Tag Archives: Pee Wee Russell

“MEN AT WORK,” HOT LIPS PAGE, EARLY (and LOST) TELEVISION

The singular musician and personality Oran Thaddeus “Hot Lips” Page was born today, January 27, in 1908.  Alas, he moved to another neighborhood on November 5, 1954.  Happily, he left behind a good deal of evidence: soaring heroic trumpet solos, wonderful vocals.  He remains an inspiring presence who comes through whole on record.  I don’t ordinarily celebrate birthdays on JAZZ LIVES, but he deserves to be remembered and celebrated.

Here’s Lips — leading the way as only he could — at a concert on February 22, 1947, at the Caravan Hall at 110 East 59th Street in New York City, with Charlie Castaldo, trombone; Tony Parenti, clarinet; Joe Sullivan, piano; Danny Barker, guitar; Pops Foster, string bass; Charlie Minogue, drums.  Beautifully recorded as well:

Music from three of these Caravan Hall concerts has been issued on Jazzology Records (including performances by Bunk Johnson, Muggsy Spanier, James P. Johnson, Albert Nicholas, Baby Dodds, and others).  The CD notes do not explain what saintly benefactor(s) recorded the concerts, but apparently the evenings were structured as friendly battles between two groups of musicians: established African-Americans, often from New Orleans, and a band of young Caucasians, some of whom went on to be famous, others remaining obscure — Castaldo, who worked with Goodman and Shaw . . .was he Lee Castle’s brother?  and Minogue here).

I think that’s a mighty helping — and accurate depiction — of the energies Lips Page brought to music and to performance.

What follows is in celebration not only of Lips, but of Dr. Scott E. Brown, the James P. Johnson scholar.  The second edition of his JAMES P. JOHNSON: A CASE OF MISTAKEN IDENTITY is something I eagerly look forward to.

Unlike the eight minutes above, what follows is silent, static, tantalizing (made available by the resourceful Jean-Marie Juif):

That’s a CBS television camera; the three stylishly-dressed men are Lips; Zutty Singleton, drums; James P. Johnson, piano.  This is a less-reproduced photograph from the same occasion: one that is currently eluding me shows Lips playing, his body bent over Zutty’s drum kit, if memory is accurate.

Jean-Marie also opened the door to new information.  There were two television shows — not preserved — by what Getty Images calls “Eddie Condons Jazzopators,” a name that would have made Eddie recoil and then lie down in his version of a Victorian swoon.  CBS broadcast a variety show, MEN AT WORK, and Eddie Condon brought a band twice: these photographs are from April 16, 1942; the second show was May 14.  Here‘s the sketchy IMDb link, and here tells who appeared on almost all of the sixteen episodes.  Of greatest interest to us would be the appearance of “jazz harpist Adele Girard” on October 20, 1941, on a show that also included Professor Nelson’s Boxing Cats.

This description comes from tvobscurities.com and I take it as reasonably accurate, even though it makes no mention of Eddie and calls Robert Alda a “comic”: Beginning July 7th, 1941, WCBW broadcast an hour-long variety show called Men at Work every Monday from 8:30-9:30PM (starting with the December 22nd, 1941 broadcast, the show was cut down to 55 minutes; a five-minute news program was shown from 9:25-9:30PM).

Worthington Minor, the CBS director-in-chief of television, was in charge of Men at Work. Each program took two hours to rehearse and practice. During any given show, viewers might watch singers, dancers, bicyclists, acrobats, roller skaters, mimics, comics, toe dancers, boxing cats, puppeteers, marionettes, Indian dancers, ballroom dancers, comic cellists and more.

Some of the acts seen on the program included Lou and Dorothy Rowlands (roller skaters), Hildegarde Halliday (mimic), the Two Deweys (jugglers), Hank Henry and Robert Alda (comics), Ruth Page and Bentley Stone (dancers), Burl Ives (singer), Reid and Mack (acrobats) and Libby and Betty (bicyclists), to name but a few. Men at Work was last seen on Monday, January 26th, 1942, after thirty broadcasts.

No kinescopes of the Condon episodes [characteristically racially integrated] survive, and so far no home-recordings of the audio portion.  However, my explorations of Getty Images this morning yielded jewels.

NEW YORK – APRIL 16: Eddie Condons Town Hall Jazzopators, jazz musicians, perform on CBS Television. New York, NY. Zutty Singleton on drums, Hot Lips Page, trumpet. Image dated April 16, 1942. (Photo by CBS via Getty Images)

Joe Sullivan and Zutty Singleton:

NEW YORK – APRIL 16: Eddie Condons Town Hall Jazzopators, jazz musicians, perform on CBS Television. New York, NY. Zutty Singleton on drums;Joe Sullivan on piano. Image dated April 16, 1942. (Photo by CBS via Getty Images)

Eddie, Billy Taylor, Sr., and Pee Wee Russell:

NEW YORK – APRIL 16: Eddie Condons Town Hall Jazzopators, jazz musicians, perform on CBS Television. New York, NY. Eddie Condon on guitar; Billy Taylor, bass; Pee Wee Russell, clarinet. Image dated April 16, 1942. (Photo by CBS via Getty Images)

Zutty, Eddie, Joe, Billy, Pee Wee, Bennie Morton, Max Kaminsky:

NEW YORK – APRIL 16: Eddie Condons Town Hall Jazzopators, jazz musicians, perform on CBS Television. New York, NY. Zutty Singleton on drums; Eddie Condon on guitar; Joe Sullivan on piano; Billy Taylor, bass; Pee Wee Russell, clarinet; Benny Morton, trombone; Max Kaminsky, trumpet. Image dated April 16, 1942. (Photo by CBS via Getty Images)

Max and Bennie have changed places, but the same band:

NEW YORK – APRIL 16: Television debut of all-star jazz band on CBS Eddie Condon on guitar, Pee Wee Russell on clarinet and other jazz greats. Image dated April 16, 1942. (Photo by CBS via Getty Images)

That trio again!

NEW YORK – APRIL 16: Eddie Condons Town Hall Jazzopators, jazz musicians, perform on CBS Television. New York, NY. Zutty Singleton on drums, Hot Lips Page, trumpet, James P. Johnson on piano. Image dated April 16, 1942. (Photo by CBS via Getty Images)

With Eddie, half-hidden, at right:

NEW YORK – APRIL 16: Eddie Condons Town Hall Jazzopators, jazz musicians, perform on CBS Television. New York, NY. Zutty Singleton on drums, Hot Lips Page, trumpet, James P. Johnson on piano. Image dated April 16, 1942. (Photo by CBS via Getty Images)

That quartet:

NEW YORK – APRIL 16: Eddie Condons Town Hall Jazzopators, jazz musicians, perform on CBS Television. New York, NY. Zutty Singleton on drums, Hot Lips Page, trumpet, James P. Johnson on piano and Eddie Condon on guitar. Image dated April 16, 1942. (Photo by CBS via Getty Images)

If you’re like me, these photographs may evoke emotions somewhere between sorrow and frustration, expressed briefly as “Why weren’t these programs recorded?”  I offer these speculations.  One, CBS had enough to do with sending these programs out “over the air.”  The number of people who had home television sets was small — beneath “small.”  Perhaps you could see one in the window of what would eventually be called an electronic store.  I am doubtful that bars had televisions in 1942.

Preservation of broadcast material — as in radio — was not seen as crucial, for this was entertainment and thus perceived as ephemeral.  For us, now, the idea of hearing more of James P. Johnson is a wonderful fantasy.  If you lived in New York City then, however, you might be able to hear him five or six nights a week in Greenqich Village; Eddie and his friends were at Town Hall or Nick’s.  So there was no scarcity: if you missed hearing Lips Page on Wednesday, you could always hear him on Friday.

At least we know MEN AT WORK happened and we can see flashes of it.

This just in (Feb. 7) thanks to good friend / deep researcher David J. Weiner:

May your happiness increase!

 

“A WONDERFUL WAY TO START THE DAY”

It’s been a long time since I wore shoes that needed to be shined, but changes in fashion are less important than music sweetly offering hope.  This song’s optimistic bounce has always pleased me, so I am pleased to share with you the most current version, by the group calling itself THE BIG FIVE.  And I can now hear the verse, words and music . . . saying that shiny shoes are the key to success.  Were it that easy:

I will also list the credits, because they make me laugh:

The BIG FIVE Robert Young – cornet Robert Young – 1st alto saxophone Robert Young – 2nd alto saxophone Robert Young – tenor saxophone Robert Young – special arrangement Robert Young – just kidding Jeff Hamilton – piano Bill Reinhart – guitar Hal Smith – drums Clint Baker – string bass.

The source of all this pleasure is the Epiphonatic channel on YouTube, full of quiet swinging marvels.  This morning, it had 99 subscribers.  Surely JAZZ LIVES readers can add to that number.

Now, a little history.  Three versions! — by the Rhythmakers, here under Jack Bland’s name, the recording band whose output Philip Larkin and others thought a high point in the art of the last century.  Henry “Red” Allen, trumpet; Tommy Dorsey, trombone; Pee Wee Russell, clarinet; Happy Caldwell, tenor saxophone; Frank Froeba, piano; Eddie Condon, banjo; Jack Bland, guitar; Pops Foster, string bass; Zutty Singleton, drums; Chick Bullock, vocal.  Oct. 8, 1932.  Incidentally, admire Froeba’s playing (he’s gotten slandered because of later pop dross) and do not mock Chick Bullock, the perfect session singer — in tune, delivering melody and lyrics in a clear, friendly voice, which gave listeners the welcoming illusion that they, too, could sing on records:

a different take, where Chick sings “find”:

and a third take, a few seconds shorter since they do not perform the whole closing chorus, but at a less incendiary tempo:

and a duet of Monette Moore and Fats Waller, September 28, 1932 — a test recording that was not issued at the time:

A pity that the record company (I think it was Columbia’s predecessor, the American Record Company, then near bankruptcy) didn’t make a dozen records with Monette Moore, sweetly growling, and Fats Waller, at his relaxed best.

It also occurred to me while tracing this song that it documents a vanished time: when hot jazz and new Broadway songs were in the most effusive gratifying embrace.  That current pop hits could be swung by Pee Wee Russell for records that ordinary people bought . . . now seems a dream.  But I have the BIG FIVE to console me.

May your happiness increase!

THE AUTOGRAPH DANCE, CONTINUED

Yes, Billy Banks!

Once I was a hero-worshipping autograph-seeker (“hound” is so dismissive). Beginning in 1967, I asked Louis, Teddy Wilson, Jo Jones, Vic Dickenson, Sonny Greer, Buck Clayton, Bobby Hackett, Zoot Sims, and others, for theirs.  Oddly, only Jo, who had a reputation for being irascible and unpredictable, asked my name and inscribed my record “To Micheal.”  Other musicians I would have liked to ask but either found them intimidating, or — since I was a criminal with a poorly concealed cassette recorder — thought it best to stay hidden.

Autograph-seeking presumes reverential distance.  I am a Fan, you are The Star.  The Fan approaches the Star, timidly, politely, holds out a piece of paper or some other object, and asks for a signature or an inscription.  In that ten-second interchange, the Fan feels seen, and the Star may feel exhausted or be gratified by the appearance of a Fan or a line of them.  (In my literary life, I asked Seamus Heaney, Paul Muldoon, Richard Ford, and Julian Barnes to sign books.  And Whitney Balliett.)

But I no longer chase Stars.  Were I to have asked Jim Dapogny, Connie Jones, Jake Hanna, or Joe Wilder for “an autograph,” they would have found the request strange, because I had been talking or eating with them as a presumed equal.  I am sure the anthropologists have a name for this kind of cultural transgression, as if your mother made special waffles for your birthday and you left her a tip, even 25%.  In my world, at least, many of the Stars have become Friends: whether formality is a thing of the past or my stature has changed, I have no need to investigate.

I will say that, a few years ago, when a musician-friend of mine, thinking to praise me, said I was “the best fan” he knew, I snapped, “I’m not a Fan!” and then explained what I associated with the term.  He changed his designation, to what I don’t remember, and it felt better.

