Tag Archives: Marian McPartland

“WONDROUS THINGS”: A CONVERSATION WITH HANK O’NEAL: JUNE 12, 2018 (Part One)

Hank O’Neal and Qi, 2003, by Ian Clifford

Like many of us, I’ve been the recipient of Hank O’Neal‘s wise active generosities for decades.  I greeted each new offering of Chiaroscuro Records (this would have been starting around 1972) with hungry avidity; I went to concerts he produced at The New School; I devoured his prose and delighted in the enterprises he made happen, such as the book EDDIE CONDON’S SCRAPBOOK OF JAZZ.  The very energetic and kind Maggie Condon brought us together in this century, and I came to Hank’s office to chat and then have lunch.  And then Hank agreed to sit for my video camera to talk about a fascinating subject: George Wettling as painter and photographer.  Here are the videos and some artwork from our October 2017 session.  You will notice immediately that Hank, soft-voiced and at his ease, is a splendid raconteur, a storyteller who speaks in full sentences and always knows where he’s going.

I returned this June to ask Hank about his life in the record business — specifically, those Chiaroscuro records and compact discs I treasure, featuring Earl Hines, Teddy Wilson, Dick Wellstood, Kenny Davern, Bobby Hackett, Vic Dickenson, Roy Eldridge, Buck Clayton, Bob Wilber, Willie “the Lion” Smith, Wild Bill Davison, Eddie Condon, Buddy Tate, Don Ewell, Flip Phillips, Joe Venuti, and many others.

If — unthinkable to me — you’ve never heard of Chiaroscuro Records, do us both a favor and visit here — free, streaming twenty-four hours a day.  And how bad can a website be when a photograph shows Bennie Morton and Vic Dickenson in conversation?

Part One, with stories about Zutty Singleton, Earl Hines, E. Howard Hunt, Earl Hines, John Hammond, and others:

Part Two, which touches on Don Ewell, Richard M. Nixon and Spiro Agnew, Eddie Condon, Bobby Hackett, Marian McPartland, Willie “the Lion” Smith and other luminaries:

Part Three, which begins with money matters, then touches on Ruby Braff, Teddy Wilson, Dave McKenna, Buddy Tate, Dicky Wells, and Wild Bill Davison:

Hank shared forty-five minutes more of stories, which will appear in a later post.

May your happiness increase!

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WARM AND SWINGING: AN EVENING WITH BILL CROW and FLIP PETERS (PROJECT 142: January 28, 2016)

BILL CROW

On January 28, 2016, I had the rare privilege of seeing / hearing / recording a duo session (under the aegis of project142) featuring the eminent Bill Crow — at 88 still a peerless string bassist, engaging raconteur, and surprisingly effective singer — and his friend and colleague, guitarist / singer Flip Peters.  (Thanks to Scot Albertson for making this all possible!)

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Here, in six parts, is that evening, one I won’t ever forget for swing, elegance, humor, feeling, and the joy of being alive, the joy of playing music.  And here is what I posted about the evening as prelude — don’t miss Flip’s beautiful words about Bill.

Bill describes his childhood immersion with music — all the way up to hearing Nat Cole for the first time:

Bill’s sings and plays SWEET LORRAINE for Nat Cole; his arrival in New York, memories of Birdland, Lester Young and Jo Jones, of Charlie Parker and Stan Getz:

More about Stan Getz, Claude Thornhill, Terry Gibbs, and the Detroit players: Billy Mitchell, Paul Chambers, Curtis Fuller (with a wicked cameo by Miles Davis) — then Bill and Flip play YARDBIRD SUITE:

Working with Marian McPartland and with Gerry Mulligan, and a swinging vocal from Flip on NICE WORK IF YOU CAN GET IT:

Studying with Fred Zimmerman, a concert with Duke Ellington, then (in tribute to Duke) ROSE ROOM / IN A MELLOTONE:

Bill on his writing career, tales of Zoot Sims and Al Cohn, and a touching bonus, his vocal rendition of a forgotten 1936 swing tune, SING, BABY, SING:

I hope some person or organization, seeing these videos, says, “Let’s have Bill and Flip spend an evening with us!”  You know — for sure — that they have more music to offer and certainly more stories.  And their rich musical intimacy is wondrous.  To learn more about Bill, visit www.billcrowbass.com/.  To find out about booking the duo, contact Flip at flippeters@gmail.com or call him at 973-809-7149.  I hope to be able to attend the duo’s next recital: watch the videos and you will know why, quickly.

