Leeman to go with all those good sounds:
I first met Clifford at Nick’s. I didn’t go there by myself, but because of a friend who had a crush on Pee Wee Erwin.
Roger Kellaway always asked for Clifford.
He wore Capezios on the job.
He had a colorful vocabulary and didn’t repeat himself. He thought Bing Crosby was the best, but Clifford was always very definite in his opinions.
He came from a Danish-Scandinavian family where the men didn’t hug one another.
Clifford once asked Joe Venuti, “How do you want me to play behind you?” and Venuti said, “Play as if I’m five brass.”
He worked on THE HIT PARADE with Raymond Scott, who timed everything with a stopwatch, “The hardest job I ever had.”
Clifford was the drummer on Bill Haley and the Comets’ Decca recording of ROCK AROUND THE CLOCK, and when the session ended, he said, “I think I just killed my career.”
Sidney Catlett was Clifford’s idol. Jo Jones, Ben Webster, Charlie Shavers and Clifford loved each other. They all hung out at Hurley’s Bar, Jim and Andy’s, and Charlie’s Tavern.
Clifford played piano — not jazz, but ROCK OF AGES and MOTHER MACHREE, as well as xylophone. And he could read music. He was always surprised that other musicians couldn’t, and would come home after a gig and say, “Do you know _____? He can’t read!”
Clifford was left-handed but he played with a drum kit set up for right-handed drummers.
He thought the drummer was supposed to keep the time and drive the band and pull everything together. Clifford listened. He was fascinated with rock drummers he saw on television, and would tell me how bad they were.
“Cliff is the best timekeeper,” Billy Butterfield said. Billy was so cute.
He loved his cymbals.
He was hard on himself, and on other people, but he loved working with Yank Lawson and Bob Haggart. They had a good time. They respected each other. They thought that music should be fun. Yank and Bob used to rehearse the band in Lou Stein’s basement in Bayside, New York.
Kenny Davern! Kenny was a challenge to the world and a thinker. He was an angry young man who became an angry old man. He and Clifford were a comedy team wherever they went.
Clifford didn’t embrace the world, and he could be abrasive if people bothered him.
Clifford played with Bob Crosby and Louis Armstrong on one of those Timex television jazz shows. He was so proud of working with Louis you couldn’t stand it.
I have always liked musicians as a group, and never had a 9 to 5 life. Because of Clifford, I got to meet Buddy Rich, Louis Bellson, Gene Krupa. In those days, rhythm sections stuck together, so I knew a lot of bass players and their wives: Milt Hinton, Major Holley, George Duvivier, Jack Lesberg. I was lucky to have known such things and such people. How fortunate I was!
We are all fortunate to have lived in Clifford Leeman’s century, and his music lives on. And I thank Mrs. Leeman for her enthusiastic loving candor.