Tag Archives: Marshall Wood

MICK CARLON RECALLS RUBY BRAFF, BEAUTIFULLY

Reprinted from JAZZ TIMES, May 2011:

05/04/11 • By Mick Carlon

Ruby Braff: The Beauty in Music

It’s 1999 and I’m watching a PBS special on Mark Twain. The phone rings. It’s Ruby Braff. “Are you watching the show about Twain?” he asks. “It’s superb. The man was one of our nation’s greatest geniuses.”

I agree. “Too bad Twain didn’t live to be one hundred,” I say.

“Why?” asks Ruby.

“Because then he could’ve heard Louis Armstrong’s Hot 5 and Hot 7 recordings and we’d have Twain’s reaction to them.”

I hear an intake of breath. “Why the (bleep) would you care about that? Why would anyone want to know how Mark Twain felt about Pops? What a (bleeping) stupid thing to say.”

Not taking Ruby’s insults personally (for some reason, I never did), I reply, “Well, I think it would have been interesting.”

“That’s because you’re a (bleep),” and, once again, Ruby Braff hangs up on me.

For the past quarter century, I’ve lived on Cape Cod. Believe it or not, this sandy peninsula, about an hour south of Boston, was once a garden of jazz delights. Although his fans in Japan and Denmark stood in line to buy tickets to his gigs, Dave McKenna’s local gigs were ridiculously easy to attend. My wife and I would simply stroll into Hyannis’ Road House Café to delight in the world-class sounds of Dave on his “saloon piano”—for free.

And we could hear Ruby Braff, playing the most gorgeous cornet in the world–with a sound redolent of summer dusks and autumn wood-smoke—often with McKenna and bassist Marshall Wood.

I met Ruby through Jack Bradley, his old friend who had once actually saved Ruby’s life. In the depths of a three day coma, Ruby was responding to nothing and nobody. Deciding to visit Ruby at Cape Cod Hospital, Jack brought along a cassette player and a Louis Armstrong tape. He pressed play and the sound of Pops playing “I’m In the Mood For Love” filled the hospital room. Amazingly, Ruby’s eyelids began to flutter. The color returned to his cheeks. A few moments later, his eyes opened. “Hey,” he said in his Beantown Dead End Kid voice, “that’s not the 1935 version.”

“Nope,” replied Jack. “It’s from ’38—Pops with the Dorsey band.”

A few minutes later, now fully awake, Ruby said, “You know, that’s the second time Pops saved my life.”

“When was the first?” asked Jack.

“The first time I heard him.”

Ruby, of course, was a graduate of the Louis Armstrong School of Music. “It doesn’t matter what instrument you play—you’re supposed to be listening to Louis Armstrong. It doesn’t matter whether you write, sing, dance, or anything. If you haven’t listened to Louis Armstrong, there’s nothing, nothing going to come out of your playing that will ever please me. I can tell you that.”

And Ruby would tell you. When I once mentioned a young hot-shot trumpeter, Ruby scoffed, “He can’t play (beep). And you know why? He’s never listened to Louis. I can tell.”

However, one time the young hot-shot trumpeter I admired was Ruby himself. “I love those albums you made with Dave McKenna in 1956,” I said.

“What? Are you nuts?” Ruby thundered. “Do you have ears? I couldn’t play worth crap back then. Only an ignorant fool would like that playing. Dave’s the only reason to listen to those pieces of (beep). I thought you had more sense than that!”

I guess I didn’t. I stand by my high opinion of Ruby’s 1950s music. But his later work, recorded when he was often breathless with emphysema, is among the greatest jazz of the past thirty years: On the Arbors label: Variety is the Spice of Braff; Being With You (Ruby’s lovely Pops tribute); Live at the Regattabar; Music for the Still of the Night; Controlled Nonchalance at the Regattabar I and II (with Dave McKenna and Scott Hamilton). On the Concord label: Ruby Braff and His New England Song Hounds I and II (once again with McKenna and Hamilton, along with Howard Alden; Frank Tate; and the immortal Alan Dawson). I also have big eyes for The Ruby Braff/George Barnes Quartet Live at the New School album (Chiaroscuro) and (sorry, Ruby!) his 1956 duets with Ellis Larkins (Vanguard).

My friend rarely had a good word to say about anyone—myself included—but I never heard him say anything negative about a fellow he had known since boyhood in Roxbury: Nat Hentoff. “That man,” said Ruby one evening, “has never written one phony word in his life. God knows how many bum notes I’ve hit over the years—but as a writer, Nat has never hit a bum note.”