May your happiness increase!

HE’S JUST OUR BILL: AN EVENING WITH BILL CROW and FLIP PETERS (January 28, 2016)

BILL CROW

Bill Crow is one of the finest jazz string bassists ever.  But don’t take my word for it — hear his recordings with Marian McPartland, Jo Jones, Zoot Sims, Stan Getz, Gerry Mulligan, Al Haig, Jimmy Raney, Hank Jones, Jimmy McPartland, Manny Albam, Art  Farmer, Annie Ross, Jimmy Cleveland, Mose Allison, Benny Goodman, Cliff Leeman, Pee Wee Russell, Joe Morello, Clark Terry, Ben Webster, Jackie and Roy, Bob Wilber, Ruby Braff, Eddie Bert, Joe Cohn, Mark Shane, Jay McShann, Al Grey, Barbara Lea, Claude Williamson, Spike Robinson, and two dozen others.

Here’s Bill, vocalizing and playing, with guitarist Flip Peters on SWEET LORRAINE:

And if you notice that many of the names on that list are no longer active, don’t make Bill out to be a museum piece.  I’ve heard him swing out lyrically with Marty Napoleon and Ray Mosca; I’ve heard him lift the room when he sat in with the EarRegulars, and he plays just as beautifully on JUST A CLOSER WALK WITH THEE as he does on a more intricate modern piece.

Bill Crow - From Birdland to Broadway

Bill is also a splendid raconteur — someone who not only has a million stories, but knows how to tell them and makes the experience enjoyable.  You should know of his book JAZZ ANECDOTES, which grew into a second volume, and his FROM BIRDLAND TO BROADWAY, a charmingly casual but never meandering autobiography.  (Like  his colleague and friend Milt Hinton, Bill is also a wonderful photographer.)

And did I mention that Bill recently turned 88?

I don’t know which of these three offerings of evidence should take precedence, but put them all together and they are excellent reasons to join in the musical pleasures offered this Thursday, January 28, 2016 — details below:

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To reiterate, thanks to www.project142.org

Thurs. – Jan. 28, 2016 – 8:00pm – 9:30 pm. – The DiMenna Center for Classical Music – NYC – Bill Crow Project 142 Concert with Flip Peters – 450 West 37th St. (between 9th & 10th Aves.) – Benzaquen Hall (elevator to 1st Floor) – Doors open @ 7:30p. – $15.00 Concert Charge @ door.

I asked the delightful guitarist / singer Flip Peters to speak about his relationship with Bill:

I first became aware of Bill Crow in the early 1960s when as a young jazz fan I heard him with Gerry Mulligan. I remember around that time reading a quip in Down Beat about bass players with bird names, Bill Crow, Gary Peacock, and Steve Swallow.

In the early 1980s, I began to read Bill’s column, “The Band Room,” in the Local 802 paper, Allegro. That column is a highlight and I turn to it first each month when I get that paper. I received a copy of his Jazz Anecdotes as a Christmas present a few years back and thoroughly enjoyed it.

I first played gigs with Bill in 2014. The first one we played on together was a Gatsby-themed party with Marti Sweet’s Sweet Music (www.sweetmusic.us). On that gig Bill doubled on bass and tuba and I was struck by his mastery of the tuba. After that we played private party gigs and some Dixieland gigs with trumpeter Tom Keegan. Then in 2015, I played on gigs with Bill in Rio Clemente’s band (www.rioclemente.com). On one of those gigs, Bill asked me to join him at Shanghai Jazz where he had been hired to speak and play for the Jersey Jazz Society. After that gig I decided that it would be a good idea to present this to a wider audience. Anyone who loves jazz would be fascinated to hear Bill recount some of his many stories, and of course to hear him play.

