Tag Archives: Perry Como

MODERNISM WITH DEEP ROOTS, AND A LOYAL BEAGLE, TOO: DAN MORGENSTERN RECALLS RANDY WESTON, KENNY DORHAM, JAKI BYARD, and JERRY NEWMAN (Dec. 14, 2018)

In the video interviews I have been doing with and of Dan Morgenstern (since March 2017) I have learned to be a better detective . . . when I arrive with a few names on a notebook page that Dan and I have agreed he wants to speak about, and he tells me a story about Perry Como and Cozy Cole (the evidence is here) I abandon the piece of paper and follow his lead.  On December 14 of last year, we’d decided to speak of Randy Weston, who had recently moved on, age 92, about Kenny Dorham, about Jaki Byard, and (as a little experiment) I asked him about Jerry Newman, musical archaeologist and recording engineer.

Even though we kept to the script, the videos have beautiful surprises in them, including an informal jam session with two tenor players and a pianist, a cash box with not much in it, a loyal beagle, and a leather trumpet case.  Enjoy the stories!

First, some music — HI-FLY, from the famous Randy Weston date at the Five Spot (1959) with Randy, Coleman Hawkins, Kenny Dorham, Wilbur Little, Roy Haynes, arrangements by Melba Liston:

Randy by Dan, the first part:

Part Two:

I HAD THE CRAZIEST DREAM, also 1959, with Kenny Dorham, Tommy Flanagan, Paul Chambers, Roy Haynes:

Kenny by Dan, the first part:

Part Two:

Part Three (a postscript):

Jaki Byard, TWO DIFFERENT WORLDS:

Jaki by Dan, the first part:

Part Two:

Jerry Newman’s 1941 recording of Monk with Joe Guy:

A few words about Newman:

There will be more stories from Dan, I guarantee (to quote Justin Wilson).

May your happiness increase!

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“LITTLE THINGS THAT DON’T GET INTO THE HISTORY BOOKS”: DAN MORGENSTERN TELLS TALES of SYMPHONY SID TORIN, WILLIS CONOVER, ARTIE SHAW, and COOTIE WILLIAMS (June 8, 2018)

I am so fortunate in many ways, some of them not evident on this site.  But JAZZ LIVES readers will understand that my being able to interview Dan Morgenstern at his home from March 2017 on — at irregular intervals — is a gift I would not have dreamed possible when I was only A Wee Boy reading his liner notes and DOWN BEAT articles.

Dan is an unaffected master of small revealing insights that show character: in some ways, he is a great short-story writer even though he is working with factual narrative.  Watching these interviews, you’ll go away with Artie Shaw pacing the room and talking, Willis Conover’s ashtrays, Cootie Williams reverently carrying Louis’ horn back to the latter’s hotel, and more.

About ten days ago, we spent another ninety minutes where Dan told affectionate tales of Jaki Byard, Ulysses Kay, Randy Weston, Kenny Dorham, and more.  Those videos will come to light in time.  But we had a marathon session last June, with stories of Louis, Cozy Cole, Milt Hinton, Coltrane, Roy, Teddy, Basie, Joe Wilder, Ed Berger, Perry Como and others — which you can savor here.  And, although it sounds immodest, you should.  (I also have videos of a July session with Dan: stay tuned, as they used to say.)

Here are more delightful stories from the June session.

Dan remembers Symphony Sid Torin, with sidebars about John Hammond, Nat Lorber, Rudi Blesh, Stan Kenton at Carnegie Hall, Roy Eldridge, and jazz radio in general:

Dan’s affectionate portrait of another man with a mission concerning jazz — the Voice of America’s Willis Conover:

and some afterthoughts about Willis:

and, to conclude, another leisurely portrait, early and late, of Artie Shaw:

with Artie as a “champion talker,” and a gig at Bop City, and sidelights about Benny Goodman and Cootie Williams, the latter reverent of Louis:

Thank you, Dan, for so generously making these people, scenes, and sounds come so alive.

May your happiness increase!

“PRISONER OF LOVE”: MARC CAPARONE and CONAL FOWKES at the SAN DIEGO JAZZ FEST (November 24, 2018)

I was very moved by the duet Marc Caparone, cornet, and Conal Fowkes, piano, created on November 24, 2018, at the San Diego Jazz Fest — a passionate improvisation on Russ Columbo’s PRISONER OF LOVE.  And I wanted to share it with you.

