Tag Archives: Mamie Smith

EXPERIMENTS IN MUSIC THERAPY, THANKS TO DOCTORS HILL AND WALLER, AND OTHER PRACTITIONERS OF THE HEALING ARTS

Here’s the recipe, or perhaps the prescription:

And the first musical exhortation, this by Mamie Smith (Note: I’ve consciously not written out the known personnel on each of these musical therapies, thinking it a distraction.  If you need to know who’s in the section, write in and I will look it up in Tom Lord’s discography.):

Step two:

and another contemporaneous version, by Lou Gold and his Orchestra:

and the next step:

and the Fletcher Henderson version, arranged by Benny Carter:

Another step:

and the Ellington version that thrills me — vocal by Chick Bullock (whom I like):

Another step:

and the Red Nichols version, where Jack Teagarden delivers the sermon:

and the frankly amazing recording of Bill Robinson.  Follow along!

That’s a hard act to follow, but here are three “modern” versions that have delicious energy of their own.  First, Jeff Barnhart:

and one version by Marty Grosz (there’s another, easily found, on YouTube) where he borrows liberally from Fats’ DON’T LET IT BOTHER YOU for the opening:

and this Teddy Wilson-styled small-group masterpiece by Rebecca Kilgore and Hal Smith’s Rhythmakers:

May your happiness increase!

RHAPSODIES IN SWING, MARCH 8, 1934

hawkins-autographed-bluebird

I have been listening ardently to the Mosaic Records Coleman Hawkins 1922-1947 set, which is like reading all the works of a great author in chronological order — a wondrous journey.  (It’s now no longer available: Mosaic is serious about “limited editions,” so the race is to the somewhat-swift.)

There are many points on the journey where I put down my coffee and listened to one track a half-dozen times, marveling, before moving on.  But here’s a glorious interlude: a brief visit to a studio in New York City on March 8, 1934, for a series of duets between Hawkins and the seriously underrated pianist Buck Washington (born Ford Lee) who had recorded with his partner John W. Bubbles as well as Bessie Smith and Louis Armstrong.

Together, they recorded IT SENDS ME (two versions), I AIN’T GOT NOBODY, OLD-FASHIONED LOVE (a piano solo), and ON THE SUNNY SIDE OF THE STREET (two versions).  The session was one of John Hammond’s ideas: the sides were released first in England, where the listening public was much more aware of African-American creative improvisers.

The alternate takes of SENDS and SUNNY are available only on the Mosaic set, but I can offer here YouTube transfers of the issued sides, slightly out of sequence.

I’ve been drawn back to this music by its beauty and assurance.  Hawkins seems so much in command of both his instrument and his imagination.  It’s not arrogance but mastery, the grace of a great artist sure of his powers, rather like a magnificent actor or athlete who is sure of what needs to be done, what can be done, and what is possible beyond the expected.

Hawkins displays his marvelous embracing tone — play this music in another room and you might think there is a small orchestra at work or a glorious wordless singer, caressing the melody, pausing to breathe, to reflect.  Nothing is rushed; all is both serene and deep.  And on the faster sections, he offers us a joyous playfulness.

About Hawkins as a “singer”: you can find his recording of LOVE CRIES (which I think is very dear) also on YouTube . . . but for me, the people traveling on the same path are not other instrumentalists but Connee Boswell and Bing Crosby. Listen and consider.

hawkins-autograph

Washington, never given his due, presents a relaxed but never lazy stride piano but we hear an elegant wildness in his embellishments (and a harmonic sophistication) that shows he, like others, had assimilated not only James P. Johnson but also Earl Hines and Art Tatum.  He’s a superb accompanist, but his sparkling playing demands our attention, and his solo passages do not disappoint.

The four sides are a venerable pop / jazz / vaudeville classic, almost a decade old; a newer pop song, a small homage both to James P. Johnson and the folk tradition, and a Hawkins ballad.  I gather that there was some rivalry between Hawkins and Louis, and I imagine that a Hawkins – Washington duet date was a way for Hawkins to say, “I’ve heard Louis and Buck on DEAR OLD SOUTHLAND, and I have my own statement to make to Louis and to anyone who thinks Louis is the sole monarch.”  So SUNNY SIDE, taken at that tempo, was a Louis specialty in 1933 — Taft Jordan recorded his own Louis-impersonation before Louis had made his own record of it.  It would have been impossible for Hawkins, a champion listener / absorber, to not know what Louis was doing in New York and elsewhere.

and

and the recording that, to me, is the gem:

and — in a jaunty, assured mood, here’s Buck:

Orchard Enterprises could find a copy of that track that doesn’t start with a hiccup, although I find such eccentricities nostalgic in small doses, having spent decades listening to dusty and scratched records.