I am honored and thrilled to play music with Bill. He is a rare person and musician. Not only is he a virtuoso on his instruments but he is a true gentleman. When you are in his presence you can’t help but feel comfortable. When he relates his experiences, everyone present feels as though they are sharing those moments with him. And he continues to play at an extremely high level. He has truly stayed at the top of his game for many years. He maintains a busy playing schedule and plays with the energy of a young musician who possesses the experience of an elder statesman.

You can find out more about Bill at his website but I politely urge you to put the phone down, back away from the computer, and join us on Thursday night to hear Bill and Flip, in music and story.  Evenings like this are rare.

May your happiness increase!

STRENGTH, POISE, FEELING: ROBERTA PIKET, “EMANATION”

In a world where we are asked to pretend that the hologram is human, pianist / composer Roberta Piket’s music is so refreshing for its integrity and honesty. I feel that she approaches her music with that most winning openness: “Let me see what can come of it,” and the results are elating.  She has power but she isn’t angry at the keyboard or at us.  Rather, hers is a singular balance between toughness and gentleness: her music peers into the darkness without getting downtrodden and brings back light from surprising angles.

Her playing is original without being self-consciously “innovative,” and it isn’t a catalogue of familiar gestures, audience-pleasing bobs and weaves . . . there is nothing formulaic in her art.  Honoring her and our Ancestors, she pays them the best tribute, which is to sound like herself.

Her art — deep and subtle — is wonderfully on display on her new solo CD, which is (happily for us) her second solo exploration, EMANATION.

Roberta-Piket-Emanation-Cover-300x268Roberta’s chosen repertoire is for the most part recognizable — not an ego-display of one “original” after another) but she isn’t trapped by the Past.  Her evocations of Monk, Romberg, Gillespie, Arthur Schwartz, Kern, McPartland, and Hancock are both reassuring and playfully lit from within. One could play this CD for someone who “doesn’t like jazz” without causing trauma, but it is galaxies away from Easy Listening Piano For People Who Aren’t Listening.

Her two originals, the wistful SAYING GOODBYE and the sweetly curious EMANATION, are full of feeling — novellas of sound.  The CD closes with her variations on a Chopin theme . . . both a loving bow to the source and a gentle statement of her own identities.  The CD — beautifully recorded, with wonderful notes by the eminent Richie Beirach — is a fifty-minute journey into other worlds, both nearby and tantalizingly far-off.

Visit here for sound samples and ordering information and here to learn more about Roberta, her music, and upcoming gigs.

Because I know my audience is honest and trustworthy, I offer a boon for those who check out the CD and Roberta’s site (I’ll know!): music from a divine duo concert by Roberta and Lena Bloch, from February of this year, at The Drawing Room — here.  Gorgeous searching music from two modern masters.  (Learn more about Lena here.  Music and musicians like Roberta and Lena give me hope.

May your happiness increase!

“GEORGE WETTLING, MARCH 1953”

That’s written on the back of this snapshot — originally taken by drummer Walt Gifford, later held by jazz enthusiast Joe Boughton:

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I am assuming that it was taken in the Boston area, but Wettling is the main attraction.  In the great tradition, Wettling played drums for the band — caring more for that than for any extended solo, although his four-bar breaks at the end of Eddie Condon recordings (Commodore, Decca, and Columbia) are justly famous.  He wasn’t as dramatic as some of his more celebrated peers, but any group that had Wettling in the rhythm section could relax, secure that the tempo would be steady, that every accent or sound would make sense as a complementary part of the whole.

Here are two samples of George at work — atypically visible as well — along with Wild Bill Davison, Billy Butterfield, Cutty Cutshall, Vic Dickenson, Ed Hall, Willie “the Lion” Smith, Al Hall, and Eddie himself — from a 1964 television program:

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and — nearly a quarter-century earlier, sounds only:

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If you follow the recordings he left behind — with Bunny Berigan, Artie Shaw, Benny Goodman, Bud Freeman, Fats Waller, Joe Sullivan, Hot Lips Page, Lou McGarity, Pee Wee Russell, Bobby Hackett, Lee Wiley, Louis Armstrong, Chu Berry, Teddy Wilson, Muggsy Spanier, Jess Stacy, Frank Teschemacher, Frank Melrose, Boyce Brown, Paul Mares, Omer Simeon, Wingy Manone, Jimmy McPartland, Joe Marsala, Red Norvo, Mildred Bailey, Pete Brown, Jack Teagarden, Joe Bushkin, Willie “the Lion” Smith, Paul Whiteman, Coleman Hawkins, Max Kaminsky, Danny Polo, Herman Chittison, Joe Thomas, Mezz Mezzrow, Benny Carter, Miff Mole, Brad Gowans, Marty Marsala, George Brunis, Ed Hall, Wild Bill Davison, Rod Cless, James P. Johnson, Yank Lawson, Jerry Jerome, Billy Butterfield, Una Mae Carlisle, Dick Cary, Benny Morton, Jonah Jones, Errol Garner, Billie Holiday, Bujie Centobie, Red McKenzie, Chuck Wayne, Lucky Thompson, Ella Fitzgerald, Jo Stafford, Martha Tilton, Connee Boswell, Sidney Bechet, Frank Newton, Bing Crosby, Art Hodes, Doc Evans, Bob Wilber, Tony Parenti, Charlie Parker, Ralph Sutton, Barbara Lea, Vic Dickenson, Ruby Braff, Kenny Kersey, Frank Signorelli, Milt Hinton, George Duvivier, Urbie Green, Marian McPartland, Stuff Smith, Big Joe Turner, Buck Clayton, Claude Hopkins, Nat Pierce, Jimmy Jones, Marty Napoleon, Buster Bailey, Shorty Baker, Tyree Glenn, Kenny Davern, and many others — you will always hear rewarding music.

May your happiness increase!

IN A RIGHTEOUS GROOVE: “THE GIRLS IN THE BAND”

I did not get to see the film THE GIRLS IN THE BAND when it had a New York screening in April 2013, but thanks to the Beloved, we saw it last night on the other coast.  It is a superb film, with much to say to everyone: you don’t have to be a jazz scholar or a student of women’s history to be pleased by the music, enlightened and heartened by the courageous and insightful women portrayed in the film, and appalled by the world in which they struggled for equality and visibility.

The music known as jazz — however you choose to define it — has cherished its reputation as free-wheeling, radical in its approach to established texts.  It  has presented itself as music played by courageous innovators for people who were willing to go beyond what was immediately accessible, aimed at the widest audience.  Much of that remains true. So it is an unpleasant irony that some people associated with jazz — including the musicians themselves — have excluded and derided artists who didn’t fit their narrow criteria for acceptance. The wrong color? Ethnicity? Sexual preference? Gender? We have made some progress in believing that you need not be an African-American from New Orleans to be “authentic,” but jazz has long been the self-declared playground of men.

Women have been accepted on the bandstand for more than the last century — as singers whose job was to sound pretty and look prettier.

But women instrumentalists and improvisers have only recently begun to gain anything but a grudging acceptance from their male peers. Lovie Austin, Dolly Jones, Mary Lou Williams, Marian McPartland, Mary Osborne, Marjorie Hyams, Melba Liston, and Vi Redd come to mind as twentieth-century pioneers, facing discrimination and rejection. “Can she play?” should have been the only question, but it often was never asked. And “all-women” bands, no matter how compelling their music, were often seen as freakish, the improvising equivalent of Dr. Johnson’s lady preacher. Sherrie Maricle and others might tell us that the situation is improving . . . but some barriers still remain.

THE GIRLS IN THE BAND, directed by Judy Chaikin and produced by Nancy Kissock, is a concise yet powerful documentary — eighty minutes of music, reportage, and vivid film memoir taken from over three hundred hours of material. It isn’t a history as such, tied to chronology, nor is it pure polemic. It is human and humane: we hear the stories of women who, early on, were intoxicated by the music and the desire to create it, then made their way into public performance — overcoming the obstacles put in their way by everyone who had a stake in keeping things the way they were: male musicians, critics, record producers, clubowners, concert promoters, and more.

Here’s the trailer, which can convey the film’s exuberance better than I can hope to:

and a second one, also worth watching:

I have to say that I am a very reluctant movie-goer. I get restless quickly; I am impatient with films that are too simple or too elusive; when a film is concerned with a subject I know well, the slightest error turns me chilly.  I thoroughly admired and enjoyed THE GIRLS IN THE BAND and encourage JAZZ LIVES readers to seek it out. The pioneering women, candid and self-aware yet unassuming, telling their stories, will stick with you long after the final credits have rolled.