Yet I think autographs are sacred — here is a photograph that Sidney Catlett held and wrote on.  The Deity comes to Earth for thirty seconds and touches down.  I have bought or copied pieces of paper signed by Pete Brown, Rod Cless, Henry “Red” Allen, Pee Wee Russell (who wrote his first name as two separate words, should you wonder), Adrian Rollini, Claude Hopkins, and more.

I continue to keep track of such holy relics on eBay, as people who follow JAZZ LIVES know.  In that spirit, here are manifestations of the autograph dance.

Someone came to Cab Calloway — anywhere between 1942 (when the record was issued) and his death in 1994, and asked him to sign this lovely purple OKeh 78, which he did, with his signature phrase, in the white ink used for record labels:

I have seen enough Cab-signatures to think this one authentic.

And here he is — in his best passionate mode, with a very early reading of Alec Wilder’s classic:

This autograph’s closer to home for me:

Again, completely authentic.  But from what I know — from my own experience of Ruby (and this could have been signed any time between 1954 and 2002) I am reasonably sure that when the admiring Fan approached him, Ruby would have said something dismissive, because he disdained his early work vehemently.  I recall when I first met him in 1971, praising his MY MELANCHOLY BABY on a new Atlantic recording by George Wein’s Newport All-Stars, and Ruby’s response was terse, curt, and precise, “THAT shit?”  Difficult to find shades of ambiguity in that response.

Here’s Ruby’s ELLIE (one of his few compositions) from that date, with Johnny Guarnieri, Walter Page, Bobby Donaldson:

Some artists, remarkably, used the occasion to impart a message — in this case, a moral lesson.  Saxophonist Don Lanphere, later in life, was born again and changed his life completely . . . so much so that an inscription became a chance to spread the Gospel:

It feels as if Don had more than a momentary acquaintance with Debbie, Ron, and Bob, but I may be assuming too much.

Here’s his beautiful DEAR OLD STOCKHOLM from the 1983 sessions, a duet with pianist Don Friedman:

Those three examples suggest face-to-face contact, and certainly a few words being exchanged.  The closing artifact, here, comes from another dance entirely.  For instance, I have a photograph signed by Connee Boswell, in her distinctive hand, and then personalized by her secretary, and I presume this all was done by mail, that the Fan wrote to Miss Boswell asking for an autographed picture — and that Connee, sometime, somewhere, sat down with a pile of them and signed her name a hundred or five hundred times in a sitting, and the photos could then be sent off.  (Better, mind you, than Benny Goodman requiring people who worked for him to copy his signature onto photographs.)

I had to do some quick research to find out (to remind myself) that the 8-track tape was popular between 1965 and the late Seventies . . . it was replaced by the smaller, more flexible cassette tape, which could also be recorded on.  I saw these tapes and players in action, but neither my parents nor I had an 8-track deck in our respective cars.

But some people did.  Thus . . .

I note with amusement the ages of the attractive couple on the cover: would you think that in 1970 they would be close-dancing to Harry rather than the Stones?  I doubt it.  And inside:

This was on sale on eBay for a very low price: $10 plus 3.99 shipping, and I asked a dear friend who admires Harry if he wanted it as a gift, and he snorted and said, “Please,” in the way that people do when they really mean, “I’ll kill you.”  I amused myself by imagining the scene of the person or couple coming across the dance floor to Harry at the set break and asking him to sign their new treasure, which he did quickly and without fanfare.  But I was wrong, because a return to eBay showed two other signed sets, which suggests to me that Harry spent some tedious hours at home or in a hotel room, signing set after set, box after box.  Hence:

At least those purchasers got a “Sincerely.”  I remember sets packaged by the Longines Symphonette Society, but can’t recall whether they were offered on television after 11 PM, and whether the autographed sets cost more.

Here’s a favorite recording by Harry, the October 1939 SLEEPY TIME GAL, in three tempos, with just the rhythm section — Jack Gardner, piano;  Brian “Red” Kent, guitar; Thurman Teague, string bass; Ralph Hawkins, drums:

I hope you noticed the profound Louis-influence there, starting with the opening references to SLEEPY TIME DOWN SOUTH.  It’s the perfect segue to this delightful photograph — place, date, and photographer unknown (thanks to Loren Schoenberg for the Facebook “Rare Jazz Photos” group) of two men beaming love at each other.  Feel free to invent appropriate dialogue:

Heroes.  Oh, such heroes.

May your happiness increase!

FOR THE MOMENT, DREAMLAND WILL HAVE TO DO

At least for now, face-to-face meetings still seem fraught.  So this wonderfully sweet song seems an alternative, perhaps.  Whether “Dreamland” was an actual amusement or an imagined nocturnal lovers’ rendez-vous, I leave to you.  In either case, the song presents possibility, more so than I’LL SEE YOU IN MY DREAMS, where dreams must suffice because there’s no chance of an actual meeting.  But enough philosophy.

From 1909 (one of Tim Gracyk’s beautifully detailed presentations):

Fifty years later, Bing and Rosie, with strings attached:

And the 1938 explosion that started this chain of thought, the delightful Condon-Gabler alchemy that turned old sweet songs into Hot Music for the ages:

As an aside, Allen Lowe’s CD sets and book, THAT DEVILIN’ TUNE, have brought me much pleasure: well worth investigating here.

May your happiness increase!

PEOPLE SAY THE NICEST THINGS ABOUT PETER

Yesterday, I posted a video of Ray Skjelbred and his Cubs performing BIG BOY here, and the response was so enthusiastic that I thought, “Let’s have another one right now.”

Ninety-five years ago, people were praising Peter — first instrumentally (Herb Wiedoft, Glen Oswald’s Serenaders, the Broadway Dance Orchestra, Paul Specht, Alex Hyde, Red Nichols)  — then vocally (Arthur Fields with Sam Lanin) and the 1932 “Rhythmakers” sessions that Philip Larkin thought the highest art.

Here, as a historical benchmark, is a 1924 version by Glen Oswald’s Serenaders (recorded in Oakland, California)  — a varied arrangement, full of bounce:

“Peter” remains a mystery – – but we do know that he was “so nice,” as proven by four versions of this secular hymn of praise to his romantic ardor recorded in April and May 1932 by the Rhythmakers, a beyond-our-wildest-dreams group featuring Henry Red Allen, Pee Wee Russell, Eddie Condon, Joe Sullivan, Jack Bland, Al Morgan, Zutty Singleton. If you don’t know the Rhythmakers sessions, you are honor-bound to do some of the most pleasurable research.

But here we are in 2014, with Ray Skjelbred and his Cubs at the one-day al fresco jazz party held at Cline Wineries in Napa, California. This wondrous little band — having themselves a time while making sure we do also — is Ray, piano; Kim Cusack, clarinet; Clint Baker, string bass; Katie Cavera, guitar; Jeff Hamilton, drums. Members of the Cubs have been known to burst into song, but this time Peter’s praises must be imagined or implied.  However, Ray and the Cubs are clearly nice and more: no ambiguity there.

The Cubs continue to delight me for the best reasons.  They don’t wear brightly-colored polo shirts; they are humorous but not jokey; they play hot and sweet music — honoring everyone from Frank Teschemacher and Eddie Condon to Jimmie Noone and Jeni Le Gon — without putting on the kind of show that more popular “trad” bands get away with.  They are what Milt Hinton called GOOD MUSIC, and I celebrate them.  Tell the children that such a thing exists, please.

And a digression (what’s a blog for if the CEO can’t digress?) — OH PETER — no comma in the original — was composed by Herb Wiedoft, Gene Rose, and Jesse Stafford.  Wiedoft played trumpet and led his own orchestra, where Rose played piano and wrote arrangements; Stafford played trombone and baritone horn.  And here is the original sheet music, verse and chorus.

I take a deep breath and point out that “peter” has been slang for “penis” since the mid-nineteenth century. . . . so “When you are by my side / That’s when I’m satisfied,” and “There’s nothing sweeter, Peter, Peter,” in the chorus, has always made me wonder, and the verse, new to me, contains the lines, “I’m missin’ / Your love and kissin’ ? And lots of other things too.”  The lyrics do state that Peter is a real person who has been “stepping out,” but if the song were titled OH SAMMY, would it have the same effect?  (What of Morton’s 1929 SWEET PETER, by the way?)  Perhaps you will propose that I need a more virtuous life, but I wonder if this song was sung with a wink at the audience, even though it’s clearly not a double-entendre blues of the period.  Do think on it.  And please admire my superb restraint in not titling this post IS YOUR PETER NICE?

Note: any connections between BIG BOY and OH PETER that readers might perceive are their own responsibility.

May your happiness increase!

BRAD GOWANS, MAN OF MANY TALENTS (1927, 1926, 1943, 1946)

Arthur Bradford Gowans, often overlooked but peerless.

Fate did not treat Brad Gowans that well, although I don’t know that he yearned for the limelight.  Most of us know him as a wondrous valve trombonist, eloquent as a soloist and deft as an ensemble player; others, going deeper, know his skillful arrangements for Bud Freeman’s Summa Cum Laude band; the true Gowans devotees know him as a delightful clarinet and cornet player.  Yesterday, December 3, was his birthday, although the sad fact is that he has been gone since 1954 — he was fifty.  We can, however, share some enlivening music thanks to two YouTube posters — the first, Hot Jazz 78rpms.

Here are two recordings not often heard.  The first, I’M LOOKING OVER A FOUR-LEAF CLOVER (originally recorded for Gennett, then reissued on John R.T. Davies’ “Ristic” label) just romps.  The band name is “Gowans’ Rhapsody Makers,” the personnel is Herman Drewes (cnt); Eddie Edwards (tb); Brad Gowans (cnt,cl); Jim Moynahan (cl,as); Arnold Starr (vln); Frank Signorelli (p); Paul Weston (tu); Fred Moynahan (d); Frank Cornwell, Bill Drewes (vo);
New York, January 20, 1927.  It was a brand-new song then, and although one site says it was first recorded by Nick Lucas, his version is six days later than this; the famous Goldkette and less-known Ben Bernie versions are from the 28th, for those of you marking down such things:

For those who long for warmer climates (even with global warming evident all around us), I’LL FLY  TO HAWAII: Brad Gowans (cnt,cl); George Drewes (tb); Unknown (as),(ts); Frank Cornwell (vln,vo); Tony Francini (p); Eddie Rosie (bj); Paul Weston (tu); Fred Moynahan (d); Trio (vo) New York, October 26, 1926:

There were three Drewes brothers, it seems.

And later on — something rarer! — thanks to Davey Tough (whose channel recently has blossomed with unknown performances by the greatest jazz brass players: Bob Barnard, Ruby Braff, Bobby Hackett, Wild Bill Davison), an unissued take of a Yank Lawson blues:

Brad only appears in the last minute of this recording, but two things stand out.  One, with busy Yank and Pee Wee in the front line, he keeps his ensemble part as plain yet effective as it could be.  Hear the rich sound of his break near the end.

He invented a combination valve-slide trombone, “the valide,” which is held by the Institute of Jazz Studies, although I believe that no one has yet been able to fix the broken trigger.  (Like Jack Teagarden, he was mechanically brilliant.)

Dan Morgenstern, holding the valide, which Brad invented and made — it resides at the Institute of Jazz Studies at Rutgers. Photo (2010) by fellow brassman Jon-Erik Kellso.

Finally, something astonishing, even if you’ve seen it before: 1946 out-take newsreel footage from Eddie Condon’s first club, on West Fourth Street in New York City — with Brad; Wild Bill Davison; Tony Parenti; Gene Schroeder; Jack Lesberg; Eddie; Dave Tough (amazingly).

For those who don’t know this footage, some explanations are needed.  It is staged, and the band repeats the same sequence — the last choruses of IMPROVISATION FOR THE MARCH OF TIME, which is a medium-slow blues that turns into an uptempo DIPPERMOUTH . . . but please note Brad on the valide, switching from slide to valve for the last notes.

I know it’s useless to write these lines, but had Brad lived until 1974, he could have played alongside Bobby Hackett; perhaps I could have seen him at Your Father’s Mustache, and he would have enlivened so many more recordings and performances.  He gave us so much in his short life.

May your happiness increase!

