It’s not often that I receive a new CD on Monday, play it on Monday and Tuesday, and sit down to write about it on Wednesday, but the new reissue (I know, illogical but true) of a March 1968 session led by Wild Bill Davison, issued on Delmark Records, has inspired me. The session was originally recorded by John Norris for Sackville Records, and the band — for once — deserved the title, with Wild Bill, cornet; Benny Morton, trombone; Herb Hall, clarinet; Claude Hopkins, piano; Arvell Shaw, string bass; Buzzy Drootin, drums.
What makes this CD so endearing is not a whole host of rare / previously unissued material — although there is one new performance and one unissued take. No, it is the band, the music, and the repertoire.
Although Davison was praised by none other than Ruby Braff, who said that the pride of Defiance, Ohio, had “drama,” I found Davison’s appeal limited in his later years. He passionately got up and played for all he was worth — he never seemed to coast — but his solos were often set-pieces, established in 1947 and played verbatim night after night. I recall seeing him in New York City in the Seventies, and it was rather like watching a polished stand-up comedian do identical material. All one could say was, “Well, Bill’s timing tonight is off,” or “He’s on fire tonight!” but he rarely surprised. But on this disc he seems inspired sufficiently by his colleagues to venture from his time-tested solos, and the result often made me look up and think, “I never heard him play that before,” which, for me, is one of the great pleasures of improvisation.
Herb Hall sounds lovely and liquid; Arvell Shaw is more than reliable. Claude Hopkins was never captured enough on record, so his particular version of stride — polite but classically perfect — is a delight, in solo and in ensemble.
But this CD is unusually valuable for the opportunity to hear Buzzy Drootin and Benny Morton — players held dear by their colleagues but rarely given any opportunity to lead sessions. I saw Buzzy in person many times in the early Seventies, and I fear I did not appreciate him sufficiently. But now, heard afresh, how arresting he sounds! Yes, there are echoes of Catlett in his four-bar breaks, but he is entirely his own man with his own sound-galaxy and his own way of thinking, as individualistic as Cliff Leeman. Instantly recognizable, always propulsive, ever engaged. And Benny Morton, who recorded with a wide range of players and singers over a half-century (appearing live with Louis, Bird, and Benny Carter!) is in peerless form, his eloquent phrasing, his yearning tone, a great boon. Sadly, Morton, a terribly modest man, doesn’t have a solo feature (which might have been WITHOUT A SONG).
The CD isn’t perfect. A few of the solo features sound overdone and the band is, for me, a little too cleanly miked (each instrument rings through, as if there were six separate tracks rather than one — the perils of modern recording and the horror of “leakage”), but it is a rewarding hour-plus.
And it made me think, which is always an enjoyable unexpected benefit — about the repertoire. Consider this list: STRUTTIN’ WITH SOME BARBECUE / DARDANELLA / BLACK AND BLUE (two takes) / I WOULD DO ANYTHING FOR YOU / I FOUND A NEW BABY / BLUE AGAIN / I SURRENDER, DEAR / YESTERDAYS / THEM THERE EYES / THREE LITTLE WORDS. What struck me about that assortment is that most of the band’s choices were “popular songs” known to the larger audience rather than “jazz favorites” known only to the cognoscenti.
Repertoire in jazz has often served artists as ways to define themselves and their allegiances. If you are a young singer or player, and you offer a performance (or a CD) of your original compositions, you are in effect saying, “Take me seriously as a composer; I have ideas and feelings to offer you that aren’t Cole Porter, Shelton Brooks, or Ornette Coleman.”
Some players and singers use repertoire as loving homage: Bix Beiderbecke played AT THE JAZZ BAND BALL because his heroes, the Original Dixieland Jazz Band, had written and recorded it; Eddie Condon and his friends played the song because it was a good one but also as a loving bow to Bix; players in this century offer it as an extension of the Condon tradition. In any jazz club or festival, one can hear people playing the music of Louis, Bird, Hawkins, or a hundred others. Even if one is playing the blues or a song built on familiar changes, the choice of the melodic line superimposed on top says, “Here’s to Don Byas. Here’s to Roy Eldridge,” and so on.
But this CD reminds me of something Davison told an interviewer. When he came to New York City in 1943, he was asked by Commodore Records’ saintly founder Milt Gabler to make 12″ 78s of “classic jazz tunes,” for instance PANAMA, THAT’S A PLENTY, and more. Davison remembered that these songs were not what he was used to playing — for audiences that had come to hear jazz — in Chicago and Milwaukee, but they had played popular songs of the day. And when I heard him in New York, he was most likely to play AS LONG AS I LIVE, SUNDAY, or THEM THERE EYES. And no one, sitting in the audience, demanded their money back because he wasn’t playing “authentic” jazz.
What the moral of all this is I can’t say. Perhaps it’s only that I would like to hear Mainstream / traditional ensembles remember the treasures of popular song. There are worlds to be explored beyond the same two dozen favorites — favorites often chosen as markers of ideology / regional or stylistic pride (BIG BEAR STOMP and RIVERBOAT SHUFFLE). I’d love to hear such bands play THERE’S A SMALL HOTEL, YOU CALL IT MADNESS, or WHERE THE BLUE OF THE NIGHT MEETS THE GOLD OF THE DAY.
I offer musical evidence:
Wild Bill paying tribute to Louis at the 1970 Newport Jazz Festival by playing THEM THERE EYES, supported by Dave McKenna, Larry Ridley, Oliver Jackson (there is an unsubtle edit in the film, probably removing a Ridley solo, alas) with even more beautiful — although subtle — backing from Ray Nance, Bobby Hackett, Benny Morton, and Tyree Glenn. “Indecent exposure” for sure.
May your happiness increase!