The Beloved was appalled at the women’s history she had not known and entranced by the sound of Melba Liston’s trombone on a ballad. I made a commitment of my own: I bought a THE GIRLS IN THE BAND t-shirt and will add it to my fashion repertoire. Here is the film’s Facebook page.

And in the discussion that ensued, this point was made — I offer it in my own way. When we read in the popular press that a restaurant chain does not serve or employ people of a certain ethnicity or sexual orientation or religious belief, we are outraged and we do not eat there anymore.  “There are laws against such things,” we say proudly.

But when there is evidence of gender bigotry in jazz, many of us do not even see it, nor do we protest. I would not insist that a band in a club be comprised as if by census, but we should notice when the faculty at jazz studies programs is uniformly male. When a jazz camp has no women as instructors, is it because there are no competent women players? Where are the women in the Jazz at Lincoln Center Orchestra?  The list is longer than I could write here.

The late Carline Ray, a shining light of the film, reminds us that if we heard a man or a woman playing from behind a curtain, we could not correctly identify the player’s gender.  Where are the “blind auditions” now common practice in symphony orchestras?

One of the ways to learn more about this chapter of history — not just women’s history — is to see THE GIRLS IN THE BAND and to encourage others to do so.  And, just incidentally, you will have witnessed a real accomplishment in film-making.

May your happiness increase!

TOMMY THUNEN, SEEN (THANKS TO MARK CANTOR)

The very diligent film historian Mark Cantor reminded me that unsung trumpeter Tommy Thunen (chronicled here)can be seen on film in the 1929 Vitaphone short, RED NICHOLS AND HIS FIVE PENNIES.  Understandably, much has been made of the short film for its hot qualities — Pee Wee Russell soloing, two vocals from Eddie Condon — but at the two-minute mark, Nichols and two other trumpeters (John Egan to his right, Thunen to his left) play an a cappella chorus of WHISPERING:

This is the sort of research we’ve relied on Mark for — and his generosity is legendary.  But you don’t have to be in the inner circle of jazz film collectors to enjoy his offerings.  In January, March, and May 2014, Mark will be offering his annual film programs at the Jewish Community Center of San Francisco at 3200 California Street, (415) 292-1200.  We attended last year and found the program and Mark both equally delightful and informative. You can read more about Mark here.

January 25 – Treasures From the Archive – a potpourri of rarities from the collection.  “Join us for an evening of film clips showcasing some of the finest names in big band and small combo jazz, including many never before screened at the JCCSF. Among the artists to be featured are Duke Ellington, Count Basie, Shorty Rogers, Buddy Rich and Thelonious Monk.”

March 22 – Showtime at the Apollo – a compilation of artists and bands that appeared at the Apollo Theater in Harlem. “The stage shows at the Apollo had it all: jazz bands and combos, vocalists, R&B, dance and comedy routines. Join us to watch clips of Dizzy Gillespie and his Orchestra, Louis Jordan and his Tympany Five, “Moms” Mabley, The Berry Brothers, Billie Holiday, Ella Fitzgerald and many more.”

May 3 – Broadway to Hollywood – jazz performances based on music from the Broadway and Hollywood musicals.  “A lot of the repertoire of classic jazz can be largely traced to the Broadway stage and Hollywood musical. Join us for an evening of film featuring jazz performances of compositions by the Gershwins, Rodgers and Hart, Cole Porter, Irving Berlin, Johnny Mercer and many more.”

Mark says he has been digging through his treasures for these three programs and expects to offer performances by Joe Venuti, “Red” Allen All Stars, Billie Holiday, Coleman Hawkins, Thelonious Monk, Thelma White, Buddy Rich, Bob Crosby’s Bobcats, Stan Getz, Billy Eckstine, Yusef Lateef. John Coltrane. Nat “King” Cole, Marian McPartland . . .

The programs begin at 8 PM; tickets for non-members are $25.  Details and ordering here.

May your happiness increase!