HAPPY 95th BIRTHDAY, GEORGE WEIN!

In front, Bobby Hackett, Louis Armstrong, George Wein; behind them, Joe Newman, Dizzy Gillespie — at the July 1970 celebration of Louis at the Newport Jazz Festival.

I saw the pleasing news on Facebook — and in an online source called CELEBRITY ACCESS, which summed it all up with a video and these words (if the New York Times had a front-page story, it eluded me, alas):

NEWPORT, RI (CelebrityAccess) — George Wein, the legendary pianist, jazz and festival promoter, turned 95 on Saturday.

Wein, who founded the Newport Jazz Festival and co-founded the Newport Folk Festival, also played a key role in the creation of the New Orleans Jazz & Heritage Festival.

Wein’s birthday was marked by tributes from the likes of James Taylor, Senator Jack Reed, Dianne Reeves, Jason Moran, Nate Smith, and Ben Jaffe.

George deserves a little more fuss.

The Newport Jazz Festival, which he founded in 1954 — and is still a going concern — featured everyone.  The Preservation Hall Jazz Band to Archie Shepp. Duke, Louis, Miles, Trane, Dizzy, Monk, Hamp, Benny, Billie, Roy, Hawk, Pres, Ben.  What other festival featured both Donald Lambert and Sonny Rollins?  If you didn’t appear at Newport — in its now sixty-six year span — you had died before it began [Bessie Smith, Charlie Parker, Frank Newton, Hot Lips Page] or you had missed your set.  George’s reach was extensive and his tastes heroically inclusive.  Those who never got to Rhode Island were nourished by recordings and performance film footage; George created tours — Europe and Japan — that brought the music to eager audiences who would otherwise not have partaken of it first-hand.

Before Newport, George had clubs in Boston: Storyville and Mahogany Hall, where you could enjoy Sidney Catlett, Stan Getz, Sidney Bechet, Lee Konitz, Erroll Garner, and other deities.  When the Newport Jazz Festival took a brief trip to New York, as the Kool Jazz Festival or the JVC Jazz Festival, I was able to see Benny Carter, Allen Eager, Charles Mingus, Lee Wiley, Gene Krupa and others who gladden my heart.  In the early Fifties, George also had a record label — Storyville — where you could hear Milli Vernon and Beryl Booker, Ruby Braff, Teddi King, Ellis Larkins, Johnny Windhurst and Jo Jones.  I’m also reasonably sure that George’s generosity — not publicized, but apparent — kept some musicians in gigs and dinner for long periods.

Incidentally, I am doing all of this delighted salute from memory: George’s 2004 autobiography, MYSELF AMONG OTHERS, is a much more detailed view at almost six hundred pages, so I know I have left out a great deal for which George deserves praise.

George also loves to play the piano and to sing, and although I think those activities have slowed down or ceased in recent years, his pleasure in these activities emerged most fully in the Newport All-Stars, a group that at various times featured Tal Farlow, Pee Wee Russell, Buzzy Drootin, Stephane Grappelli, Joe Venuti, Red Norvo, Norris Turney, Scott Hamilton, Warren Vache, Bud Freeman, Slam Stewart, and others: George’s discography begins in 1951 and its most recent entry is 2012.

I’d like to offer some swinging evidence of George as pianist: not at his own festival in Newport, but at the Grande Parade du Jazz in Nice, in July 1977: a nearly nineteen-minute jam on TAKE THE “A” TRAIN, nominally under the leadership of clarinet legend Barney Bigard — featuring Jimmy Maxwell, Joe Newman, trumpet; Clark Terry, trumpet and flugelhorn; Eddie Daniels, tenor saxophone; Slam Stewart, string bass; Bobby Rosengarden, drums.  Notice the atypically expansive piano solo that George creates at the start: percussive, surprising, mobile . . . and watch Barney Bigard’s delighted face at the end.

Happy birthday, George!  Our lives would be much poorer had you chosen another career.

May your happiness increase!

“I’LL PUT YOUR PICTURE IN THE PAPERS”

Several eBay rambles turned up a hoard of beautiful unseen portraits — from the archives of the photographic giant Brown Brothers (who, I believe, divested themselves of the print archives a number of years ago).  They remind me of a time when musicians, now obscure, were known to a large audience and had their remarkable faces in print.

Here are some of the treasures: the bidding was intense, so I did not acquire any of these, but the images are here for  you to admire for free.  The seller, evansarchive, has only one jazz photograph for sale as I write this, but the other photographs — film and stage actors — are equally fascinating.

Let us start with a particularly rare image — an unusual shot of the John Kirby Sextet on a very small bandstand, with glimpses of Kirby, Charlie Shavers, and Russell Procope (alas, no Buster Bailey) but a remarkable photograph of the short-lived drummer / vocalist O’Neil Spencer:

And here’s another under-celebrated hero, baritone saxophonist Jack Washington, definitely in action in the Count Basie band, with Vic Dickenson and another trombonist, possibly Bennie Morton, to his right.  Vic is ignoring the photographer, but Jack — I think — is a little suspicious of the flash camera so near to his face:

and the real prize (which eluded me), a portrait of Frank Newton on a job:

I suspect this is a spring or summertime gig, given the lightweight suits — at some point Newton put his hand in his right jacket pocket and the flap is half-undone. I can’t identify the pianist, and the club is not familiar to me (which makes me think of Boston rather than New York City) but Ernie Caceres is immediately identifiable — with clarinet rather than baritone saxophone — and the skeptical-looking trombonist (gig fatigue or suspicion of a flashbulb explosion) might be Wilbur DeParis.  But I’d love to know where and when: perhaps this is a hall rather than a jazz club?

Here’s composer, arranger, alto saxophonist Edgar Sampson in a photograph by Otto Hess:

Another Otto Hess photograph: Albert Nicholas and Zutty Singleton.  Does the wall covering suggest Jimmy Ryan’s?

Stuff Smith in action (the photographer crouched behind the drum kit and the flashbulb rendered the underside of the cymbal bright white:

Bobby Hackett at Carnegie Hall, Eddie Condon behind him:

and just in case anyone needed confirmation:

Erroll Garner:

Now, a few masterful percussionists.  Jimmie Crawford:

Ray Bauduc:

and someone identified as Bauduc, but clearly not.  Who’s it?

and some well-dressed luminaries who can certainly be identified, as well as the occasion — World Transcription session, 1944 — Wilbur DeParis, Bob Casey, and Pee Wee Russell:

From another source, Sidney Catlett in full flight.  I can hear this photograph:

As I said, once upon a time these people were stars in larger orbits.  Rather than mourn the shrinking of interest and knowledge, I celebrate the glorious circumstances that made these photographs “news.”

May your happiness increase!

 

SEE IT NOW: RARE JAZZ PHOTOGRAPHS

Music to peruse by.

A few nights ago, I was deep in pleasing archaeology-commerce (prowling through eBay) and my search for “Ben Webster” came up with this gem (at a reasonable price).  The slide was attributed to Nat Singerman, although it was the work of his brother Harvey, someone I’d written about (with photographs) here in 2018.

and the more dramatic front side.  From other sildes, I propose that this band, Ben’s, had Howard McGhee, Oscar Pettiford, and Jo Jones.  I couldn’t identify the pianist in my 2018 post, but that is some band:

The seller, celluloidmemories, describes this and other slides here, although misrepresenting Nat as the photographer:

Just a wonderful item for the collector of jazz photography! This is a color “slide” that was owned by Nat Singerman, co-owner of the Character Arts photography studio in Cleveland in the 1940’s and 1950’s. Singerman and his co-workers produced these beautiful images and then would share them with many of their subjects. Here is an example with Art Hodes, the famed jazz pianist, looking at some of these slides through a viewer:


The slides are approximately 4” long by 1 5/8” in width and consist of two pieces of color film placed between glass slides. The result is a wonderful 3D-like view of these jazz legends. We recently acquired a large number of these largely unpublished images at auction and are now able to pass them along to the marketplace. The slides have been left “as found” and may have some dust / dirt / scratches to the glass, etc… The images are striking and very rare to find in bold color like this. For each slide, you will be able to see a close-up of the film image and a photo of the front and back the actual slide being purchased. These slides come from Nat Singerman’s personal collection and have been referenced in a NY Times Magazine piece back in 2013 and then again on Antiques Roadshow – PBS Episode #2005 – Little Rock – 2015.

So, now to the item up for bid here… This is an image of two members of Ben Webster’s Band performing at Cleveland’s Loop Lounge in September of 1955. I think the trumpeter is Howard McGhee. Don’t know who the drummer is. [Jo Jones, say I.] Wonderful image! Please see all photos. Don’t let this rare piece get away! Enjoy! Please note: All slides will be expertly packed for delivery via USPS Mail. This auction does NOT include the Art Hodes slide seen above. The word celluloidmemories will not appear on the actual slide. No copyrights or other rights of reproduction are being transferred or inferred in this auction. This item is being sold strictly as a collector’s item.

And a few other Harvey Singerman slides, with appropriate music — in this case, Art Hodes and Pee Wee Russell in 1968 (also Jimmy McPartland, Bob Cousins, Rail Wilson) on television in Chicago:

Art, Pee Wee, and a string bassist, March 1949, location not identified:

Etta Jones at Lindsay’s Sky Bar, Cleveland, May 1952.  Is that Jonah Jones, and is that Earl Hines’ band of that time?

Here are Etta and Earl:

Earl Hines, May 1952, “studio”:

And one that strikes me as spectacular: Red Norvo, Charles Mingus, Tal Farlow, Chicago, July 1951:

 

Freddie Moore, Club Riviera, March 1949:

There are several more worth looking for or at: Flip Phillips, Oscar Peterson, J.C. Higginbotham.

But before you drift away to the eBay page or elsewhere, remember that not all the good performance photographs are taken by professionals.  Jerry Kohout, brother of the Cleveland piano legend Hank Kohout, asked me recently if I would like to see candid photographs of his brother performing (probably at the Theatrical Grill) with well-known stars, and I said YES.

First, music to admire by: Bobby Hackett and Vic Dickenson in New York, 1957, thanks to my friend “Davey Tough” — whose channel blossoms with rarities you didn’t know existed:

The photographs:

Nancy Ray, vocal; Billy Butterfield, trumpet; Hank Kohout, piano.

and perhaps from the same gig, without Nancy for the moment:

Finally, heroes Bobby Hackett and Vic Dickenson (avec beret) with Hank:

Enjoy the sounds the pictures make: a vanished time that can be called back again.

May your happiness increase!

SKATING TEN FEET ABOVE THE GROUND: RAY SKJELBRED and his CUBS (America’s Classic Jazz Festival, Lacey, Washington: June 28/30, 2019)

An inspiring Cub relic.

Hearing Ray Skjelbred and his Cubs, I recall the folktale where the wind and the sun (having nothing better to do) wager about which one can get a man to remove his coat.  The wind blows, but the man merely wraps his coat tightly around him.  The sun gently beams down on the man, and sweat starts to pour off his forehead, so he is glad to take off that coat.  Persuasion, not force.

That tale stands for so much jazz that I admire.  Sometimes it’s ferocious, even bombastic — ensemble choruses at the end of a performance, and we cheer.  Perhaps I am thinking of the Great Dane puppy who just wants to greet you, and then you’re both on the floor.  Surprise!

But I secretly revere the sweet stealth of music that says, “Come a little closer.  Of course, nothing is happening.  Just set a spell and enjoy,” and, seductively, osmotically, we become spellbound.  The finest example is the Basie rhythm section; then, Duke and Blanton; Fats Waller on PRETTY DOLL; Sir Charles Thompson on Vanguard; and Ray Skjelbred and his Cubs.

Thirteen months ago, give or take a day, what I call the Pacific Northwest edition of Ray and his Cubs appeared as a guest band at America’s Classic Jazz Festival, in Lacey, Washington.  I wasn’t there to record it, but Ray’s faithful videographer RaeAnn Berry was, and so I can share a few videos with you: dancing or skating without ever doing something so mundane as touching the ground.

They are Ray, piano; Kim Cusack, clarinet; Jeff Hamilton, drums; Matt Weiner, string bass; Josh Roberts, acoustic guitar.

