Tag Archives: Monk Hazel

“BIG EASY BIG BANDS: DAWN AND RISE OF THE JAZZ ORCHESTRA,” by EDDY DETERMEYER

A successful book on jazz has to be accurate, unbiased, and deep.  The writer shouldn’t twist evidence to fit an ideology; (s)he has to base conclusions on solid research; ideally, the book has to contain something new.

Eddy Determeyer’s new book on New Orleans “big bands” is successful in these ways.  I knew his work from his 2009 RHYTHM IS OUR BUSINESS: JIMMIE LUNCEFORD AND THE HARLEM EXPRESS — a beautifully thorough and lively study of that band and its somewhat elusive leader — so I was eager to read BIG EASY BIG BANDS.

BIG EASY BIG BANDS

It’s a fascinating book because it focuses on an aspect of New Orleans jazz and dance music that we knew existed but that apparently never received such loving attention — “orchestras,” groups larger than five or six pieces, relying on written arrangements — from the teens to the present day.

Determeyer’s scope is broad: in this book, one finds Louis Armstrong and Joe Robichaux, Champion Jack Dupree, Aaron Bell, Benny Powell, Ornette Coleman, Papa Celestin, Wallace Davenport, Sam Lee, Ed Blackwell, Dooky Chase, “Mr. Google Eyes,” Papa Jack Laine, and many others.

That a number of those names are less familiar is the point of the book, and testimony to the hard work behind it.  For one thing, Determeyer has shown by his research that there was a vital musical tradition in New Orleans running parallel to the one that most of us acknowledge: street musicians, small improvising bands, larger marching aggregations.  But — so runs the accepted myth — the “big bands” came out of Kansas City, New York, and Chicago, leaving New Orleans as a kind of improvisers’ Eden, both pure and somewhat behind the curve.

Determeyer’s research, from Congo Square to hard bop, shows that there was much more going on: picnics at Milneburg, steamboats and minstrel shows, Sam Morgan’s band, the excursion boats — with Fate Marable in charge (including drummer Monk Hazel’s account of a cutting contest between Emmett Hardy and young Louis (where Louis is reputed to have said, “You is the king!).

One of the strengths of Determeyer’s book is that the reader glides happily from one vivid anecdote to another: Huey Long saws off one leg of a three thousand dollar Steinway grand so that it can get into a club; Joe Robichaux, forty years later, is nearly done in by the erotic / financial insistence of a Japanese prostitute.  Cap’n John Handy sits in with his younger namesake, John Handy, and they have a good time.

It’s a thoroughly entertaining and informative book — stretching from the 1700s in New Orleans to Hurricane Katrina — with a number of surprising photographs, an index, and clear links to research sources.

You can purchase a copy at the Determeyer’s webstore — BIG EASY BIG BANDS is surprisingly affordable.  It will entertain and enlighten . . . what more could we ask?

May your happiness increase.

THE SOUNDS OF NEW ORLEANS (on DISC)

Three recent CDs from the George H. Buck family of labels are unusual sound-pictures of the riches of New Orleans jazz.

GEOFF BULL IN NEW ORLEANS (GHB BCD 203) is a CD reissue of trumpeter Bull’s first American session (October 1977, first issued December 1999).  Although Bull says that his first influences were George Lewis and Bunk Johnson, the music he made at Preservation Hall on this recording is far from what we would expect: light, floating, subtle.

A good deal of this is due to his beautiful playing, at times reminiscent of Bunk at his most lyrical (think of the American Music trios with Don Ewell); Bull can also sound like Marty Marsala or Henry “Red” Allen, but he is his own man, with a relaxed conception.  Making this session even more memorable is clarinetist Raymond Burke, free to roam in the front line alongside Bull.  Bassist James Prevost is a melodic swinger, and the rhythm section is completed by two strong individualists: Sing Miller, piano and vocal*; Cie Frazier, drums.