But first I have to say, with a grin, that the internet teaches you things you didn’t expect: the title PRISONER OF LOVE brings up a variety of tattoos, a book by Jean Genet, recordings by Perry Como, Coleman Hawkins, James Brown, Billy Eckstine, and Tiny Tim . . . when all I wanted was this, first the Columbo version so you could hear the lyrics.

The magnificent 1956 Lester Young – Teddy Wilson – Gene Ramey – Jo Jones recording you can and find for yourself.

Incidentally, Columbo is listed as sole composer on the HMV issue above, but Leo Robin is also credited with the rather masochistic lyrics, and I’ve seen the name of Clarence Gaskill added as well:

How lovely he sounds!  (I wonder which version Lester was inspired by.) But here are Conal and Marc, creating another passionate expression of what Louis called “Tonation and Phrasing”:

Their version is absolutely beautiful: a small triumph of passion and control, of empathy and expertise.

May your happiness increase!

OUR MAN DAN: DAN MORGENSTERN TELLS TALES of COZY COLE, BENNY CARTER, MILT HINTON, LOUIS ARMSTRONG, TEDDY WILSON, COUNT BASIE, JOHN COLTRANE, ROY ELDRIDGE, JOE WILDER, ED BERGER, and PERRY COMO (June 8, 2018)

Dan Morgenstern, now 89, is so full of wonderful stories — sharply-realized, hilarious, sad — that my job as a visitor with a camera has usually been to set up the video equipment, do a sound check, ask a leading question, and sit back in bliss.  Here’s the first half of my June 2018 visit to Dan’s nest.  Beautiful narratives are all nicely set out for us.

I’d already posted the first one — a total surprise, a heroic reaction to injustice — but I would like more people to hear and see it:

More about Cozy Cole and friends, including Milt Hinton, Cab Calloway, and a hungry Benny Carter:

More about Milt Hinton, with wonderful anecdotes about Louis and Joe Glaser, Dizzy Gillespie, Cozy Cole, and Mel Lewis:

And some beautiful stories about Count Basie — including Dan’s attendance at a Town Hall concert with Basie, Roy Eldridge, and John Coltrane:

Finally (for this posting — there will be a continuation) memories of Joe Wilder, Ed Berger, with a comment about Roy Eldridge:

That we have Dan Morgenstern with us to tell such tales is a wonderful thing.  As Louis said to the King, “This one’s for you, Rex!”

May your happiness increase!

“JUST LIKE THAT!” DAN MORGENSTERN TELLS A TALE (June 8, 2018)

Perry Como, 1944:

You didn’t expect to see him on JAZZ LIVES, but he deserves the attention.  People of my generation will remember him as a completely relaxed television presence, wearing a sweater before Fred Rogers, comfortable and warm.  As a young singer, he did his own very convincing version of Bing, which is not something I would chastise him for.  Here’s an early vocal on a Ted Weems record — to complete the Bing-ness, there’s whistling by Elmo Tanner:

But this blogpost isn’t a return to the fairly sweet sounds of yesteryear.  When I visited Dan Morgenstern last June, I think we’d planned to talk about a variety of jazz notables . . . but I’ve learned to start the camera and trust the teller.

What Dan recalled is, to me, memorable: it says, “There ARE righteous people”:

One of the righteous is Dan himself.  But you knew that.

May your happiness increase!

DEBRA’S PLATTER PARTY (1952-1953)

I imagine a teenager, Debra, who has her friends over in her parents’ rec room, perhaps the den, perhaps the basement with knotty pine walls.  Her little brother wants to come and join them but Debra firmly refuses.  This is for her friends, not for twirps.  Debra and  her friends have a few bottles of soda which they pour into aluminum tumblers; there is a bag of potato chips.  But the main focus is the music.

RCA 45

Debra has a pile of new 45 rom records and she has gotten a special record player for her birthday — one of those with a big center spindle.

She stacks up a pile of the current hits: Les Paul and Mary Ford, Tony Bennett, Percy Faith, Jo Stafford, Frankie Laine, Eddie Fisher, Patti Page, Perry Como, Teresa Brewer, Kay Starr, Leroy Anderson, Al Martino, and someone the kids don’t immediately recognize.  He sings familiar songs: COLD COLD HEART, BECAUSE OF YOU, MAYBE IT’S BECAUSE, I’LL KEEP THE LOVELIGHT BURNING.