OUT OF NOWHERE, June 30:

IDA (for Auntie Ida Melrose Shoufler, of course), June 28:

and with a nod to Joe and Bing, SOMEDAY SWEETHEART, again from June 30:

I could have called this post ADVENTURES IN MEDIUM-TEMPO, and you would have gotten the point as well.  Or, this photograph of two Deities who took human form for some decades to show us how it should be done:

Blessings on Ray, his Cubs, and RaeAnn.

May your happiness increase!

 

“LUCKY ALL MY LIFE”: EPHRAIM RESNICK, TROMBONE and PIANO (July 6, 2020)

My phone rang on July 3.  This in itself would not be unusual.  But that the caller ID panel read “Ephraim Resnick” was a surprise.  I had been on a quest to find the wonderful and elusive trombonist (now pianist) Ephie Resnick for a few years, and had enlisted my dear friend — also a fine trombonist — Dick Dreiwitz in the search.

I knew Ephie first as a beautiful soulful viruoso heard on live recordings from George Wein’s Storyville in 1952 — alongside Pee Wee Russell and Ruby Braff; later, I’d seen him with the New York Jazz Repertory Company in their 1972 tribute to Louis Armstrong, some of which was released on Atlantic, and then Bob Greene’s Jelly Roll Morton show in 1974, issued on RCA Victor.  Perhaps eight years ago I had heard him playing piano at Arthur’s Tavern with the Grove Street Stompers.  He asked me to refrain from videoing him, but he was friendly and I did buy his two recent CDs, NEW YORK SURVIVOR and THE STRUGGLE.  Still more recently, a musical friend of his, Inigo Kilborn, had asked me if Ephie was still on the planet.  He is.  At 92, he’s a clear speaker and thinker, although his memory is “sometimes OK, sometimes not too good.”

Ephie and I made a date to talk on the morning of Monday, July 6.  He doesn’t have a computer.  “I live in the last century,” and when I asked if he wanted me to transcribe the interview and send it to him for corrections, he said no.  So this is what he told me of his life, with my minimal editing to tie loose ends together.  It’s not only the usual story of early training, gigs played, musicians encountered, but a deeper human story.  If you’d never heard Ephie play, you’d think he wasn’t all that competent, given his protestations.  I wonder at the gap between the way we perceive ourselves and the way the world does.

With musical examples, I present our conversation to you here.

I began with the most obvious question, “When you were a kid, did you want to be a musician?” and Ephie began his tale.

I come from a family of anger and bitterness and humiliation, and all that stuff, so I was in confusion most of the time.  When I was in first grade, and this is really important, I was born left-handed, and they made me right-handed, so it really did away with my focus.  I got asthma, and I started stuttering soon after that.  So my life was a turmoil. 

And when I was about sixteen, I guess, I hadn’t any idea of doing anything.  I didn’t think I’d be able to do anything.  And I heard a Louis Armstrong recording, and that really made me crazy.  It showed me a way out, the way out of my turmoil.  So when I went to school, they gave me a trombone.  Because the guy said, “I want somebody to play the trombone,” and he pointed at me.  At that point, it was difficult to breathe, it was difficult to talk, and I couldn’t get a sound out of the horn.  And I didn’t understand it until just recently, when I moved to Brooklyn, after I was finished, finally.  I wasn’t breathing.  I couldn’t breathe.

I took the trombone home from school, I tried to play it, and really couldn’t play it much.  But I listened to a lot of records.  I listened to a lot of Louis Armstrong then.  I got as much as I could out of him.  And then I started, for some reason, to go out playing.  In little clubs and things.  I don’t know how I could play — I didn’t practice.  But I played, mostly with black people at the beginning.  And there were two places, especially, where I could play.  A guy named Bob Maltz had a place downtown, all the way downtown.  And across the street a guy named Jack Crystal — there’s a comedian, Billy Crystal, and Jack was his father. [The Stuyvesant Casino and the Central Plaza.]  Both of these guys hired mostly black musicians from the Thirties, and I started out just sitting in, and then I started getting paid.  And that was the beginning of my jazz playing.

And then I made a record [in 1947].  Irv Kratka, the guy who started Music Minus One, was in our little group.  I went into — I forget what it’s called now — it was on Broadway and they had studios and rehearsal studios.  I walked into one and there was Bob Wilber and his little group with Denny Strong on drums.  The trumpet player turned out to be the Local 802 president years after that [John Glasel] but they gave me the names of some guys, and I got together a little group and made a record.  I was just around 17 or 18, I was just playing about a year.  It was OK, it was sort of nice.

Here’s Ephie with Knocky Parker, piano; Irv Kratka, drums, May 1, 1949:

I turned 18, and my mother wanted me to go to a college.  And I thought, I could never do that.  I couldn’t focus.  I couldn’t learn anything.  Whatever I knew, I knew from having read myself or having heard, or something, so I got good marks in English and history.  But anything I had to study and learn something, I couldn’t do it: language or science or something like that.  So with all this, she wanted me to go to a college.  So I applied to Juilliard, and they gave me a date for an audition.  I picked a piece, and I couldn’t play it.  I couldn’t play it at all.  It sat there on my music stand, and once in a while I tried, but I couldn’t do it. 

I should have called them up and told them I couldn’t make the audition, but I went there anyway.  I played the piece perfectly.  That was my life.  Sometimes I played really good, sometimes I played terrible.  Sometimes I played mediocre, but this time I played really good and they clapped me on the back and said, “You’ll go far, young man.”  My teacher was there, Ernest Clarke, Herbert Clarke’s brother.  Herbert Clarke was a trumpet virtuoso.  Ernest Clarke was some sort of a name, I don’t know what he did, but he was well-known there.  He was 83 then.  And he opened up his book when I took my first lesson.  The first page was a row of B-flats.  B-flat with a hold on it, more B-flats and more B-flats.  And I couldn’t play it.  I couldn’t play the note.  He would walk back and forth, his hands behind his back, he couldn’t figure it out.  So I did that for a couple of weeks, I showed up once a week, and then after a while he turned to the second page.  And there were F’s, a little higher but medium-low.  And I couldn’t play that note either.  And then he retired.  I always say that he retired because of me. 

Anyway, whatever it was, while this was happening, I was playing outside.  I was sitting in and playing, going to clubs and stuff.  I played a lot at the beginning with Sol Yaged.  He was a clarinet player who played in the clubs where they used to have jazz and now they had strippers.  So I played for the strippers with Sol Yaged.  I still couldn’t get a sound on my own.  When I was in the house, I couldn’t practice.  I couldn’t play a scale, I couldn’t do anything.  I fell apart.  And I went to a lot of teachers.  Nobody gave me anything.  And when I moved to Brooklyn, I quit playing the trombone when I was here.  I started to figure out, what it was was so simple — I guess I wasn’t breathing.  I was tight.  I never could find an embouchure, except once in a while it happened.  It came in by itself, and when it happened, I could really play well.  But I wasn’t practicing, I couldn’t play a scale, I couldn’t play anything like regular trombone players could.  But I knew that. 

My first year at Juilliard I got a straight A because all they did was ear stuff — ear training — and I was good at that.  And piano playing, and I could do the piano.  And that was it.  The second year, I started getting academic subjects: science, languages and stuff, and I couldn’t do it.  So I stopped going to school.  And years ago, before they fixed up Forty-Second Street, it was a mess, but there was one movie theatre called The Laugh Theatre, and they had, once in a while, regular movies, but usually short subjects, Charlie Chaplin, Buster Keaton, and all that stuff.  So I was there, and I was laughing.  My life was awful, but I was laughing.  I did that for the rest of my school year, and then I got out of Juilliard.  Finally.  And years later I figured out that, you know, going to school would have depressed me and made me feel really awful, but being away from the school I was laughing.  I felt OK.  Laughing is very good for you.  

Anyway, I don’t know how it was, but I got out of school, and I started working.  I still couldn’t play, I still didn’t practice.  So my first job was with Eddie Heywood.  He was a piano player.  It was an all-black band, at Cafe Society Downtown.  There was also a club, Cafe Society Uptown.  I was there six weeks or so, and then somebody recommended me — I don’t know how it happened — to Buddy Rich.  It’s hard for me to believe.  I played six weeks with Buddy Rich: Zoot Sims and Harry Edison were in the band, I forget the bass player and the piano player.  So I did that, and then I came out, and that was the end of the big band era.  So then I went out, maybe two or three weeks, maybe a weekend, with big bands, but they were beginning to close down.  I played with a lot of them, but the only ones I could remember were Buddy Morrow, Ray McKinley, and Charlie Barnet.  And with these bands, I was the jazz player. 

With Charlie Barnet I also played lead, but I had one solo — that was the audition.  There were about eight trombone players who auditioned for Charlie Barnet, and later on he told me that when he saw me he figured I would be the last guy to get it.  But the audition was a song — I forget the name of it — [Ephie hums ESTRELLITA] — a Spanish song.  It had a trombone solo, there was a high E in the middle or someplace, and I really smacked that thing.  I took a chance, you know, I got it, and I was great.  The other guys played that E, but they played it hesitantly, so I got the job.  And that was great.  I had that one solo, and I played lead, which was great for me, because I learned how to do that.  

Here’s Ephie with Marty Grosz, guitar; Dick Wellstood, piano; Pops Foster, string bass; Tommy Benford, drums; Hugh McKay, cornet; John Dengler, baritone saxophone; Frank Chace, clarinet.  June 6, 1951: comparative listening thanks to “Davey Tough”:

And then I started to work with small bands.  I don’t know how I got this work either. Dixieland bands.  Wild Bill Davison, who was at Condon’s for I guess twelve years, lost that job — they closed down or something — he went on the road and I went with him, and we made a record. Then I played with Buddy Morrow, and I was the jazz player in that band.  He was a great, great trombone player, but a little stiff for my taste.  Then Ray McKinley, and I was the jazz player in that band.  And Bill Davison, we made a record with that.  And then I went with Pee Wee Russell, Ruby Braff was in that, and I forget who else.  And we made a record with him.  So, so far, I made a lot of records.  I got a little bit of a fan club in England because of those records.  And Pee Wee — those records were in Boston, and they recorded a whole night, and they put out four ten-inchers.  And then they made an lp out of it, or two lps.  I don’t imagine any of these things are available now.  That Pee Wee thing, it sold well, I don’t understand how, exactly.  Can’t figure out those things.)

Here’s Ephie in 1952, with Pee Wee Russell, Ruby Braff, Red Richards, John Field, Kenny John — the second part of this presentation (the first offers Johnny Windhurst, Ed Hall, Vic Dickenson, George Wein, John Field, and Jo Jones).  For the impatient among us, Ephie’s portion begins at 16:00:

While I was working, I was still struggling.  I wanted to finally learn how to play.  Since I was working, I might as well learn how to play.  I still couldn’t play a scale without falling apart.  But in context, I could play, somehow.  I saved enough money for a couple of years and went to Philadelphia and studied with a guy named Donald Reinhardt who had a system.  His system was really good, but you had to figure out the system.  He couldn’t, by himself, help you. 

Art DePew, a marvelous trumpet player who played lead with Harry James and a few other bands, went to him and got fixed up.  Kai Winding used to run there once in a while.  He had problems.  His mouthpiece would slip down.  Sometimes he could get it back up, sometimes he couldn’t. 

Reinhardt didn’t teach me anything.  He couldn’t tell you what you were doing wrong or what you should be doing.  He had a book and a system.  He had a lot of people, and they could look at what he had to say and do it.  I couldn’t do that.  I had to be told what I was doing wrong.  And nobody told me I wasn’t breathing.  Lots of times I couldn’t get a sound out.  I had no control over it.  When I played well, it had nothing to do with me. It just happened.  When I played badly, there was no way for me to fix it.  

I spent a couple of years there in Philadelphia, and I met my wife.  She was a singer, a wonderful oratorio singer.  And there was a jazz club over there, and I was playing once a week.  I was playing piano in strip clubs with another guy, a very strange man.  He wore a toupee, but never bought one.  He wore other people’s old toupees; everybody gave him their old toupee.  So he just dropped them on top of his head.  I spent four years there, learned nothing, and still couldn’t figure out what was happening. 