And something about the history of listening, one’s personal history.  When I began to buy records in wallet-depleting seriousness in the very early Seventies, there were so many Coleman Hawkins recordings available — from his early work with Henderson up to the beautiful and touching late recordings (SIRIUS, on Pablo) that I glutted myself.  And predictably I burned out for a long time on Hawkins — hearing the swooping majesty of the Thirties and Forties get more powerful but occasionally almost mechanical in the Fifties and beyond (a similar thing happened, rhythmically, to Don Byas).  I turned with obsessive love to Lester Young and Ben Webster: one who never seemed predictable, one who wrapped me in the softest blanket of loving sounds.  So I confess I bought the Mosaic Hawkins box set on the principle of “You’re going to be sorry when this one goes away,” which is a valid notion . . . but I have been reminding myself of his genius, over and over, from the early work with Mamie Smith to the 1947 I LOVE YOU.  There are many good reasons to love Coleman Hawkins, and, not incidentally, Mosaic Records as well.

Listen, and be startled by beauty.  Or remember the beauty that is there, perhaps overlooked for a moment.

hawkins-sunny-side

May your happiness increase!

VISIONS OF NEW ORLEANS, MADE REAL (Part One): KRIS TOKARSKI, TIM LAUGHLIN, and HAL SMITH at the EVERGREEN JAZZ FESTIVAL (July 31, 2016)

At the 2016 Evergreen Jazz Festival, I didn’t see the double rainbows that were so magnificent at the 2014 celebration — but they were musically evident whenever the Kris Tokarski Trio took the stage.

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

Double rainbow, Evergreen, Colorado, 2014. Photograph by Michael Steinman

The extent of my devotion to this group was evident to anyone who saw me following them around, a happy man, breathing hard because of the altitude and the excitement in equal measure, with video camera and tripod.  They played eight sets; I caught seven.

The Trio is Kris Tokarski, piano; Tim Laughlin, clarinet; Hal Smith, drums. It’s a trio that balances deep seriousness and lighter-than-air play.  Its music is tangible but translucent: you hear the whole but admire the individual voices twining together.  Think of Casals, Thibaud, Cortot.  Simeon, James P., and Pops Foster.  Benny, Teddy, and Dave Tough.  Singing lyricism, floating swing.

And they did the thing I prize most, which is to honor the tradition by being themselves.  Heaven knows each of these players knows the clearly-delineated tradition — on records, in performance with other musicians, studying the Masters in person — but they know (to quote Emerson) that imitation is suicide and (to quote Lester) you must go for yourself.

I was telling a friend about a favorite Roddy Doyle novel, THE VAN, about two Irish friends who open a mobile fish-and-chips business, and their proud slogan is “Today’s chips today,” which is what I think of when I hear these performances: nothing warmed up under heat lamps, nothing stale.  Music that’s truly alive in now.

Here is the first half of this Trios’s closing set of the Festival (I am working backwards), recorded in a church with wonderful acoustics.  Kris chose to make this set a New Orleanian one, with gracious hot results.

JAZZ ME BLUES (for the New Orleans Rhythm Kings, then Bix, then the Bobcats and Condon and and and:

SOMEDAY, SWEETHEART (no doubt a Morton tune, and I come from the school that places a comma in the middle; it makes better dramatic sense):

THAT DA DA STRAIN, from Mamie Smith onwards to us in 2016:

BOGALUSA STRUT, a nod to the Sam Morgan ensemble:

What wonderful music.  You can bet there will be more.

May your happiness increase!

THE GLORIES OF THE RECENT PAST: THREE BY TIM AND CONNIE FROM THE 2014 SAN DIEGO JAZZ FEST

TIM AND CONNIEThe Tim Laughlin – Connie Jones All Stars, a band I was fortunate enough to hear for a few years at the San Diego Jazz Fest, remains in my mind as a transcendent listening experience: a completely melodic group with great sensitivity and a wonderful quiet drive.

Here’s another sample of their magic, from the 2014 Fest — with a romper, a groove, and a pretty ballad — each gloriously realized.  The players are Tim, clarinet; Connie, cornet; Doug Finke, trombone; Chris Dawson, piano; Katie Cavera, guitar; Marty Eggers, string bass; Hal Smith, drums.

that Da Da Strain sheet music

THAT DA DA STRAIN has nothing to do with baby talk or with Marcel Duchamp; like many other songs of the times, it describes a dance that would bring dancers bliss.  Mamie Smith, early on, then Eva Taylor, then the NORK, and on.  Everyone solos here except Marty (who will on the next performance) but I’d call special attention to Hal, who rocks the church:

Here’s another Twenties song (popularized by Paul Whiteman) with an equally onomatopoetic title, THE WANG WANG BLUES.  We’ve looked for deep meaning in that title, but I recall reading somewhere that one of the three people listed on the cover thought that WANG made a good sound once, and twice was even better — so it added a little spice to the conventional she-went-away-and-I’m-so-sad.  As far as I can tell, there was no other intention, not Asiatic or anything else.