He has an unusual voice — rough yet tender — and there is a really impressive trumpet player on the records.  “Who is that singing, Debra?” one of the girls asks.  “Don’t you know Satchmo?” Debra responds.  “Satchmo?” says Julie.  “What kind of name is Satchmo?”  “Oh, that’s Louis Armstrong,” another friend pipes in.  “He’s a jazz musician.  My parents listen to him all the time.”  “He sounds really good,” says Julie.  “Let me see the record,” says one of the other girls.

And so taste is formed.

satchmo serenades

And, yes, there was life before Bill Haley and his Comets, before Elvis.

These ruminations are the result of a trip to a fabled flea market in Alameda, California, where the only thing either of us purchased was this set of two extended-play 45 rpm records — for a dollar.

I have invented the little scenario above because my copy is well-loved and well-played, and Debra wrote her name on the front cover and on the label of each record.  They were hers, you know, and she wasn’t going to get them mixed up with anyone else’s records.

There was a time when “popular music” wasn’t so energetically polarized, when people gathered communally to listen to records, to enjoy, to comment, to discuss.  Life before earbuds.  When Satchmo serenaded, and no one recoiled from “jazz,” or “Dixieland,” or “your parents’ music.”

We can’t bring back those days — or can we?  Play some music for a friend or colleague or family member . . . see if you can send them some old-fashioned good vibrations.  I’m going to play SATCHMO SERENADES when I get back to New York.

Where is Debra?

May your happiness increase.

SIX SURPRISES: MAL SHARPE and BIG MONEY IN JAZZ at the NO NAME BAR in SAUSALITO (August 19, 2012)

Since the school year will soon be upon us, here is a one-question jazz quiz on the recent content of JAZZ LIVES.  Please turn your phones off — the answer won’t be found there — and those of you who have been paying close attention have nothing to worry about.

1.  On a Sunday afternoon at the No Name Bar in Sausalito (extra credit if you can accurately recall the street address and the hours that the band plays), when Mal Sharpe and the Big Money in Jazz Band take center stage, the results can best be described as:

a.     swinging

b.     hilarious

c.     unpredictable

d.     all of the above.

Make sure you’ve written your name at the top, and please hand them in.  The correct answer is D, although I will give partial credit for A, B, or C.  Extra credit?  757 Bridgeway, 3-6 PM.  I’ll see you all next week.

Mal and his Colleagues in Swing had a good time last Sunday and they shared the pleasure with us.  Mal offered some Dickensonian trombone asides, loose-limbed singing and comic commentaries; trumpeter John Dodgshon was mellow, on the horn and in his vocals; Tom Schmidt continues to delight and surprise on clarinet and Hodges-inspired alto (I think of Charlie Holmes, a real compliment) — he sang memorably,  too.  The rhythm section worked together splendidly, with Our Lady of the Trap Kit, sweetly pungent Carmen Cansino, tersely rocking Bill De Kuiper on guitar, and quietly eloquent Paul Smith (another videographer!) on string bass.

Here are six movements from the monumental Big Money in Jazz Suite, Opus 8.19.12.

Mal is the most generous of men, but this Sunday his resources might have been low, for he chose I CAN’T GIVE YOU ANYTHING BUT LOVE:

August 21 is a national holiday, although you didn’t see the appropriate sales in mattress stores — it’s Count Basie’s birthday.  Here’s a version of LADY BE GOOD that starts with a Kansas City Six rhythm section chorus:

John Dodgshon seemed entirely trustworthy, reliable to the end, when I spoke with him at the start.  Thus I believed him utterly when he sang YOU CAN DEPEND ON ME:

For Louis and Benny and Bing, SHINE, with special cadenzas for Carmen near the end.  And if you still think of that song as having deplorably racist lyrics, please read this:

I have noticed how most requests from audience members make the players sigh behind their affable smiles, so I try to restrain myself.  But when asked (as I was here) I will often propose SWEETHEARTS ON PARADE, perhaps because I’ve been so transformed by hearing Louis, Ruby Braff, and Doc Cheatham play it.  And Perry Como stayed quietly in the back room (the fans tend to mob him when he comes to the No Name Bar, so Nancy and Scarlet make him comfortable there):

There was a large and enthusiastic Texas contingent in the No Name Bar that Sunday, so perhaps this edged John Dodgshon away from the TIN ROOF BLUES to the 1918 DALLAS BLUES.  I didn’t know the verses that Tom Schmidt sang with such easy fervor. . . .thank you, Tom!  And pay special attention to Bill De Kuiper, the Troubadour of the Silver Subaru, as he takes an inspiring off-the-harmonies solo, immensely refreshing:

Now, don’t you wish you had been there?

May your happiness increase.