I had to come back to New York, because we got married, and she had a six-and-a half-year old son.  We became friends, and that was really good.  I did various things, and then a contractor called me.  In those days, there was a lot of money around, money flowing freely.  In music, there was a shortage of musicians, and I came in at that point. 

I’ve been lucky all my life, actually. 

I got a job playing in various theatres around the city, short things.  There was a theatre on Sixth Avenue and Forty-Eighth Street, I believe, the contractor liked me, and he had some shows coming to New York.  He said I could pick one, and one of them was HELLO, DOLLY!  I did that for seven years.  Playing a show, especially if you’re a jazz player, is terrible.  You’re doing the same thing all the time.  But I took off a lot.  You could take off as long as you got somebody good, and I always got somebody better than me. 

I worked with Lester Lanin and played all around the world — Ireland, France, Paris, the Philippines.  The guy whose wife had all those shoes [Imelda Marcos], I played their thirtieth anniversary.  We went to Hawaii, to Hong Kong, and then I came back, was home for a couple of weeks.  They started a group in New York, playing different types of music, so I was in that group, and then they had a small group out of that.  I was picked out of that, and we went to Russia — a jazz  group.  We traveled all over the country, and that was really interesting.  That was during the Khruschev era.  When I came back, I continued to do club dates,  but I couldn’t really progress, I couldn’t learn anything.  When I was forty, I still couldn’t play a scale.  I was making my living as a trombone player, and I couldn’t play a scale once up and down without falling apart.

Somebody introduced me to marijuana.  I tried that, and it was wonderful.  Absolutely wonderful.  It saved my life.  The first thing I started to do after I started to smoke was to go downstairs to the basement every morning.  We had small radios, and I hung the radio up, right next to my ear, as loud as I could.  Not music, but talking.  I started to play scales, and it sounded awful, because I couldn’t really hear it.  I did that for a couple of years, and finally I got rid of the radio.  I began a regular practice, for the first time in my life, when I was about forty. 

But by that time I was sort of on the way down, in a way.  And then I did a job with Lester Lanin in London, and I met a guy there — I knew him was I was nineteen or twenty.  He became rich: his father died.  Max, his father, was not too smart, and he couldn’t come to a decision: he didn’t know how to make a decision.  So his father, who was a lawyer but a Mob lawyer, he was powerful with a lot of connections those days, so he put Max on the Supreme Court.  He couldn’t make a decision.  That was his life’s work.  So I met this guy, and stayed at his house for a while, and then I stayed in London and made a record there.  I have two left, of those records.  The other stuff I don’t have any copies of. 

Then I had an accident.  I’m not sure of the timeline now.  I was hit by a car, and broke both my legs and my pelvis.  My ankles were messed up.  I was in the hospital for about three months.  When I came out, I couldn’t really move around, so I didn’t work for a couple of years.  But I was lucky, again, because they just had passed a law in Albany, and if you had an accident, they called it “no fault insurance,” and gave you fifty thousand dollars and services.  So I was in the hospital, and they would send me a check once a month to live on.  So I didn’t work for a couple of years, but I was taken care of.    

I came out, and I wasn’t working very much at all, so I called Marty Grosz.  I knew him from years ago.  We had worked together, in a bar someplace.  Not in New York, someplace else.  I forget where it was.  And I called him, and we made a record.  [THE END OF INNOCENCE.]  And it got a great review from John S. Wilson, the Times music reviewer.  He wrote a really good review of it, not in the paper, but in an international magazine.  So I sold about a thousand records.  People wrote in.  One guy sent it back to me because he didn’t like it.  So I sent him back his ten dollars.  [I complimented Ephie on the record.] Well, thank you.  But I hadn’t worked for three years before that.  Again, I was lucky it came out OK.  [I reminded Ephie that he and Marty had recorded before, in 1951.]  Oh, those records!  Those records were nice!  Those were really good.  I was really happy with those records.  I’d forgotten about that.  I don’t have any of that stuff, but somehow they turned out to be really good.  Frank Chace was nice.  Yes, I liked the way he played.  Years before, Marty and I had a summer job together.  He was just learning how to play and I was learning also.  And I never paid him for that record, THE END OF INNOCENCE.  He did it for nothing.

I will offer THE END OF INNOCENCE — a glorious duet — in a future posting.

I was in England for ten years, and I did a record there.  [Two: NEW YORK SURVIVOR and THE STRUGGLE.]  Well, that was close to the end of my career.  After my accident, I didn’t do too much.  I hung around for a while, and everything got slowed down to nothing.  My wife got sick, she got Parkinson’s.  So I got a job — I was lucky again — working for Catholic Charities, playing piano for Alzheimers people, various venues, different bosses, for almost twelve years.  They just closed down, in March, because of the virus.  So I was lucky, I was working all this time, until right now. 

So now I’m in one room, I’m hiding out, and I’ve got an electronic piano.  I guess you’d say I’m an old-fashioned piano player.  Pretty much old-fashioned, with a couple of things thrown in, contemporary.  And a couple of months ago, in February, before the virus became widely known, I made a record with a trombone player from England, Malcolm Earle Smith.  I hadn’t played in a while.  My playing was — I don’t know how to describe it.  Except on the last two pieces, there I kind of relaxed.  I was careful — I was too careful, so I don’t know about that record.  I have a couple of copies.  Some people liked them, and some people I sent them to didn’t like it at all. 

Ephie at the piano, briefly but evocatively:

[I also mentioned Inigo Kilborn, one of Ephie’s musical colleagues, to him.]  Inigo heard me playing in a club in England, and wanted me to come down.  He was living in Spain then, he went from London to Spain, he was retired.  He wanted me to play in clubs, and I wasn’t working much, I still didn’t have an embouchure, and I still didn’t know how to play.  I put him off and finally he gave up.

One of the people I sent the record to was a guy in Sweden.  He sent me a letter, that he loved the record, and he wanted me to play all over Europe, he had  contacts in clubs all over Europe.  And I couldn’t do it.  I knew I wouldn’t be able to do it.  Maybe I could play one day or two days, but I’d fall apart.  I fell apart, here and there, when I was playing.  So I didn’t answer him, and he came to New York and then he called me.  He wrote me another letter, and he called me and called me, but I didn’t answer the phone.  That was the end of that.  I couldn’t have done it.  It would have been wonderful for my future, my present, but I couldn’t do it.  So that was that.

Then, little by little, I faded away, until I got this job.  This job saved my life, this piano job.  That’s it.  

So that’s my story up till now.  And here I am.  I’m practicing every day, trying to play a little more contemporary, make the chords closer together.  Not so old-fashioned.  So I’m working on that a little bit, but I’m not working at all now. 

I’m just old.  And that’s my story.

Ephie at the piano, Malcolm Earle Smith, trombone:

[Ephie had delivered almost all of what you read above in a diligent narrative, and I had not wanted to interrupt him, to distract him.  But now, after forty minutes, I thought I could ask some — perhaps idle — questions.  I told Ephie I’d seen him onstage, at Alice Tully Hall in 1974, with Bob Greene’s “The World of Jelly Roll Morton.”]

Oh!  I forgot about that.  That was great.  He played like Jelly Roll Morton, and he started a band, a Jelly Roll Morton band.  We played all those songs, and I could really do that.  I was good at that.  I could really blast out.  The record doesn’t show that, but we traveled all around the country, and we had standing ovations on every job except one.  I don’t know exactly why that one.  But that was easy for me, easy and natural.  It paid well, and it was fun.  Those were happy moments in my life. 

I was with Kai Winding — four trombones.  It was a tour.  We started out someplace — I can’t remember where it was but it was a restaurant.  We were above the eaters, so we couldn’t play too loud, and we were close together.  And for some reason I played just great — just wonderful, all the way along.  and he was talking about making a tour with just the two of us.  The job ended, and we had a three-day layoff, and then went into the Little Mirror, a place in Washington.  There was an echo, we were spread out, it was loud, I lost what I had in that previous gig, I never found it.  I looked for that embouchure for years and years and never got it back.  We made a record with Kai Winding.  I made a lot of records with different people, but that one was OK.  That turned out nice.    

[I asked Ephie if he could tell me about people — heroes of mine — he’d encountered, from the Stuyvesant Casino and Central Plaza, on.]  There was one guy, Jerry Blumberg [a Bunk Johnson protege on cornet and a pianist].  He was wonderful.  He got one job someplace, and hired that famous pianist from the Thirties, James P. Johnson.  I played one night with him.  That was interesting. He was old, but he still played OK.  I never worked with Sid Catlett, but I saw him play.  I played with Frankie Newton a couple of times.  He was fun to play with.  Very easy to play with. 

When I was in Boston, I was with Pee Wee Russell.  He had his own pianist.  It wasn’t Wein, and Red Richards came later.  There was another guy [Teddy Roy] who I didn’t know, but had played with Pee Wee for years and years.  And he had a book, with all the chords in it, which he didn’t need.  Every tune that was called, he’d open up the book.  He never looked at the book, but the chords were there.  He was sort of tied to that.  

Ruby Braff was a fantastic player.  Nobody ever played like him.  He didn’t play like anybody else.  He had phenomenal technique, and he used it in very personal ways.  A wonderful player.  He had his personal problems, like we all do.  Sometimes, we were playing someplace, and he didn’t feel he was playing right, or he wasn’t doing justice to what he was doing, someone would come up to him and say, “Ruby, you sounded wonderful,” he would say, “Aaahhh, what do  you know?” and dismiss it, insult the guy who liked him.  He felt vulnerable all the time, but a great player.  And later on, he played with Benny Goodman.  He couldn’t read, but Benny would put him at the end of the line of trumpets, and once in a while call upon him to play.  He did that for a while.

Did you know Johnny Windhurst?  I did one job with him and Ed Hubble on trombone, and I played piano, and Ed Phyfe on drums.  He was a wonderful player also. 

I didn’t hang out with anybody in Boston.  I wasn’t a hanger-on.  I went right home after the last tune we played.  And I don’t want to hear any of my old stuff.  The only records I have are the ones I made in England, THE STRUGGLE and NEW YORK SURVIVOR.  THE STRUGGLE is a terrible record, but the other one turned out good.   

I played for six-eight months with Roy Eldridge at Jimmy Ryan’s.  He was playing trumpet then — with the mute, not ebullient, but great.  Those records with Dizzy are really wonderful.  At one point, I was on staff with ABC for three years, subbing for one of the jazz guys.  Dick Dreiwitz is such a sweet man, and his wife Barbara, who plays tuba.  For a while I was playing ball games with them — they had a Dixieland band.  Between innings, we’d walk up and down the aisles and play.  People used to throw stuff in the tuba — peanuts, papers, everything — so the tuba players put a pillowcase over the bell.  People aren’t naturally nice, you know.  Some are, some aren’t.  

I’m 92, and I hope I don’t have too many years left.  So far, I’m OK.

At that point, we thanked each other, and I assured Ephie he was safe from me. But in the next few days, the phone rang again, as Ephie remembered some other stories:

Ephie played about six weeks at the Cinderella Club with pianist Bross Townsend and a bassist, not Peck Morrison, whose name he didn’t remember.  He thought that cornetist Hugh McKay played really well on the 1951 Marty Grosz records and wondered what happened to him.  [Does anyone know?]  He saw Vic Dickenson once at some uptown Manhattan gig and thought he was wonderful.  When working in San Francisco with Wild Bill Davison, he found out that Jack Teagarden was playing in Los Angeles and took the bus to see him.  But this was when Jack had quit drinking and Ephie thought he sounded dull.

Another postscript: an extended list of Ephie’s performance credits, which are staggering:

Cab Calloway, Pearl Bailey, Eddie Condon, Roy Eldridge, Bud Freeman, Stan Getz, Woody Herman, Gene Krupa, Buddy Rich, Zoot Sims, Lennie Tristano, Teddy Wilson, Kai Winding and Willie the Lion Smith. He has also played with a variety of rock and pop bands including The Bee Gees, The Four Tops and Englebert Humperdink, and has worked for Danny Kaye, Jack Benny, Woody Allen and Norman Mailer.