Wang_Wang_Blues_Paul_Whiteman_sheet_music_1921

DYKWIMTMNO

Now to move forward to 1947, to a song immediately taken up by Louis Armstrong, Jack Teagarden, and Billie Holiday — connected to the film NEW ORLEANS.  This performance has a surprise in it: Tim talk-sings the lyrics, and it is a heartfelt effusion of feeling for him, because he has a deep connection to his city, immediately evident in his playing and now in his song:

What a band.  How generously they offer splendid subtle music to us.  And I count myself fortunate that I will see Tim (and Kris Tokarski) at the Evergreen Jazz Festival at the end of this month, and then at the Steamboat Stomp in New Orleans in September.

May your happiness increase! 

YOU’LL BE INTRODUCED TO GLORY!

Fats Waller and Alex Hill wrote one of the most irresistibly encouraging songs I know, a sweet spiritual paean to optimism, KEEP A SONG IN YOUR SOUL.  I thought it would be fitting to let you hear as many versions of it as I could find.

SONG IN YOUR SOUL cover

Ellington, with a friendly vocal by Chick Bullock (1931):

Fletcher Henderson, arrangement by Benny Carter (1930):

Red Nichols with Jack Teagarden and Benny Goodman:

Mamie Smith:

Lou Gold and His Orchestra:

SONG IN YOUR SOUL inside

Now, for some of my favorite intersections — living hot musicians playing beautiful swing classics:

Marty Grosz and his Optimists:

Jeff Barnhart and friends at the 2013 Whitley Bay Classic Jazz Party:

Michael Hashim with Claudio Roditi:

Bohem Ragtime Jazz Band with Viktoria Vizin:

Howard Alden and Warren Vache:

Rebecca Kilgore with Hal Smith’s Rhythmakers, featuring Marc Caparone, Bobby Gordon, Chris Dawson:

Another version from Jeff Barnhart and a British band with Nick Ward:

And an earlier version from Marty Grosz and his Philosophers:

SONG IN YOUR SOUL Brunswick Bill Robinson

There is a wonderful 1931 recording of Bill Robinson, singing and tapping.  Here is Bojangles as a marionette, invented and manipulated in the most extraordinary way by Bob Baker.  Initially it might seem perverse, but I came to marvel at it.  If you see this as demeaning, Robinson’s wife liked this and encouraged Baker to keep it in his show:

I was excited to see that so many versions are accessible to us, and perhaps I got carried away.  But I love this song, its message that music can make everything right, and I love the ways that the music itself blossoms in so many contexts.

May your happiness increase!

A SERENADE TO THE GODDESS OF GOOD FORTUNE: THOMAS WINTELER, MORTEN GUNNAR LARSEN, JACOB ULLBERGER, HENRY LEMAIRE at MIKE DURHAM’S WHITLEY BAY CLASSIC JAZZ PARTY (November 8, 2015)

MAMIE SMITH LADY LUCK BLUES

This song — new to me although almost a century old — made a powerful impression on me when Thomas Winteler, the great soprano saxophonist (and clarinetist) performed it at Mike Durham’s Whitley Bay Classic Jazz  Party on November 8, 2015.  Accompanying him were Morten Gunnar Larsen, piano; Jacob Ullberger, guitar; Henry Lemaire, string bass.  It’s a passionate performance:

Here’s the original 1923 recording, with Mamie Smith’s powerful penetrating voice matched by Bechet’s soaring soprano (and Buddy Christian, banjo):

And the first, even more convincing recording, that same year, by Bessie Smith and Fletcher Henderson:

And a 1935 instrumental version with Williams, Cecil Scott, Ed Allen, Jimmy McLin, Cyrus St. Clair, and Willie Williams:

I hope the Goddess smiles on your efforts.

May your happiness increase!

BARBARA DANE’S HOUSE RENT PARTY (Part One): RICHARD HADLOCK, TAMMY HALL, ANGELA WELLMAN, RUTH DAVIES, BILL MAGINNIS (Bothwell Arts Center, July 19, 2014)

Still full of fire at 87, Barbara Dane gave a joyous concert with her Golden Gate Hot Five at the Bothwell Arts Center in Livermore, California, on July 19, 2014. With Barbara are Tammy Hall, piano; Richard Hadlock, soprano saxophone; Angela Wellman, trombone; Ruth Davies, string bass; Bill Maginnis, drums.

BLUES / GOOD MORNING BLUES:

THE WORLD’S JAZZ CRAZY (AND SO AM I):

SUMMERTIME (featuring Richard Hadlock):

I’M SELLIN’ MY PORK CHOPS:

YONDER COMES THE BLUES:

ROSETTA:

WHAT YOU GONNA DO WHEN THERE AIN’T NO JAZZ?:

More to come — and Barbara will be honored in September and October of this year, I am told: details will emerge here. And thanks to Duane Gordon and a dozen other people for making the Bothwell Arts Center rent party a reality and for allowing me to be there to capture it for you.

May your happiness increase!