When illness struck again, in the autumn of 2002, I visited Ruby often at Cape Cod Hospital. Strangely, amazingly, he was now always kind, with never a negative word for anyone. It worried me. “I don’t think I’ll ever play my horn again,” he said one rainy November afternoon. I kept quiet. With Ruby, phony optimism would’ve rung false—a bum note.

He died on February 9, 2003, a month short of his 76th birthday. Cape Cod has been one quiet place since.

I’ll let Ruby himself take one last word-solo. In 1979 he told Wayne Enstice: “I believe in beauty, and there’s got to be nothing but beauty in music. And if you’re not playing beautiful music that takes people to another plane, to a delicious place that they can’t ordinarily get to in their own lives, then you’re producing nothing. I want delicious sounds…that’ll take me away on a dream.”

Thanks, Ruby. You gave the world countless such delicious sounds.

P.S.  I hope that neither JAZZ TIMES nor Mick Carlon mind my reprinting this delicious piece that catches Ruby whole.  I, too, loved his music and followed him around with a camera (once) and a cassette recorder (many times) to be closer to the source of that wonderful sound.  And who’s Mick Carlon, aside from being a good friend and a fine writer?

Mick Carlon is a 27- year veteran public school teacher.  His young adult novel, Riding on Duke’s Train, starring Duke Ellington and His Famous Orchestra, will be published in December by Leapfrog Press.  Says Nat Hentoff: “I knew Duke Ellington for over 25 years.  He was my mentor.  The Ellington in Carlon’s book is the man I knew.”  In 2014, Leapfrog will publish Carlon’s young adult novel on Louis Armstrong, Little Fred and Louis.  Carlon lives on Cape Cod with his wife Lisa and his daughters, Hannah and Sarah.

“JUST DO SOMETING BEAUTIFUL”: NEW MUSIC from RUBY BRAFF

Although the singular cornetist Ruby Braff has been gone since 2003, his music lives on.

It seems particularly alive on the previously unissued 1998 New York sessions that have just been released on Arbors ARCD 19426 as OUR LOVE IS HERE TO STAY.

Four extended tracks (LINGER AWHILE, ALL MY LIFE, DAY IN, DAY OUT, and I’M COMIN’ VIRGINIA) feature Ruby with Chuck Wilson (alto and clarinet), Howard Alden, Jon Wheatley (guitars), Marshall Wood (bass), Jim Gwin (drums).  I KNOW THAT YOU KNOW adds Scott Robinson (tenor) to this; ‘DEED I DO, CLEAR WATER (Ruby’s composition on LOVE ME OR LEAVE ME CHANGES), a medley of WHAT IS THERE TO SAY and OUR LOVE IS HERE TO STAY, and a medium-slow DARKTOWN STRUTTERS’ BALL add Jon-Erik Kellso (trumpet) as well.

Ruby’s playing is superb, free from some of the irritable-sounding harmonic “adventurousness” he embarked on when he felt restless.  Here he is among dear friends from Boston and New York, and his  comfort is tangible.

Although Ruby never played a phrase that didn’t have Louis standing in back of it, the atmosphere here is so thoroughly Basie-inflected that I was always waiting for a piano chorus.  Long, loping lines at swinging tempos, gently intense melodic embellishment . . . a celebration of swing, with riffs blossoming behind soloists, Ruby shaping performances as only he could.

Only those who saw Ruby in person or on video will understand that he was perhaps the finest on-the-spot arranger — a three-dimensional instantaneous musical architest — that most of us will ever know.

The rhythm section is a model of generous, seamless subtlety — and the soloists float over it.  Ruby is both passionate and amused (you hear his playfulness in the neat quotes and riffs; you hear his soul in his melodic lines).  Scott Robinson’s tenor is based in Lester but with Scott’s inimitable sideways manner of perceiving the world; Chuck Wilson’s lemony sound suggests Pete Brown and Lester on clarinet, and then there’s Kellso.

Ruby is one of his heroes but Jon-Erik is always his own man, his sound shifting from deep and pretty to growly in an Eldridge mode.  Ruby didn’t like sharing the stage with other trumpeters and often did it under duress, but when he did (with Roy on a wonderful RCA session, EASY NOW) he sounded exquisite.  Both Ruby and Jon-Erik sound as if they are thriving on the propinquity, the emotional teamwork.

These sessions have the freedom and inventiveness of Ruby’s best work, and the CD is a rare gift (made even better by attentive, loving notes from Ruby’s bio-discographer Tom Hustad, whose BORN TO PLAY is scheduled to be published this year.

My title comes from something Ruby said at the second session: it could have been his life’s motto.

You’ll want this CD.