Ephie spent much of the 1990s working in London, during a period in his life when he felt trapped in New York. During that stay he met and played with a number of British musicians as well as becoming something of a mentor for many of them. He also played at a number of society parties with the world renowned orchestra headed by veteran bandleader Lester Lanin. The musicians included: Dick Morrissey, Alex Dankworth, Huw Warren, Tim Whitehead, Martin Speake, Mike Pickering, Steve Watts, Julian Siegel, Chris Gibbons, Andrew Jones, Carl Dewhurst, Dave Whitford and Jean-Victor de Boer. He recorded two albums whilst in the UK: New York Survivor and The Struggle (both released on Basho Records)

Although he stopped playing trombone in 2010, Ephie continues to lead an active musical life in back in New York, playing piano in care homes. Still an inspiration to his friends and colleagues, his passion for music is still as strong as it was decades ago.

Taken and adapted from Ephie’s profile page at Jazzcds.co.uk

Blessings and thanks to Ephie, to Dick Dreiwitz, to Inigo Kilborn, to Malcolm Earle Smith, who made this informal memoir of a fascinating man and musician possible.

May your happiness increase!

CELEBRATING ADRIAN ROLLINI, THEN AND NOW

Adrian Rollini has been gone from us for nearly sixty-five years, but his imagination, his huge sound, his virtuosity lives on.  He has been celebrated as associate of Bix Beiderbecke, Red Nichols, Tommy and Jimmy Dorsey, the California Ramblers and their spin-offs, Cliff Edwards, Frank Trumbauer, Annette Hanshaw, Vic Berton, Stan King, Abe Lincoln, Miff Mole, Fred Elizalde, Bert Lown, Tom Clines, Bunny Berigan, Eddie Lang, Joe Venuti, Lee Morse, Jack Purvis, Benny Goodman, Ethel Waters, Fats Waller, Gene Krupa, Wingy Manone, Joe Marsala, Pee Wee Russell, and many more; multi-instrumentalist: the premier bass saxophonist, a pianist, drummer, vibraphonist, xylophonist, and master of the goofus and the “hot fountain pen,” with recordings over mearly three decades — 473 sessions, says Tom Lord — to prove his art.

Here, in about six minutes, is Rollini, encapsulated — lyrically on vibraphone for HONEYSUCKLE ROSE, then playing TAP ROOM SWING (really THE FARMER IN THE DELL with a domino on) alongside Berigan, Teddy Wilson, and Babe Russin — for the Saturday Night Swing Club, with Paul Douglas the announcer. Thanks to Nick Dellow for this two-sided gem:

and later on, the vibraphone-guitar-trio:

I love the song — as well as the weight and drive Rollini gives this 1933 ensemble — to say nothing of Red McKenzie, Berigan, and Pee Wee Russell:

and the very hot performance of NOBODY’S SWEETHEART by Fred Elizalde:

Rollini died on May 15, 1956, not yet 53, so by most perspectives he is a historical figure, outlived by many of his contemporaries (Nichols, Mole, Hackett, Buddy Rich come to mind).  He made no recordings after December 1947.  But recently, several exciting fully-realized projects have made him so much more than a fabled name on record labels and in discographies.

The first Rollini exaltation is a CD, TAP ROOM SWING, by the delightful multi-instrumentalist Attila Korb, “and his Rollini Project,” recorded in 2015 with a memorable cast of individualists getting a full orchestral sound from three horns and two rhythm players.

Attila plays bass saxophone, melodica, and sings beautifully on BLUE RIVER and SOMEBODY STOLE MY GAL,  and is responsible for the magical arrangements; Malo Mazurie plays trumpet and cornet; David Lukacs, clarinet and tenor; Harry Kanters, piano; Felix Hunot, guitar and banjo.  Those names should be familiar to people wise to “old time modern,” for Felix and Malo are 2/3 of Three Blind Mice, and with Joep Lumeij replacing Harry, it is David Lukacs’s marvelous DREAM CITY band.  The selections are drawn from various facets of Rollini’s bass saxophone career: SOMEBODY LOVES ME / SUGAR / THREE BLIND MICE / BLUE RIVER / BUGLE CALL RAG / DIXIE / SOMEBODY STOLE MY GAL / PE O’MY HEART / TAP ROOM SWING / I LEFT MY SUGAR STANDING IN THE RAIN / SWING LOW / EMBRACEABLE YOU (the last a gorgeous bonus track, a duet for Attila and Felix that is very tender).  The performances follow the outlines of the famous recordings, but the solos are lively, and the whole enterprise feels jaunty, nothing at all like the Museum of Shellac.  You can buy the CD or download the music here, and follow the band on their Facebook page.

Here’s evidence of how this compact orchestra is both immensely respectful of the originals but — in the truest homage to the innovators — free to be themselves.

MY PRETTY GIRL (2018), where the Project foursome becomes the whole Goldkette Orchestra, live, no less:

THREE BLIND MICE, PEG O’MY HEART, SOMEBODY LOVES ME, BLUE RIVER (2016), showing how inventive the quintet is:

CLARINET MARMALADE, LULU’S BACK IN TOWN, BLUE RIVER, SOMEBODY STOLE MY GAL — with a caffeinated-Bach interlude, not to be missed (2017):

I would chase this band all over Europe if circumstances were different, but they already have expert videography.  And at the end of this post I will share their most recent delightful episode.

But first, reading matter of the finest kind.  For a number of years now, there has been excited whispering, “How soon will the Rollini book come out?”  We knew that its author, Ate van Delden, is a scholar rather than an enthusiast or a mere compiler of facts we already know.  ADRIAN ROLLINI: THE LIFE AND MUSIC OF A JAZZ RAMBLER is here, and it’s a model of the genre.  I confess that I am seriously tardy in adding my praise to the chorus, but it’s an example of “Be careful what you wish for.”  I always look for books that will tell me what I didn’t already know, rather than my thinking, “Yes, I read that story here, and this one in another book.”

RAMBLER, to keep it short, has so much new information that it has taxed my five wits to give it a thorough linear reading.  I’ve been picking it up, reading about Rollini’s early life as a piano prodigy (and the piano rolls he cut), his associations with the famous musicians above, his thousands of recordings, and more.  van Delden has investigated the rumors and facts of Rollini’s death, and he has (more valuable to me) portrayed Rollini not only as a brilliant multi-instrumentalist but as a businessman — opening jazz clubs, hiring and firing musicians, looking for financial advantages in expert ways — and we get a sense of Rollini the man through interviews with people who knew him and played with him.

He comes across as a complex figure, and thus, although van Delden does give loving attention to Rollini on record, the book is so much more than an annotated discography.  In its five hundred and more pages, the book is thorough without being tedious or slow-moving, and if a reader comes up with an unanswered Rollini question, I’d be astonished.  The author has a rare generous objectivity: he admires Rollini greatly, but when his and our hero acts unpleasantly or inexplicably, he is ready to say so.  Of course, there are many previously unseen photographs and wonderful bits of relevant paper ephemera.  The book is the result of forty years of research, begun by Tom Faber and carried on into 2020, and it would satisfy the most demonically attentive Rollini scholar. And if that should suggest that its audience is narrow, I would assign it to students of social and cultural history: there’s much to be learned here (the intersections of art, race, economics, and entertainment in the last century) even for people who will never play the hot fountain pen.

And here’s something completely up-to-date — a social-distancing Rollini Project video that is characteristically emotionally warm and friendly, the very opposite of distant, his nine-piece rendition of SOMEBODY LOVES ME, which appeared on May 23.  Contemporary jazz, indeed!

How unsubtle should I be?  Buy the CD, buy the book — support the living people who are doing the work of keeping the masters alive in our heads.

May your happiness increase!

FRED GUY, TRICKY SAM NANTON, CHANO POZO, MEADE LUX LEWIS, J.C. HIGGINBOTHAM, BABS GONZALES, ABBEY LINCOLN, SAM JONES, LEE KONITZ, KARIN KROG, JOHN LEWIS, COUSIN JOE, BUD FREEMAN, EDDIE GOMEZ, ANDY KIRK, MED FLORY, CHUBBY JACKSON, WILBUR LITTLE, HELEN HUMES, FREDDIE GREEN, TAFT JORDAN, and MANY MORE, FROM JG AUTOGRAPHS on eBay

The astonishing eBay treasure chest called jgautographs has opened its lid again.  Apparently the trove is bottomless, since the latest offering is 118 items under “jazz,” with only a few debatable entries.  “Donovan,” anyone?  But the depth and rarity and authenticity are dazzling.

Consider this Ellington collection, including Joe Nanton, Billy Taylor, Fred Guy, Juan Tizol, Johnny Hodges, Harry Carney, and the Duke himself:

The appropriate soundtrack, give or take a few years — Ellington at Fargo, 1940 with the ST. LOUIS BLUES (wait for “WHISTLE WHILE YOU WORK”):

Incidentally, someone wrote in and said, “Michael, are they paying you to do this?” and the answer is No, and that’s fine.  Imagine my pleasure at being able to share Joe Nanton’s signature with people who just might value it as I do.

Here’s Meade Lux Lewis:

And his very first Blue Note issue, from 1939, MELANCHOLY BLUES:

Taft Jordan, star of Chick Webb, Duke, and his own bands:

Taft in 1936, singing and playing ALL MY LIFE with Willie Bryant:

“Mr. Rhythm,” Freddie Green, with an odd annotation:

a 1938 solo by Freddie (with Pee Wee, James P. Dicky, Max, and Zutty):

Tyree Glenn, a veteran before he joined Louis (Cab Calloway and Duke):

Tyree’s ballad, TELL ME WHY:

The wonderful Swedish singer Karin Krog:

Karin and Bengt Hallberg, joining BLUE AND SENTIMENTAL and SENTIMENTAL AND MELANCHOLY:

The link at the top of this post will lead you to more than a hundred other marvels — the delighted surprises I will leave to you.  And as in other eBay auctions, you or I are never the only person interested in an item . . .

May your happiness increase!

HOLY RELICS, BEYOND BELIEF (Spring 2020 Edition)

The eBay seller “jgautographs,” from whom I’ve purchased several marvels (signatures of Henry “Red” Allen, Rod Cless, Pee Wee Russell, Pete Brown, Sidney Catlett, among others) has been displaying an astonishing assortment of jazz inscriptions.  I haven’t counted, but the total identified as “jazz” comes to 213.  They range from “traditional” to “free jazz” with detours into related musical fields, with famous names side-by-side with those people whose autographs I have never seen.

As I write this (the early afternoon of March 21, 2020) three days and some hours remain.

Here is the overall link.  Theoretically, I covet them, but money and wall space are always considerations.  And collectors should step back to let other people have a chance.

The signers include Benny Carter, Betty Carter, Curtis Counce, Jimmy Woode, Herb Hall, Bennie Morton, Nat Pierce, Hot Lips Page, Rolf Ericson, Arnett Cobb, Vernon Brown, Albert Nicholas, Bobby Hackett, Vic Dickenson, Sammy Margolis, Ed Polcer, Ed Hall, Billy Kyle, Sam Donahue, Al Donahue, Max Kaminsky, Butch Miles, Gene Krupa, Ray McKinley, Earl Hines, Jack Teagarden, Arvell Shaw, Barrett Deems, Buck Clayton, Babs Gonzales, Benny Bailey, Joe Newman, Frank Wess, Pharoah Sanders, Kenny Burrell, Reggie Workman, Stanley Turrentine, Louis Prima, Wayne Shorter, Tiny Bradshaw, Harry Carney, Juan Tizol, Bea Wain, Red Rodney, Frank Socolow, Bobby Timmons, George Wettling, Roy Milton, Charlie Rouse, Donald Byrd, Kai Winding, Kenny Drew, Kenny Clarke, Steve Swallow, Shelly Manne, Frank Bunker, Charlie Shavers, Ben Pollack, Jess Stacy, Ron Carter, Bob Zurke, Jimmy Rushing, Cecil Payne, Lucky Thompson, Gary Burton, Jaki Byard, Noble Sissle, Muggsy Spanier, Don Byas, Pee Wee Russell, Slam Stewart, Hazel Scott, Ziggy Elman, Buddy Schutz, Ernie Royal, Boyd Raeburn, Dave McKenna, Claude Thornhill.