Rather than choose a program of Preservation Hall favorites, Bull and friends opted for pretty tunes not often played: PECULIAR / DO YOU EVER THINK OF ME? / A PORTER’S LOVE SONG TO A CHAMBERMAID / ONE FOR THE ROAD (a leisurely blues) / I’M NOBODY’S BABY / ALL ALONE / NEVERTHELESS / TUCK ME TO SLEEP IN MY OLD ‘TUCKY HOME* /JEEP’S BLUES / ZERO (I NEVER KNEW WHAT A GAL COULD DO) / THE NIGHT WHEN LOVE WAS BORN* / LET JESUS FIX IT FOR YOU* / HONEY – WHEN I GROW TOO OLD TO DREAM*.The results are sweet thoughtful jazz, conversational music that musicians play for their own pleasure.

My own Geoff Bull tale is musically rewarding: I hadn’t heard him play before encountering him (unbeknownst to me) in an after-hours jam session during the 2010 Whitley Bay International Jazz Festival.  Here’s his performance (with Michael McQuaid’s Late Hour Boys) of MAMA INEZ — Geoff’s rangy, relaxed lyricism is a standout:

Two volumes of rare, previously unheard material from producer Joe Mares’ archives (he was the younger brother of trumpeter Paul) are fascinating, and not only for their rarity (GHB BCD 522 and 530, available separately).  Almost all of the material is in excellent fidelity, and this selection from Mares’ collection — which, when transferred to CD, filed twenty-seven discs — comes from concerts and local clubs as well as radio broadcasts between 1948 and 1953.  Students of New Orleans jazz will be thrilled by new material from their heroes, captured live; others will simply find the music energetic, varied, and refreshing.

Volume One begins with the hilarious HADACOL RAMBLE — with an ensemble vocal chorus — that is somewhere between folk-song, medicine show, down-home comedy, and vaudeville routine advertising the miraculous benefits of Hadacol, a New Orleans patent medicine apparently far more efficacious than Geritol or Serutan.

Other delights on this disc include appearances by Johnny Wiggs, Irving Fazola, Bujie Centobie, Raymond Burke, and Dr. Edmond Souchon.  The repertoire is often familiar, but the musicians play INDIANA (for instance) as if it had not been worn out by decades of bandstand tedium.  The songs are HADACOL RAMBLE / HADACOL RAMBLE (vocal) / I’M GOIN’ HOME / BASIN STREET BLUES / ROYAL GARDEN BLUES / TIN ROOF BLUES / THE WORLD IS WAITING FOR THE SUNRISE / DIPPERMOUTH BLUES / AT THE JAZZ BAND BALL / SAVOY BLUES / THAT’S A PLENTY / HIGH SOCIETY / BASIN STREET BLUES / MUSKRAT RAMBLE / BILL BAILEY — and the collective personnel is Sharkey Bonano, Tony Dalmado, George Hartman, Johnny Wiggs, Pinky Vidalcovich, Irving Fazola, Harry Shields, Raymond Burke, Bujie Centobie, Julian Laine, Emile Christian, Jack Delaney, Roy Zimmerman, Bill Zalik, Burt Peck, Stanley Mendelsohn, Frank Federico, Edmond Souchon, Sherwood Mangiapane, Chink Martin, Arnold Loyocano, Johnny Castaing, Fred King, Roger Johnson, Monk Hazel, Abbie Brunies — a fine mix of veterans and less-familiar players — but everyone solos with fine brio and no one gets lost in the ensemble.

The second volume is equally good — with most of the same players remaining.  (This selection adds Tony Almerico, Tony Costa, and Lester Bouchon.) Three standouts are the fine Stacy-inspired pianist Jeff Riddick (heard on seven selections), inspired work from drummer Ray Bauduc (on five), and Jack Teagarden — whose performance of BASIN STREET BLUES is especially inspired and happy, contrary to my initial expectations.

The songs are CLARINET MARMALADE / ALICE BLUE GOWN / THE WORLD IS WAITING FOR THE SUNRISE /PECULIAR / THE LAND OF DREAMS / INDIANA / SHE’S CRYING FOR ME /MISSOURI TWO BEAT / BASIN STREET BLUES / WHO’S SORRY NOW? / TIN ROOF BLUES / MARIE / HIGH SOCIETY / I’M A DING DONG DADDY / I’M GOIN’ HOME.

If you find yourself tired of routine performances of the “classic” repertoire, these three discs will be a refreshing corrective.

May your happiness increase.