And signatures more often seen, Louis Armstrong, Dave Brubeck, Marian McPartland, Ella Fitzgerald, Anita O’Day, Hoagy Carmichael, Artie Shaw, Sidney Bechet, Gerry Mulligan, Cab Calloway, Rosemary Clooney, Wynton Marsalis,Tommy Dorsey, Oscar Peterson, Billy Eckstine, Mel Torme, Chick Corea, Count Basie.

In this grouping, there are three or four jazz-party photographs from Al White’s collection, but the rest are matted, with the signed page allied to a photograph — whether by the collector or by the seller, I don’t know.  And there seems to be only one error: “Joe Thomas” is paired with a photograph of the Lunceford tenor star, but the pairing is heralded as the trumpeter of the same name.

My head starts to swim, so I propose some appropriate music — sweet sounds at easy tempos, the better to contemplate such riches, before I share a half-dozen treasures related to musicians I revere.

Jess Stacy’s version of Bix Beiderbecke’s CANDLELIGHTS:

Harry Carney with strings, IT HAD TO BE YOU:

Lester Young, Teddy Wilson, Gene Ramey, Jo Jones, PRISONER OF LOVE:

Here are a double handful of autographs for your amazed perusal.

Bob Zurke:

Charlie Shavers, name, address, and phone number:

Lucky Thompson, 1957:

Jimmy Rushing, 1970:

Harry Carney:

Juan Tizol:

Bill Coleman:

Buck Clayton:

Hot Lips Page (authentic because of the presence of the apostrophe):

Joe Sullivan:

Don Byas:

George Wettling:

Frank Socolow:

Benny Carter (I want to see the other side of the check!):

And what is, to me, the absolute prize of this collection: Lester Young, whom, I’m told, didn’t like to write:

Here’s music to bid by — especially appropriate in those last frantic seconds when the bids mount in near hysteria:

May your happiness increase!

THE EBULLIENT MISTER DROOTIN and FRIENDS: WILD BILL DAVISON, BILL ALLRED, CHUCK HEDGES, BOB PILLSBURY, JACK LESBERG, CAROL LEIGH, BUZZY DROOTIN (Malmö, Sweden, 1984).

Buzzy Drootin was a superb jazz drummer, hardly remembered today except by the few who know their history and listen deeply.  He became a jazz musician in an era when musicians were proud of being instantly recognizable, and Buzzy was all that: hear four bars of him, in solo or ensemble, and one could tell it wasn’t George (Wettling) or Cliff (Leeman) or Gus (Johnson) or a dozen others.  His beat was steady; he wasn’t afraid to propel the band through his singular combination of time-keeping on the cymbal (ride or with rivets), snare-drum accents, and bass-drum explosions.  I never saw him play a hi-hat or brushes: he was content with his own style, which would fit with any kind of enthusiastic band.  (I can easily imagine him playing behind Dizzy as he played behind Bechet.)  You knew he was there, and his presence was both reassuring and exultant.  And he reminds me greatly of Sidney Catlett in the way his accents become a thrilling series of “Hooray!”s behind a soloist or in a rideout.

Although he was typecast as a traditional jazz musician, his work paralleled the orchestral concept of the younger “modern” musicians — a kind of oceanic commentary — and although the story may be apocryphal, I have read somewhere that Lester Young said Buzzy was his favorite drummer.  And the irascible Ruby Braff used Buzzy as often as he could.

I presume he got his nickname for the throaty roar he emitted when soloing or during exciting ensemble passages.  He was clearly having the time of his life; he didn’t coast or look bored.  (I saw him often in 1972, and because I was shy, and a criminal with a cassette recorder, I never approached him to thank him, which I regret.)

Once, jazz musicians were once accepted as part of the larger fabric of the entertainment industry; Buzzy was well-known in Boston and New York, so that when he died in 2000, the New York Times ran a substantial obituary:

Buzzy Drootin, 80, Leading Jazz Drummer (May 24, 2000)

Mr. Drootin’s family left Russia for the United States when he was 5, settling in Boston. His father was a clarinetist, and two of his brothers were also musicians. He began playing the drums as a teenager, earning money in a local bar, and by 1940 he was touring with the Jess Stacy All-Stars, a band that included Buck Clayton and Lee Wiley.  {Editor’s note: That date is incorrect: it would have been later in that decade; Buzzy’s first audibly documented appearances were with the Max Kaminsky – Pee Wee Russell – Brad Gowans – Teddy Roy – John Field band that played the Copley Terrace in 1945.}

From 1947 to 1951 he was the house drummer at Eddie Condon’s in New York. He also worked in clubs in Chicago and Boston, playing with musicians like Wingy Manone, Jimmy McPartland and Doc Cheatham. He made recordings in the 1950’s and 60’s with Tommy Dorsey, Bobby Hackett and the Dukes of Dixieland and played with the Dixieland All-Stars, the Jazz Giants and the Newport All-Stars, among other groups, while touring extensively in the United States and Europe.

Mr. Drootin returned to Boston in 1973 and formed the Drootin Brothers Jazz Band, with his brother Al, who survives him. In the 1980’s he appeared at the Los Angeles Classic Jazz Festival, backing up musicians like Wild Bill Davison and Chuck Hedges. 

In addition to his brother Al, he is survived by a daughter, Natasha; two sons, Peter and Tony; and two other brothers, Louie and Max. 

Photo by Ruth Williams.

But Buzzy deserves more than a reprinted obituary, because he was often the most lively, vibrating member of the band.  A friend passed on to me — and I can share with you — a seventy-five minute videotape of Buzzy and friends doing what they did regularly and splendidly for forty years and more.  The friends are, in most cases, much better known that Buzzy, but his majestic propulsion is delightfully in evidence in every phrase — as is his grinning face and mobile body. 
This session features not only Buzzy, but Wild Bill Davison, cornet; Bill Allred, trombone; Chuck Hedges, clarinet; Bob Pillsbury, piano; Jack Lesberg, then an unidentified string bassist; Carol Leigh, vocal.
The songs are YOU’RE LUCKY TO ME / SLEEP / NOBODY’S SWEETHEART (featuring Bill Allred and Buzzy) / EXACTLY LIKE YOU (Carol Leigh) / I’LL BE A FRIEND WITH PLEASURE (Leigh) / UNDECIDED (Leigh and Wild Bill) / AVALON (Buzzy) // For the second set, the unidentified bassist replaces Lesberg: LADY BE GOOD / IF I HAD YOU / HONEYSUCKLE ROSE / KEEPIN’ OUT OF MISCHIEF NOW / STRUTTIN’ WITH SOME BARBECUE (Buzzy) //. 
Thanks to my dear friend and great jazz drummer Bernard Flegar, I now know that this took place in Malmö, Sweden, in 1984, in a large hall — Wild Bill remarks on it — where food and presumably drink are being served to a quiet audience.  Both the camerawork and the sound are reasonably professional, so it’s clearly not an audience effort. 
All that aside, listen to and watch Buzzy as he holds not only the band, but the music, on his shoulders, grinning away.

Thanks to Tony Drootin for being enthusiastic about this posting, and thank you, Buzzy and friends, for the wonderfully memorable noises.

May your happiness increase!

HAL SMITH’S SWING CENTRAL AT THE REDWOOD COAST MUSIC FESTIVAL, PART TWO: HAL SMITH, STEVE PIKAL, DAN WALTON, JAMEY CUMMINS, JONATHAN DOYLE (May 11, 2019)

Hal Smith swings:

and his bands do also:

 

 

Hal Smith’s SWING CENTRAL is a splendid little band, greeted enthusiastically in person and in cyberspace, which will become evident in sixty-four bars.  (The lovely weird artwork below is the cover of their debut CD, by the way.)

Here’s Part One, where you can savor LITTLE GIRL; LOVE IS JUST AROUND THE CORNER; HELLO, FISHIES; BATS ON A BRIDGE; BIG AL; PIPELINER’S BLUES; WINDY CITY SWING; HELLO, LOLA.

And the second portion, beginning with LONG-DISTANCE MAN, which has a beautiful story behind it even before the deeply lyrical music begins — for me a highlight of the 2019 Redwood Coast Music Festival:

Dan Walton’s exuberant ROLL ‘EM, PETE:

Jamey Cummins’ THE SHEIK OF airbnb:

The poignant BLUE LESTER:

And a rollicking THE LADY’S IN LOVE WITH YOU:

Truly a band to know and to follow.  On a related note — in a major key — the 30th Anniversary Redwood Coast Music Festival will take place in Eureka, California, from May 7-10, 2020.  I’ll be there, and Hal and many of my hero-friends also.

May your happiness increase!

“THE LAMB OF GOD!”: ELEGIES FOR DONALD LAMBERT IN STORIES, PHOTOGRAPHS, AND MUSIC

Meet the Lamb!  Here he is — don’t mind the murky visual — at the 1960 Newport Jazz Festival:

Thanks, deep thanks to Howard Kadison and Audrey VanDyke, keepers of so many flames.  Here is Howard’s prized copy of the PRINCETON RECOLLECTOR, a historical journal almost exclusively devoted — in this issue — to the marvelous and elusive jazz piano genius Donald Lambert.

An editorial about Donald Lambert: will wonders never cease?

Lambert plays the Sextette from Lucia:

Recollections of Bill Priestley, a fine cornetist:

Pee Wee Russell and the milk truck:

Fashions:

More rare narrative:

Lambert in his native haunts:

Playing two melodies at once:

THE TROLLEY SONG, with friend Howard Kadison at the drums:

SPAIN, with Lambert and Kadison:

ANITRA’S DANCE, from the 1960 Newport Jazz Festival:

LIZA, from the same concert:

Yes, Art Tatum:

Physiognomy:

The 1941 Bluebird PILGRIM’S CHORUS:

I GOT RHYTHM (recorded by Jerry Newman, 1940) with Lambert, Hot Lips Page, Herbie Fields, Pops Morgan:

DINAH, from the same party at Newman’s parents’ home):

I’M IN THE MOOD FOR LOVE:

and TEA FOR TWO from the same incredible session, Lambert also playing FRENESI:

 

A very rare (and I think unissued) 1949 performance, BLUE WALTZ:

LINGER AWHILE, with Kadison (the first Lambert I ever heard):

An unlisted WHEN BUDDHA SMILES, with trumpet and string bass:

Another local legend:

May your happiness increase!

HAL SMITH’S SWING CENTRAL AT THE REDWOOD COAST MUSIC FESTIVAL, PART ONE: HAL SMITH, STEVE PIKAL, DAN WALTON, JAMEY CUMMINS, JONATHAN DOYLE (May 11, 2019)

This is part of the world that Hal Smith’s Swing Central comes from — but the world of Swing Central is living and thriving now.

Courtesy of the Carnegie Hall Archives

This little group is packed with pleasures.  It’s Hal Smith’s evocation of a world where Pee Wee Russell and Lester Young could hang out at Jimmy Ryan’s, where Teddy Wilson, Charlie Christian, Eddie Condon, Pops Foster, and Dave Tough could have breakfast after the gig, perhaps chicken and waffles uptown.  And the music they created as naturally as breathing was lyrical hot swing that didn’t have the time or patience for labels.

This version of Hal’s group has him on drums and moral leadership, Jonathan Doyle, clarinet and some original compositions, Dan Walton, piano and vocal, Steve Pikal, string bass; Jamey Cummns, guitar.  This is the first part of a long leisurely showcase at the 2019 Redwood Coast Music Festival in Eureka, California.

and a Bing Crosby hit that justifiably entered the jazz repertoire:

Jonathan Doyle’s wonderful HELLO, FISHIES:

something for people who have been to Austin, Texas, or for those who need to take a trip there, BATS ON A BRIDGE:

A dedication to one Mister Capone, who liked jazz when he wasn’t working:

Dan Walton sings and plays Moon Mullican’s PIPELINER’S BLUES, while everyone joins in on this jump blues:

for the Chicagoans and the rest of us as well, WINDY CITY SWING:

and we’ll close the first half of this uplifting set with HELLO, LOLA — a reminder of Red McKenzie and his friends:

Hal’s beautiful little group also made a CD where they strut their stuff quite happily: I wrote about it here.

And they will be appearing — with Kris Tokarski and Ryan Gould in for Walton and Pikal — at the Austin Lindy Exchange, November 21-24 — which, like love, is just around the corner.

Not incidentally, the Redwood Coast Music Festival is happening again, thank goodness and thanks to Mark Jansen and Valerie Jansen, from May 7-10, 2020.  More information  here as well.  Some numbers: it’s their 30th anniversary; it runs for 4 days; there are 30 bands; more than 100 sets of music.  Do the math, as we say, and come on.

May your happiness increase!

DAN MORGENSTERN TURNS 90 (October 24, 2019) and POPS FOSTER COOKS DINNER

Today, one of our great heroes and pathfinders turns 90 — the down-to earth jazz deity of the Upper west Side, Dan Morgenstern.  (He’ll be celebrating with David Ostwald’s Louis Armstrong Eternity Band at Birdland this afternoon into evening.)

I’ve been reading Dan’s prose and absorbing his insights for more than fifty years now, and in the video interviews he’s graciously encouraged me to do since 2017, I know I have learned so much and I hope you all have as well.  And some of what I’ve learned is about Dan’s generosity and the breadth of his interests.

During those interviews, he has often caught me by surprise.  We were speaking about another musician who had played with pioneering string bassist George “Pops” Foster, and Dan said . . . hear and see for yourself:

I’ll return to the culinary subject at the end.  Right now, some glimpses of Pops.
First, a trailer from a short documentary done by Mal Sharpe and Elizabeth Sher called ALMA’S JAZZY MARRIAGE:

I’d seen this documentary on a DVD and was thrilled to find it was still for sale — so Steve Pikal (a serious Pops devotee) and I will have copies in a short time.  You can, too, here.

Here’s a 1945 interview Wynne Paris (in Boston) conducted with Pops:

and Roger Tilton’s astonishing 1954 film JAZZ DANCE, once vanished, now found, on YouTube (featuring Jimmy McPartland, Pee Wee Russell, Willie the Lion Smith, George Wettling, and Pops):

Those who want to understand the glory of Pops Foster — there are recordings with Luis Russell and Louis Armstrong, Earl Hines, Art Hodes, Sidney Bechet, and many more.

You’ll notice that I haven’t included more of the interviews I’ve done with Dan here.  They are all on YouTube — stories about everyone from Fats Waller to Miles Davis onwards (with more to come) which you can find as part of my YouTube channel  “swingyoucats”.

The tense shift in my title is intentional: it pleases me to think of Pops making dinner for friends in some eternal present.  I just got through idly perusing a new book on the relationship between brain health and diet, where the ideal is greens, grains, wild salmon, and more.  Now I wonder: are ham hocks the secret ingredient to health and longevity?  Or do we have to have Pops Foster’s recipe?

To quote Lennie Kunstadt, we need “Research!”  But whatever has kept Dan Morgenstern with us for ninety years, we bless that combination platter.

As we bless Dan.  So let us say as one, “Happy birthday, most eminent Youngblood!”

P.S.  The Birdland tribute was heartfelt and too short.  David’s band had Will Anderson, Jared Engel, Arnt Arntzen, Bria Skonberg, Alex Raderman, and Jim Fryer — with guests Joe Boga, Ed Polcer, Evan Arntzen, and Lew Tabackin.  Dan (with piano backing from Daryl Sherman) sang WHEN YOU’RE SMILING.  And we were.

May your happiness increase!

“FAMOUS FOR GENUINE HICKORY-LOG-BROILED STEAKS AND CHOPS” and for MR. RUSSELL ALSO

Hungry?

Got a match?

And some more ephemera, documenting the New York jazz club The Hickory House (the first photograph is from 1937):

another view:

still another postcard, to mail to the folks back home to show you were having a grand time in the big city:

But that’s mighty thin substance for a jazz blog.  How about this?  (I wish sellers would erase their pencil annotations from holy relics, but that may be just me.)

and the front:

The eBay link is here; the seller’s price is $79.99 “or Best Offer.”  Free US shipping too — who could resist?

The signature looks genuine, and the seller asserts, “Rare Hickory House New York Jazz Club Postcard Signed by Pee Wee Russell. I guarantee the authenticity of the autograph as I discussed it with the wife of the owner who received it from the jazz legend.”

Here‘s a glimpse of the hickory House drink menu . . . although the modern annotator misses the point that a seventy-five cent drink was not “cheap” at all in the Thirties and Forties.

Alas, here is what 144 West 52nd Street looks like (according to Google) now.  I daresay there are no aromas of broiled steaks and chops — for my vegan friends, no baked potato, either.  And I certainly can’t imagine the music of Pee Wee Russell or Joe and Marty Marsala coming out into the street:

But Mr. Russell is always generous with his sounds, and is thus always alive:

That’s what he, Joe Sullivan, and Zutty Singleton sounded like in 1941.  There are, of course, many other samples of Pee Wee’s expansive career on YouTube and elsewhere.  Even if you don’t want to make an offer for the postcard, you could spend many joyous and enlightening hours with him.

May your happiness increase!

HEROES WITH FOUNTAIN PENS AND MUSICAL INSTRUMENTS

The eBay seller jgautographs continues to delight and astonish.  They (she? he?) have several thousand items for sale as I write this, for auction or at a fixed price, and even if the later items are unusual yet unsigned photographs, what they have to show us is plenty, from Jacquelie Kennedy Onassis’ stationery, a Playbill signed by Arthur Miller (DEATH OF A SALESMAN, of course), Joey Heatherton, Eleanor Roosevelt, Robert Redford, Marjorie Kinnan Rawlings, Frederick Douglass, Stephen Sondheim, and more.  When people signed their name in cursive, and often before ballpoint pens were ubiquitous.

And did I mention they have jazz autographs for sale?  I remarked upon such wonders here and here about ten days ago.  I’ll leave it to you to search the thousands of items, but here are some of very definite jazz interest.  (This time, the seller is not showing the reverse of these signatures, as (s)he did earlier, so there is a slight air of mystery to these offerings.  But someone was hip.)

There must still be thousands of Tommy Dorsey signatures still circulating, but this one’s unusual: did TD sign it for a family friend, or for someone who asked what his middle name was?  I’ve not seen another like it, and the flourishes mark it as authentic.

Coleman Hawkins had gorgeous handwriting, which does not surprise me.  I have no idea if the signature and photograph are contemporaneous, though:

Someone who worked on and off with Hawk, including time in the Fletcher Henderson band and reunions in the 1956-7 period, my hero, Henry “Red” Allen:

and a signature rarely seen, Leon “Chu” Berry — also from the time when musicians not only signed their name but said what instrument they played:

So far, this post has been silent, but it would be cruel to not include the two small-group sides that bring together Hawk, Red, and Chu — under the leadership of Spike Hughes in 1933 (also including Sidney Catlett, Lawrence Lucie, Wayman Carver, Benny Carter, and Dicky Wells — truly all-star!

HOW COME YOU DO ME LIKE YOU DO?

SWEET SUE, JUST YOU (with a glorious Carver flute chorus):

Back to Chu Berry . . . he was playing in Cab Calloway’s band at the end of his life; in the trombone section was Tyree Glenn, who lived much longer (I saw him with Louis):

A star of that orchestra and a star in his own right, trumpeter Jonah Jones:

Here’s BROADWAY HOLDOVER, originally issued on the Staff label under Milt Hinton’s name, featuring Jonah, Tyree, Al Gibson, Dave Rivera, and J.C. Heard:

Our autograph collector friend also made it to a club where Pete Brown was playing — again, another signature rarely seen:

Pete, Tyree, Hilton Jefferson, Jerry Jerome, and Bernie Leighton join Joe Thomas for one of my favorite records, the Keynote YOU CAN DEPEND ON ME:

And (exciting for me) our collector made a trip to Nick’s in Greenwich Village, from whence the signatures of Pee Wee Russell and Miff Mole came.  Now, two musicians from the same schools of thought — the short-lived Rod Cless:

and trumpet hero Sterling Bose:

and because they have been so rare, here are the four sides by the Rod Cless Quartet with Bose, James P. Johnson, and Pops Foster on the Black and White label — I am told that the Black and White sides will be a Mosaic box set, which is fine news.  Here’s HAVE YOU EVER FELT THAT WAY? (with verse):

MAKE ME A PALLET ON THE FLOOR:

FROGGY MOORE:

and James P., brilliantly, on I KNOW THAT YOU KNOW:

If I could play clarinet, I would like to sound like Cless.

And a postscript of a personal nature: the auction ended a few minutes ago.  I bid on the Cless, the Pete Brown, the Bose, and on a whim (because I knew it would go for a high price) the Chu Berry.  Chu went for nearly $171; someone beat me by a dollar for Sterling Bose, but my bids — not exorbitant — won the Cless and Pete.  When they come in the mail, I envision a frame with Pee Wee, Rod, and Pete.  It will give me pleasure, and some years from now, it will give someone else pleasure also.

May your happiness increase!

TWO BOUQUETS OF NOTES, TONES, ELEGANT SILENCES, MELODY, ARCHITECTURE, SWING, AND EMOTION: TED BROWN, BRAD LINDE, AARON QUINN, DAN PAPPALARDO, DERIC DICKENS

Ted Brown, Japan, 2009

I shall be simple.  There are two new CDs out, both recorded November 2018, with Ted Brown, tenor saxophone; Brad Linde, tenor saxophone; Aaron Quinn, guitar; Don Pappalardo, string bass; Deric Dickens, drums.  One is called JAZZ OF NEW CITIES; the other, ALL ABOUT LENNIE (wordplay on venerable jazz classics).  Both CDs are greatly rewarding and people who love this particular music will want to acquire them.

Brad Linde

You can listen to JAZZ OF NEW CITIES here and purchase a digital copy for $15; you can do the same for ALL ABOUT LENNIE here, same price tag.  Downloads or discs are available at CD Baby here and here.  And, as Brad writes here, “some streaming services.”  I also know that both Brad and Ted will have a few physical copies at gigs, about which more below*.

Or, simply, immerse yourself in STAR DUST:

Hearing that performance, I must say again that those who call the music made by Lennie Tristano, colleagues, and acolytes “cold” are listening with some other part of their anatomy than their ears.  I hear a direct line to Lester or Pee Wee Russell and of course Louis at their most soulful.

These CDs are immediately memorable to me in their deep intricate simplicities — like watching a master Japanese brush painter do with five strokes what a lesser painter would take weeks of canvas-covering to attempt and then not convince us at all.  I hear quiet tenderness in STAR DUST, and the meeting of souls — not only the five players on this disc, but this music reaches out of the speaker and hugs us.

As gentle a creator and person as Ted is, it will surprise no one that these CDs are egalitarian affairs: he might solo first for a few choruses, then the beautifully nimble Aaron Quinn might follow, then an eloquent solo by Brad, then some wonderfully twining counterpoint for two tenors.  That rhythm section, not incidentally, is propulsive but kind: Dickens, Pappalardo, and Quinn deserve their own CD, which I would buy: they make beautiful sounds and propel the band without being aggressive about it.

And for something more assertive, here’s LOVER, COME BACK TO ME:

I won’t offer a track-by-track summary, for this music doesn’t need such a thing if hearts and ears are open to it: it is based on aural breezes, uplifting without being self-conscious.  I haven’t listened to all the tracks because it seemed both urgent and hopeful for me to inform you about these discs now.

*Moving from “now” to “soon,” Ted Brown — born December 1, 1927 — please do the calculations — has a New York City gig in a few weeks: Wednesday, October 16 at Jazz at Kitano from 8 to 11 PM.  Ted will be joined by Michael Kanan, piano; Murray Wall, string bass; Taro Okamoto, drums.  Details and tickets here.  I’m sure Ted would autograph copies of the discs for you.

Right now, I am going to return to the pleasure of discovering this music, one track at a time, lovingly, the spirit in which it was created.  To quote Robert Frost, “You come, too.”  It would make all of us — the band and me — happy to see many people at the Kitano gig, either bearing CDs or the money to purchase them.

May your happiness increase!